Unemployment is down, but so are real wages

Mixed news in the ONS release.

Unemployment is down to 7.8 per cent from 7.9 per cent three months ago, according to the ONS:

Unemployment rate (aged 16+), seasonally adjusted

  • The employment rate for those aged from 16 to 64 for October to December 2012 was 71.5%, up 0.3 percentage points from July to September 2012. There were 29.73 million people in employment aged 16 and over, up 154,000 from July to September 2012.
  • The unemployment rate for October to December 2012 was 7.8% of the economically active population, down 0.1 percentage points from July to September 2012. There were 2.50 million unemployed people, down 14,000 from July to September 2012.
  • The inactivity rate for those aged from 16 to 64 for October to December 2012 was 22.3%, down 0.2 percentage points from July to September 2012. There were 8.98 million economically inactive people aged from 16 to 64, down 94,000 from July to September 2012.
  • Between October to December 2011 and October to December 2012, total pay (including bonuses) rose by 1.4% and regular pay (excluding bonuses) rose by 1.3%.

The rise in total employment takes it to a new record high, for the 140th time. It shouldn't be taken too seriously, because most of the increase is simple population growth, but you can be certain that that is a statistic which will be rolled out again soon.

Similarly, the release shows a further 65,000 private sector jobs in June 2012, meaning that you will continue to hear the soundbite "one million private sector jobs since the election". That too is not strictly true; as George points out, that million includes 196,000 jobs "reclassified" from the public sector. Take those out, and we still aren't at a million new jobs, even with the latest increase.

The earnings rise, of 1.4 per cent between October and December 2011 and the same period in 2012, is lower than it had been year-on-year last month, and remains stubbornly below inflation. The ONS confirms that "prices therefore increased by more than earnings", as they have done consistently since the recession. The gap is growing, too, as inflation looks likely to stay around 3 per cent despite falling wages.

One unambiguously good datapoint is that the trend to underemployment seems to be reversing. With 167,000 new full time jobs, the number of people working part time who don't want to be is falling, although the number of people working temporarily who don't want to rose by another percentage point on the quarter.

Alex Hern is a technology reporter for the Guardian. He was formerly staff writer at the New Statesman. You should follow Alex on Twitter.

BBC/YouTube screengrab
Show Hide image

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.