How the Labour leadership result changes under a one-member-one-vote system

Had MPs' votes been treated in the same way as party members', Ed Miliband would have won a landslide victory.

One of the likely consequences of Ed Miliband's decision to introduce a new opt-in system for donations to Labour from affiliated trade union members will be a major change to the party's leadership election system. At present the decision lies with an electoral college split three ways between the party's 272 MPs and MEPs, all party members (193,000 at the last count) and members of affiliated trade unions and socialist societies (around 2.7 million). 

But should Miliband make all trade unionists who choose to donate full members of the party (as his speech on Tuesday implied), the third of these sections would effectively cease to exist (most socialist societies already require their members to be members of Labour). This would inevitably raise the question of whether the party should introduce a pure one-member-one-vote (OMOV) system, with MPs' votes no longer given greater weight than those of party members. As I noted in 2010, Labour is the only one of the three main parties which does not give the final say to individual party members. Under the electoral college system, the vote of one MP is worth the votes of 608 party members and 12,915 affiliated members and the vote of one party member is worth the votes of 21 affiliated members.

But would a one-member-one-vote system have changed the outcome in 2010? Earlier today, I reran the election using a OMOV model to discover the answer. It's not a perfect simulation; I don't have the data needed to strip out multiple votes (most MPs, for instance, had at least three votes by virtue of their membership of affiliated societies) and it's hard to know how many trade unionists would have participated under an opt-in system, but it's the best guide currently available. 

While the result does not change significantly (all the candidates finish in the same position, except Diane Abbott, who leapfrogs Andy Burnham and Ed Balls in the first round), it is notable that Ed Miliband's margin of victory increases dramatically from just 1.3 per cent to 8.8 per cent. Since David Miliband won the MPs' section by 140 votes to 122, his share is heavily reduced under a OMOV vote. He also won the party members' section by 66,814 to 55,992, but Ed's huge lead among affiliated members (119,405 to 80,266) means he pulls ahead. 

Given how often it's claimed that he wouldn't have won without the support of the "union barons" (the "block vote" was abolished by John Smith in 1993), Miliband's speech was, among other things, a subtle reminder that it was thousands of individual votes that delivered him victory. 

Here's the new result in full (you can view the actual result here). 

2010 Labour leadership election result under one-member-one-vote

Round One

1. Ed Miliband 125,649 (37.1%)

2. David Miliband 114,205 (33.8%)

3. Diane Abbott 35,259 (10.4%)

4. Ed Balls 34,489 (10.2%)

5. Andy Burnham 28,772 (8.5%)

Round Two

1. Ed Miliband 137,599 (41%)

2. David Miliband 118,575 (35.4%)

3. Ed Balls 40,992 (12.2%)

4. Andy Burnham 38,050 (11.4%)

(Since Abbott was eliminated in the first round in the actual contest, I have had to use Burnham's numbers.)

Round Three

1. Ed Miliband 149,675 (45.3%)

2. David Miliband 127,389 (38.5%)

3. Ed Balls 53,669 (16.2%)

Round Four

1. Ed Miliband 175,519 (54.4%)

2. David Miliband 147,220 (45.6%)

Ed Miliband's margin of victory increases from 1.3 per cent to 8.8 per cent under a one-member-one-vote system. Photograph: Getty Images.

George Eaton is political editor of the New Statesman.

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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.