Sam Friedman – författare

The Economist, Best Books of 2024The Times, Best Ideas Books of 2024A uniquely data-rich analysis of the British elite from the Victorian era to today: who gets in, how they get there, what they like and look like, where they go to school, and what politics they perpetuate.Are Britain’s power brokers a conservative chumocracy, born to privilege and anointed at Eton and Oxford? Or is a new progressive elite emerging with different values and political instincts? In search of answers, Aaron Reeves and Sam Friedman scrutinized the profiles of over 125,000 members of the British elite from the late 1890s to today. At the heart of this meticulously researched study is the historical database of Who’s Who, but Reeves and Friedman also mined genealogical records, examined probate data, and interviewed over 200 leading figures from a wide range of backgrounds to uncover who runs Britain.What they found is that there is less movement at the top than we think. Yes, there has been some progress on including women and Black and Asian Brits, but those born into the top 1 percent are just as likely to get into the elite today as they were 125 years ago. What has changed is how elites present themselves. Today’s elite pedal hard to convince us they are perfectly ordinary.Why should we care? Because the elites we have affect the politics we get. While scholars have long proposed that the family you are born into, and the schools you attend, leave a mark on the exercise of power, the empirical evidence has been thin—until now.

This book was shortlisted for the 2015 BSA Philip Abrams Memorial Prize. Comedy is currently enjoying unprecedented growth within the British culture industries. Defying the recent economic downturn, it has exploded into a booming billion-pound industry both on TV and on the live circuit. Despite this, academia has either ignored comedy or focused solely on analysing comedians or comic texts. This scholarship tends to assume that through analysing an artist’s intentions or techniques, we can somehow understand what is and what isn’t funny. But this poses a fundamental question – funny to whom? How can we definitively discern how audiences react to comedy?Comedy and Distinction shifts the focus to provide the first ever empirical examination of British comedy taste. Drawing on a large-scale survey and in-depth interviews carried out at the Edinburgh Festival Fringe, the book explores what types of comedy people like (and dislike), what their preferences reveal about their sense of humour, how comedy taste lubricates everyday interaction, and how issues of social class, gender, ethnicity and geographical location interact with patterns of comic taste. Friedman asks: Are some types of comedy valued higher than others in British society?Does more ‘legitimate’ comedy taste act as a tangible resource in social life – a form of cultural capital?What role does humour play in policing class boundaries in contemporary Britain? This book will be of interest to students and scholars of sociology, social class, social theory, cultural studies and comedy studies.

The Economist, Best Books of 2024The Times, Best Ideas Books of 2024A uniquely data-rich analysis of the British elite from the Victorian era to today: who gets in, how they get there, what they like and look like, where they go to school, and what politics they perpetuate.Think of the British elite and familiar caricatures spring to mind. But are today’s power brokers a conservative chumocracy, born to privilege and anointed at Eton and Oxford? Or is a new progressive elite emerging with different values and political instincts?Aaron Reeves and Sam Friedman combed through a trove of data in search of an answer, scrutinizing the profiles, interests, and careers of over 125,000 members of the British elite from the late 1890s to today. At the heart of this meticulously researched study is the historical database of Who’s Who, but Reeves and Friedman also mined genealogical records, examined probate data, and interviewed over 200 leading figures from a wide range of backgrounds and professions to uncover who runs Britain, how they think, and what they want.What they found is that there is less movement at the top than we think. Yes, there has been some progress on including women and Black and Asian Brits, but those born into the top 1 percent are just as likely to get into the elite today as they were 125 years ago. What has changed is how elites present themselves. Today’s elite pedal hard to convince us they are perfectly ordinary.Why should we care? Because the elites we have affect the politics we get. While scholars have long proposed that the family you are born into, and the schools you attend, leave a mark on the exercise of power, the empirical evidence has been thin—until now.

Seeking to Make the World Anew is a collection of poems that confront the crisis of modern society, that yearn for change, and that wonder about what kind of social order might replace the one we have. This compilation serves as a testament of the author's agonizing encounters with the degradations, insults, and diseases that this world abounds in—and expresses his awe at how people come together and seek solutions through struggle. Sam Friedman includes an introductory essay about how his ideas and his art developed through his experiences in the Civil Rights Movement, anti-war movements, scientific research and activism around the AIDS epidemic, and through thinking, arguing, and writing about how a new-style, freedom-loving socialist movement might be the only way to save humanity.

Comedy is currently enjoying unprecedented growth within the British culture industries. Defying the recent economic downturn, it has exploded into a booming billion-pound industry both on TV and on the live circuit. Despite this, academia has either ignored comedy or focused solely on analysing comedians or comic texts. This scholarship tends to assume that through analysing an artist’s intentions or techniques, we can somehow understand what is and what isn’t funny. But this poses a fundamental question – funny to whom? How can we definitively discern how audiences react to comedy?Comedy and Distinction shifts the focus to provide the first ever empirical examination of British comedy taste. Drawing on a large-scale survey and in-depth interviews carried out at the Edinburgh Festival Fringe, the book explores what types of comedy people like (and dislike), what their preferences reveal about their sense of humour, how comedy taste lubricates everyday interaction, and how issues of social class, gender, ethnicity and geographical location interact with patterns of comic taste. Friedman asks: Are some types of comedy valued higher than others in British society?Does more ‘legitimate’ comedy taste act as a tangible resource in social life – a form of cultural capital?What role does humour play in policing class boundaries in contemporary Britain? This book will be of interest to students and scholars of sociology, social class, social theory, cultural studies and comedy studies.

Politicians continually tell us that anyone can get ahead. But is that really true? This important, best-selling book takes readers behind the closed doors of elite employers to reveal how class affects who gets to the top.Friedman and Laurison show that a powerful 'class pay gap’ exists in Britain’s elite occupations. Even when those from working-class backgrounds make it into prestigious jobs, they earn, on average, 16% less than colleagues from privileged backgrounds. But why is this the case? Drawing on 175 interviews across four case studies – television, accountancy, architecture, and acting – they explore the complex barriers facing the upwardly mobile. This is a rich, ambitious book that demands we take seriously not just the glass but also the class ceiling.