Rising up: a jellyfish in sea of the Farne Islands, England. Photo: Getty
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Jellyfish McSaveloy and the social mobility of surnames

Tracking the movement of second names shows how they can affect our life chances.  

Some people like the idea of having what we call a fun name,” such as “Jellyfish McSaveloy” and “Daddy Fantastic”, the Deed Poll website reveals. The UK is relatively permissive when it comes to “fun” names; Denmark, on the other hand, has compiled a list of approved baby names, and last year New Zealand published a selection of banned ones.

By the time a Jellyfish McSaveloy reaches their teens, you can be fairly certain they will be either thick-skinned or a hardened street fighter, but even more common names often hold clues to a person’s background and social standing. A girl named Eleanor is 100 times more likely to attend Oxford University than one named Jade. For economists, the links between certain names and the holder’s wealth and social status make them a useful research tool.

In 2005, Steven D Levitt and Stephen J Dubner, the authors of Freakonomics, attempted to unpick how a person’s name affects his or her life chances. Although there is no evidence that a name can change your life, they believe that many babies’ names reflect their parents’ aspirations for them. The evidence: the names that are most popular among wealthier and highly educated Americans become popular among more disadvantaged groups within a few decades. The suggestion is that parents name their children after their more advantaged peers: “Whether they realise it or not, [they] like the sound of names that sound ‘successful’.”

A deeper investigation into names and social mobility was recently conducted by Gregory Clark, an economist at the University of California, in his book The Son Also Rises. Standard measures of social mobility, which cover only one generation, have no way of discounting the element of luck that affects individual achievement, Clark argues. So he has attempted to measure social mobility over several centuries by tracking the movement of surnames.

In medieval England, many surnames, such as Baker, Plumber and Smith, described a person’s profession. In contrast, the elite often took their surnames from their ancestral home and the “super-elite” could trace their names to the Norman conquerors listed in the 1086 Domesday Book. By the late 1300s, surnames were often inherited; by analysing the names of those entering the great medieval institutions, such as the Church, parliament and Oxbridge, you can measure how many sons of artisans or manual labourers climbed the social ladder. Contrary to popular opinion, medieval England had the same “slow but persistent” rate of social mobility as modern Sweden, Clark argues.

Nor has Britain’s rate of social mobility changed much since then. Clark also traces the progression of a number of rare surnames, such as Bazalgette, Sotheby and Courtauld, that in 1858 were held by some of the UK’s wealthiest families. Even today, the surnames that in the mid-19th century were a mark of high social status are three times more common among MPs than among the rest of the population. Knowing that someone born in 1990 shares the same surname as someone born in 1813 who died wealthy is enough to predict that they are six times more likely than average to study at Oxbridge.

Clark shows that it can take between ten and 15 generations to erase family poverty or prosperity. As tempting as it might be to name your son Warren Buffett in the hope he will end up rich, it won’t make any difference. You might as well call him Jellyfish. 

Sophie McBain is a freelance writer based in Cairo. She was previously an assistant editor at the New Statesman.

This article first appeared in the 01 May 2014 issue of the New Statesman, The Islam issue

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Why hasn’t British Asian entertainment built on the Goodness Gracious Me golden age?

It is 20 years since the original radio series of Goodness Gracious Me aired. Over two decades, the UK media portrayal of Asians hasn’t used its success to evolve.

Save for a handful of special one-off episodes, Goodness Gracious Me hasn’t occupied a primetime TV slot for nearly two decades. Yet still it remains the measuring stick for British Asian comedy.

The sketch show, which transitioned seamlessly from radio to screen (it started as a BBC Radio 4 series in 1996), has stood the test of time and is as much a staple of modern British Asian culture as Tupperware or turning up an hour late.

What Goodness Gracious Me did so expertly was to take a set of serious issues facing first, second and now, I suppose, third generation migrants, and turn them on their heads. 

In making light of the pressures of academic expectation or family drama, Goodness Gracious Me wasn’t playing down the poignancy of such concerns; it was raising awareness and combatting their uglier side with humour.

It offered resonance and reassurance in equal measure; it was ok to have an embarrassing uncle who insisted he could get you anything much cheaper, including a new kidney, because other people like you did too.

That Goodness Gracious Me was broadcast on a mainstream channel was also a victory for minorities; it made us feel integrated and, perhaps more importantly, accepted. Against the backdrop of Brexit, what wouldn’t we give for that treatment now?

Really, though, the jewel in Goodness Gracious Me’s crown was its willingness to recognise diversity within diversity. It is a relic of a departed era when discourse on TV around Asians was different, when the broad church of that term was truly represented, rather than reduced to one catchall perception of British Muslims.

Goodness Gracious Me offered insight into the experiences and idiosyncrasies – religious or otherwise – of Indians, Pakistanis, Bangladeshis, Sri Lankans and even English people. It’s what made it so accessible and, in answering why subsequent programmes have failed to reach similar heights, this is a good starting point.

Without the flexible sketch format, the modern Asian sitcom Citizen Khan has struggled to cover multiple topics, and, by being specifically about a Muslim family, it leaves many non-Muslim Asians wondering: where’s ours?

I hasten to add that I feel plenty of sympathy for the British Muslim community, hounded by tabloid headlines that attack their faith, but it would be disingenuous to suggest that non-Muslim Asians are sitting pretty in 2016 and don’t need a similar level of support in terms of positive public perception.

The current volume of British Asian media products is fairly good. The BBC has its dedicated network, The Good Immigrant essay collection was one of the outstanding reads of the year, and we still have champions of comedy in Romesh Ranganathan and Nish Kumar.

But I think ultimately it comes down to the broadness of appeal, rather than the quantity of products. Goodness Gracious Me was not only able to engage the full spectrum of British Asia; it transcended its target audience and was on terrestrial TV.

The British Asian media on offer now is up against it, released as the country’s attitude towards foreigners completes a full circle back to the same suspicion my grandfather encountered in the Sixties.

Fewer outlets are willing to explore the stretch of what it means to be Asian, either by denying it due consideration in mainstream shows or by peddling their own monolithic observations. The BBC Asian Network, for example, is laudable in its existence, but does little to engage the young Asians who aren’t into techno spliced with Bhangra.

The mainstream representations of Asians in Western film and television that are commissioned, meanwhile, are irritatingly limited and sometimes inaccurate. In an article for the Guardian last year, Sara Abassi lamented the disproportionate appetite for “gritty post-9/11 films about conservative Pakistani families”, and that the researchers of American series Homeland failed to realise that the national language of Pakistan isn’t Arabic.

When I interviewed the actor Himesh Patel for the No Country for Brown Men podcast, he suggested that the answer to re-establishing Asians in mainstream media, both here and in America, was three-fold. The first challenge to overcome was for outlets to acknowledge that not all Asians fit the same religious or cultural profile; the second was to be open to placing Asians in non-Asian specific products to better reflect their presence in society.

Patel, who is best known for his portrayal of Tamwar Masood in the soap opera EastEnders, made his third recommendation based on this role. He felt that characters should be written with only their personality in mind, making the ethnicity of the actor who plays them incidental. Tamwar’s awkwardness but underlying kindness, Patel said, was what defined him – not his skin colour.

Goodness Gracious Me, though a primarily Asian show and a comedy at that, actually taught some salient lessons about representation. It succeeded in providing a window into a multiplicity of cultures, but at the same time wasn’t a total slave to the politics of identity – several of the 100-plus characters needn’t have been Asian at all. It was reflexive to the times we lived in and a perfect advertisement for empathy. That is why we still talk about it today.

Rohan Banerjee is a Special Projects Writer at the New Statesman. He co-hosts the No Country For Brown Men podcast.