Michael Hicks

The Wars of the Roses featured sixteen invasions, four successful; six times kings lost their thrones. This book explores why those invasions occurred and kept occurring. Destruction and devastation were minimal, barely affecting the day to day routine of the civilian population, yet the Wars were lethal for their noble leaders and, as first hand accounts reveal, blighted the lives of their women and children. That the Wars ended so abruptly was not so much because Henry VII won at Bosworth and ruled effectively, the author concludes, but rather because a feel-good factor removed popular discontent and continental rivals turned elsewhere.

English Political Culture in the Fifteenth Century is a new and original study of how politics worked in late medieval England, throwing new light on a much-discussed period in English history. Michael Hicks explores the standards, values and principles that motivated contemporary politicians, and the aspirations and interests of both dukes and peasants alike.Hicks argues that the Wars of the Roses did not result from fundamental weaknesses in the political system but from the collision of exceptional circumstances that quickly passed away. Overall, he shows that the era was one of stability and harmony, and that there were effective mechanisms for keeping the peace. Structure and continuities, Hicks argues, were more prominent than change.

English Political Culture in the Fifteenth Century is a new and original study of how politics worked in late medieval England, throwing new light on a much-discussed period in English history. Michael Hicks explores the standards, values and principles that motivated contemporary politicians, and the aspirations and interests of both dukes and peasants alike.Hicks argues that the Wars of the Roses did not result from fundamental weaknesses in the political system but from the collision of exceptional circumstances that quickly passed away. Overall, he shows that the era was one of stability and harmony, and that there were effective mechanisms for keeping the peace. Structure and continuities, Hicks argues, were more prominent than change.

This book illuminates Warwick's character and motivation, showing that he was an emotional, charming, and popular man with a strong sense of family loyalty. It is the first full study of this compelling figure within the context of political life in late medieval England.

Unlike their rock 'n' roll predecessors, many rock musicians of the mid-sixties came to consider themselves as artists--self-consciously presenting themselves as creators of a new sonic medium.Sixties Rock offers a provocative look at these artists and their innovations in two pivotal rock genres: garage rock and psychedelic music. Delving into everything from harmony to hardware, Michael Hicks shows what makes this music tick and what made it unique in its time. Looking at bands like the Doors, the Rolling Stones, the Yardbirds, and Love, Hicks puts legends and flashes in the pan alike through a rigorous analysis that places their music within rock history while exploring its place in the oft-swirling contexts of the time.

The remit of this book is to investigate whether Richard III was a good guy or a bad guy, whether he was a wicked murderer or merely a victim of bad public opinion and propaganda. Michael Hicks uses contemporary sources to diclose Richard's life, his reputation and the events that shaped it. Although public opinion has now changed to being in support of Richard, Hicks discusses how Richard acquired such a bad reputation and strips away the propaganda of the centuries to rescue Richard from his critics and supporters alike'.

This book illuminates Warwick's character and motivation, showing that he was an emotional, charming, and popular man with a strong sense of family loyalty. It is the first full study of this compelling figure within the context of political life in late medieval England.

Richard III is undoubtedly the dominant personality in this collection of essays, but not in his capacity as king of England. Richard was Duke of Gloucester far longer than he was king. For most of his career, he was a subject, not a monarch, the equal of the great nobility. He is seen here in the company of his fellows: Warwick the Kingmaker, Clarence, Northumberland, Somerset, Hastings a the Wydevilles. His relations with these rivals, all of whom submitted to him or were crushed, show him in different moods and from various vantage points.