A week on US radio: stuck between stations

Fun-wise, it's been an unspectacular summer in New York

A week on US radio
Various
 
Fun-wise, it’s been an unspectacular summer in New York. “We are quietly snoring,” reports the New York Times, briefly enlivened by Beyoncé causing havoc at Coney Island by perfecting her make-up for an impromptu photo shoot on the 90-year-old Ferris wheel, and leaving a lone couple stranded for over half an hour 150 feet at the top, certain they had been forgotten for the night and forced to sit tearfully in their wind-rattled cage, gazing down on the wide and clamouring boardwalk below.
 
When immigrants approached New York by boat in the 19th century, it wasn’t the Statue of Liberty they saw first, but the one million electric lights of Coney Island – lights promising one thing: here, pleasure is a birthright. But not this summer. A numbing heatwave in June was followed by perpetual drizzle and brown-shadowed thunderstorms along the Jersey shore, knocking out power in the run-up to Labor Day.
 
“After the news, I wanna bring something up,” sighed Jim Gearhart, the veteran host of New Jersey 101.5, on yet another overcast morning. “Today’s the day that the burger flippers are supposed to go on strike. Has anybody in New Jersey heard about this?”
 
In New York, fast-food workers’ wages have increased just 25 cents in ten years to a parlous $7.25 (£4.67) an hour. The burger flippers of New Jersey – the most densely populated state in the Union, with tens of thousands working in that industry – earn marginally more, but still short of Barack Obama’s proposed $9 minimum wage. When recently McDonald’s sent out a sheet of contemptuous “suggestions” on how its workers might more sensibly live within a budget, it included an assumed “income from another job”, conceding that nobody can hope to survive by flipping cheeseburgers alone.
 
“Do you believe in the minimum wage or is it pushing even Karl Marx to the left?” muses Jim. “Let’s go to Joe in Neptune.” “Oh wow,” says a distracted Joe, forgetting what he wanted to say and hanging up. Jim sighs and leisurely goes to the ads for statins. It takes more than dead air (or even murder) to faze a New Jersey DJ.
 
Later that afternoon, on National Public Radio, it’s not Marx but Einstein up for discussion. Tom and Ray Magliozzi – brothers who nominally dole out advice about fixing cars on the station – affectionately mock a listener who has just emailed in on the subject of geniuses and called Albert Einstein “Norman”. “Hey– Norman Einstein!” shriek Tom and Ray, 76 and 64, respectively, but brimful with the dimply charm of fantastically unsnooty delinquents. “Hey, man!” they bang the table, hooting with a soul-deep satisfaction. “Ah, man . . .” It’s the most fun they’ve had since Memorial Day. “You been collaborating with Yogi Bear on this?”
A summer thunderstorm in New York. Photo: Getty

Antonia Quirke is an author and journalist. She is a presenter on The Film Programme and Pick of the Week (Radio 4) and Film 2015 and The One Show (BBC 1). She writes a column on radio for the New Statesman.

This article first appeared in the 09 September 2013 issue of the New Statesman, Britain alone

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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.