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mrhumpage's review against another edition
2.0
This book, which takes a look at the cultural impact and legacy of several British creations, from Dr. Who to the Beatles, is occasionally very good.
Unfortunately it's more frequently infuriating. It took me almost two years to finish as I put it down about half way through.
Sandbrook talks frequently of sneering criticism but frequently lets his own bias shine through, distracting from otherwise interesting analysis of his subjects.
As a result this book often reads like an extended article in the telegraph or daily mail (for whom the author also writes, I discovered in the post-text). Well researched but biased and inflammatory.
Furthermore, in a post Brexit world the idea of British exceptionalism, even in culture, seems less worthy of analysis.
A shame.
Unfortunately it's more frequently infuriating. It took me almost two years to finish as I put it down about half way through.
Sandbrook talks frequently of sneering criticism but frequently lets his own bias shine through, distracting from otherwise interesting analysis of his subjects.
As a result this book often reads like an extended article in the telegraph or daily mail (for whom the author also writes, I discovered in the post-text). Well researched but biased and inflammatory.
Furthermore, in a post Brexit world the idea of British exceptionalism, even in culture, seems less worthy of analysis.
A shame.
newishpuritan's review against another edition
3.0
A survey of British popular culture in the nineteenth and twentieth centuries, focusing on the careers of selected cultural entrepreneurs, and the production and consumption of cultural products: television programmes, music, novels, etc. Though some of these would only be familiar to UK inhabitants (Coronation Street), Sandbrook is more interested in cultural products that the UK has managed to sell to the rest of the world as somehow emblematic of Britishness (though he's not particularly interested in the international consumers who serve to measure this success). His case studies include The Beatles (focusing on Lennon, who gets a kicking as a self-involved narcissist), Doctor Who, The Avengers, Elton John, James Bond, Andrew Lloyd-Webber, the English country house as a story setting, etc. He's better as a historian than as a critic: indeed, he seems to pride himself on having nothing much intelligent to say about these texts as texts (rather than as indices for broader social developments and ideas).
stephanielynnrp's review
4.0
3.5 stars really - a bit glaringly subjective - but enjoyable nonetheless.
amalia1985's review against another edition
I thought that this book would be brilliant. I thought that it would be a treasure for the lovers of ALL THINGS BRITISH, like yours trully. Yeeeees...not quite...next time I'll take a moment to think again. I gave up at 40% annoyed and frustrated to the high heavens!
I don't know what the writer wanted to achieve. Was it a book about the history of British culture? Was it a chance to reminisce of the golden days? Was it simply to make fun- no, to ridicule- the Beatles, the Rolling Stones, Heavy Metal, J.K. Rowling, the Queen (the band, not the sovereign who seems to be the only one escaping his ''critic talons). Whatever his intentions were, he produced an utter failure. Chapters packed with information unrelated to his themes, although I failed to see what the themes were. Poor attempts to appear light-hearted and full of humour. Sarcasm with a good dose of unashamed elitism towards the cultural offerings that A) were not to his liking, or B) that were the products of other countries. Verbose style used to support his personal opinions, more like prejudices really. Downright racist comments over the origins of John Lennon or Mick Jagger or the members of Black Sabbath, sexist remarks regarding J.K. Rowling and other women artists. These are not the elements that should consist an adequate book about the British culture. The part of the world that helped in shaping so many images in so many expressions of Art deserves a much better account that this poorly executed, chauvinistic, full of prejudices creation.
I don't know what the writer wanted to achieve. Was it a book about the history of British culture? Was it a chance to reminisce of the golden days? Was it simply to make fun- no, to ridicule- the Beatles, the Rolling Stones, Heavy Metal, J.K. Rowling, the Queen (the band, not the sovereign who seems to be the only one escaping his ''critic talons). Whatever his intentions were, he produced an utter failure. Chapters packed with information unrelated to his themes, although I failed to see what the themes were. Poor attempts to appear light-hearted and full of humour. Sarcasm with a good dose of unashamed elitism towards the cultural offerings that A) were not to his liking, or B) that were the products of other countries. Verbose style used to support his personal opinions, more like prejudices really. Downright racist comments over the origins of John Lennon or Mick Jagger or the members of Black Sabbath, sexist remarks regarding J.K. Rowling and other women artists. These are not the elements that should consist an adequate book about the British culture. The part of the world that helped in shaping so many images in so many expressions of Art deserves a much better account that this poorly executed, chauvinistic, full of prejudices creation.
hcastle's review against another edition
3.0
I was really excited by the prospect of this book. Ultimately, though, Sandbrook's argument that British popular culture is ultimately more conservative than it first appears is not an inspiring or engaging one. It means that in discussing 60s pop stars that more space was given over to their tendency to end up buying large country houses than the actual music. British public school culture also got the credit for Harry Potter etc. Sandbrook wears his own penchants and prejudices on his sleeve. He really digs the knife in unrelentingly to John Lennon, but is much more sympathetic to anyone who is candid about their lower middle class roots and their desire to escape the suburbs, such as Elton John and Hanif Kureshi. Sandbrook admits there are omissions, such as David Hockney, but it is also what aspects of leading exponents' careers that he chooses to focus on that makes this book a little bit satisfying.
sirchutney's review against another edition
5.0
To put it simply, no country on earth, relative to its size, has contributed more to the modern imagination. There is, however, one area in which we can claim superpower status: our popular culture.
Britain has been in gradual decline since 1945. With the Empire gone along with our manufacturing base, we have compensated by engaging the energy and ingenuity that made the Victorians great to the creative arts. This is a book about the considerable success and the possible meaning of Britain's modern popular culture. From Bond and the Beatles to heavy metal and Coronation Street. From the Angry Young Men to Harry Potter, from Damien Hirst to The X Factor. We've exported them lucratively around the world.
Sandbrook has a knack of restating hardly original ideas in a way that strikes you as if you’d never heard them before. Heartily recommended.
Britain has been in gradual decline since 1945. With the Empire gone along with our manufacturing base, we have compensated by engaging the energy and ingenuity that made the Victorians great to the creative arts. This is a book about the considerable success and the possible meaning of Britain's modern popular culture. From Bond and the Beatles to heavy metal and Coronation Street. From the Angry Young Men to Harry Potter, from Damien Hirst to The X Factor. We've exported them lucratively around the world.
Sandbrook has a knack of restating hardly original ideas in a way that strikes you as if you’d never heard them before. Heartily recommended.
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