How Britain became an American colony

We must resist our brutal imperial overlords

Dominic Sandbrook
NOVEMBER 25, 2022

It is difficult to imagine Ralph Waldo Emerson enjoying the World Cup. As the champion of the Transcendentalist movement, the sage of Concord was the embodiment of 19th-century high-mindedness, far more comfortable discussing the beauties of nature and the oneness of all things than Harry Kane’s glass ankle or Harry Maguire’s enormous head.

“All life is an experiment,” Emerson proclaimed. “The more experiments you make the better.” Is there a lesson there for Gareth Southgate? Or should the England boss stick with the tried and trusted, and resort to his usual back five against the bigger teams? Perhaps the only answer is to trust his own judgement. For “nothing,” Emerson also said, “can bring you peace but the triumph of principles.”
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You can see them in the frequent laments that Hollywood studios are employing too many British actors — even black British actors. You can see them in, say, the New York Times’s coverage of London’s restaurant scene (“Beyond Porridge and Boiled Mutton”). You can see it, too, in the same paper’s complaints that too many “Britishisms” are entering American English: “Crikey, Britishisms are everywhere. Call it Anglocreep. Call it annoying.” They’re calling us annoying? Seriously?

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Alas, in recent years, as even the most John Bullish have to admit, there haven’t been many cultural arenas in which we can feel smugly superior to our American cousins. Ever since the United States overtook Britain economically at the end of the 19th century — an inevitability given their geographical advantages, so that doesn’t really count as a win either — the boot has been firmly on the other foot. As early as 1914 the young T. S. Eliot, speaking in a debate at Merton College, Oxford, reminded his listeners “how much they owed to Amurrican culcher in the drayma (including the movies) in music, in the cocktail, and in the dance”. (These are Eliot’s own spellings. Again, they call us annoying?)

But it was in the decade after the First World War that the threat of Americanisation really loomed large. Britain was a country in shell shock: grey, weary, disillusioned and divided. The United States, on the other hand, was the land of ragtime and jazz, fizzing with excitement. “I am counting the days till I can get away and have decided from now on to live in America,” wrote P. G. Wodehouse in 1923. There was, he said, something “dead and depressing about London… all I want to do is to get back and hear the American language again.”

Wodehouse was bound for Hollywood, which was no accident. With a far bigger domestic market, an American film in the early Twenties typically made ten times more money than its British equivalent, which inevitably meant larger budgets. Even in 1925, some 95% of all film tickets sold in Britain were for American pictures.

And when, two years later, Al Jolson’s film The Jazz Singer ushered in the age of the talkies, Fleet Street’s finest wailed in despair. The terrible truth, lamented the Daily Express, was that “the bulk of our picture-goers are Americanised to an extent that makes them regard a British film as a foreign film… They go to see American stars; they have been brought up on American publicity. They talk America, think America, and dream America. We have several million people, mostly women, who, to all intent and purpose, are temporary American citizens.”

In the decades that followed, the traffic flowed only one way. When the United States entered the Second World War in December 1941 — two years late, as true patriots will never tire of pointing out — it rapidly became the senior Allied partner. Sent to North Africa to liaise with General Eisenhower, the young Harold Macmillan predicted that his compatriots’ future lay in being “Greeks in this American empire”, and hoped they might be able to mastermind things from the shadows, “as the Greeks ran the operations of the Emperor Claudius”. The Greeks in question were slaves, so this wasn’t a very enticing analogy. In any case, the Americans had no intention of allowing their former masters to “run” them. Britain would learn that lesson at Suez.

By the time Macmillan became prime minister in January 1957, Americanisation seemed unstoppable, epitomised by everything from Bill Haley and Elvis Presley to hamburgers and teenagers. When you read one contemporary list of outlandish Americanisms — “barbecued chickens rotating on their spits in the shop windows… parking meters… bowling alleys, glass-skyscrapers, flying saucers” — the surprising thing is that so many of them were American. Perhaps that tells its own story. “I must say,” muses Jimmy Porter in John Osborne’s play Look Back in Anger, “it’s pretty dreary living in the American Age — unless you’re an American of course. Perhaps all our children will be Americans.” ...