No one made the case for elected mayors

The government did almost nothing to sell the idea to voters.

This afternoon Michael Fallon and Ed Balls were on Radio 5, discussing the local election results. After a bit of Punch and Judy stuff, Balls was asked about the underwhelming demand for elected mayors. His response was, in tribal terms, a bit of a blinder: “David Cameron said it would mean Borises up and down the country - the country has said no.”
 
Boom. Acknowledge, bridge, communicate. ABC. No PR team could have scripted it better. Fallon, for his part, shrugged his shoulders. Nowt to do with me, guv: “We wanted to allow cities to choose. We've got to look at these results but it was entirely the cities' right to choose.” Well, the thing is, these cities didn’t choose. Not really. Only 15 per cent of people in Nottingham – which rejected the idea – cast a vote on the issue. But then many MPs are somewhat taciturn on the issue of voter apathy. Gets in the way of all the point scoring, which of course we voters love.
 
Whatever you think about elected mayors – and maybe you agree with a fellow journalist who today told me that not voting for them is a vote “against populism and egoism” – the biggest shame to come out of this initiative is that it has singularly failed to grab the public’s imagination. The campaign was doomed from the start. We’re not happy with our politicians at the moment – and I hardly need to go into all the reasons why – so it’s not surprising voters didn’t fancy creating yet more. Then you had the problem of who was actually going to champion them. 
 
Local party activists? Fat chance. Most of them like the status quo – not least local councillors. After all, at the moment a council leader can be king of the hill off the back of a couple dozen votes from the other councillors and enough from the public to get them elected in the first place; which given the amount of people who care about local politics in Britain, isn’t a lot. So the local political classes pulled together. They made ludicrous claims about the salaries these characters would coin in, all the while pushing Whitehall hard to get more powers for themselves.
 
As Stuart Drummond, the Mayor of Hartlepool, also said on Friday, the government has been incredibly half-arsed about the whole thing. According to him, the Department for Communities and Local Government hadn’t consulted with current incumbents about the system, despite years of lobbying, nor done much selling of the idea. The end result was that no one really knew what they were voting for. So they either said no, or didn't. It’s hard to say whether Whitehall didn’t like the idea, thought it was more trouble than it was worth, simply messed up, or all three.
 
As you may have guessed, I do like this idea. We need growth and jobs, especially outside of London, and a central figure around which the business community can congregate and who can sell the town to investors is valuable, as long as he or she knows what they're doing. Councils, by and large, aren’t too bad at providing basic services – but this side of things is something with which they often struggle. If you want to find out more, have a read about the work Ray Mallon’s been doing in Middlesbrough over the last ten years.
 
But this isn't really the point. It doesn’t matter which side you take on the debate: it matters more that the debate didn’t happen at all.
 
Alan White's work has appeared in the Observer, Times, Private Eye, The National & TLS. He lives in London and tweets as @aljwhite. As John Heale, he is the author of One Blood: Inside Britain's Gang Culture, republished this year.
Birmingham was one of nine cities to vote against having a directly-elected mayor. Photograph: Getty Images.

Alan White's work has appeared in the Observer, Times, Private Eye, The National and the TLS. As John Heale, he is the author of One Blood: Inside Britain's Gang Culture.

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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.