If you lived in Britain then or now, the loathing the woman inspired was extraordinary. In her way, she revitalized British pop music, by giving them all an object for their hatred:
Musical responses to Thatcher came in three varieties. There were songs that took a hard look at the country, especially during the early 1980s recession and the Falklands war: the aimless dispossessed of Ghost Town, the conflicted dockworker of Shipbuilding, the struggling poor of A Town Called Malice, the despair-poisoned citizens of the The’s Heartland. There were the character assassinations: Crass’s incandescent Falklands response How Does It Feel to Be the Mother of 1,000 Dead (quoted to the lady herself at Prime Minister’s Question Time), the Blow Monkeys’ somewhat premature (Celebrate) The Day After You, Morrissey‘s Margaret on the Guillotine and Elvis Costello‘s venomous Tramp the Dirt Down.
I could name dozens more but there are hundreds in the third category: whole careers, like that of the Smiths, implicitly underpinned by opposition to Thatcherite values. Look at the long list of people who played benefit gigs for such causes as the miners’ strike or Red Wedge and you’ll find such seemingly unlikely names as Wham! and Spandau Ballet’s Gary Kemp.