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I make sense

Missives on media, marketing and more. Edited by Amar Patel

June 8, 2020

No justice no peace, from news feeds to the streets

by Amar Patel


Black Lives Matter protest, 6 June, London
Black Lives Matter protest, 6 June, London

After attending the protest in Parliament Square on Saturday, then joining the march all the way to the US Embassy, I came away with renewed hope in the power of mass demonstration. Feeling a sense of togetherness with thousands on the ground, many more with fists raised from their balcony windows and drivers sounding supportive honks as they shrugged off the inconvenience we had caused them.

This positivity was swiftly dampened by the blinkered response online (on social channels and in the comments sections of media platforms such as the Metro and LBC). If you were to rely on trending headlines and grandstanding speeches from establishment figures like Priti Patel it would be quite easy to dismiss the whole event as anarchy and social unrest, or a senseless riot instigated by radical lefties with literally no regard for the welfare of others. That is nonsense.

I was there, paying very close attention to anyone around me and it was a largely a peaceful protest with a real mix of ages, ethnicities and group sizes (although the mood seemed to change around 6pm by the US embassy just as police presence ballooned). What you saw outside Downing St and the clip of the horse bolting were isolated incidents. There is always a small element you take things too far but they don't represent everyone.

Then up pops Patel to condemn the toppling of Edward Colston's statue in Bristol as "utterly disgraceful", a man responsible for the enslavement, branding and transportation of almost 100,000 men women and children from West Africa (around 19,000 of whom died on the journey). However, the home secretary doesn’t seem as bothered by the public execution of black people at the hands of police officers, the disproportionate use of stop and search in the UK, firing pellets and pepper spray at peaceful protesters, pursuing justice for Belly Mujinga‘s family and so on. 

It is indisputable that I and others attending these events are placing themselves at a greater risk of contracting coronavirus and hence spreading the virus to others (particularly those from ethnic minorities who have up to a 50% greater chance of falling ill in the UK, while more than 70% of virus-related deaths in the NHS have been BAME employees).

But that risk HAS been considered and minimised through the use of masks (I would estimate around 90% of people were wearing masks), many wore gloves and lots of us were mindful of personal space. I barely heard a cough or sneeze during the four hours I was there. Can beachgoers or certain individuals making essential-non-essential family visits claim a similar level of vigilance?

You have to ask why those more susceptible are willing to put themselves at even greater risk. It is not nihilism. It is intense frustration at systemic prejudice in this country and the sustained climate of suspicion ushered in amid terrorist incidents and Brexit squabbles and under the cloak of nebulous concepts such as British values. If you don't see it, you choose not to see it. It's called privilege.

In the UK, our police officers are far less trigger happy but that doesn’t mean racism isn’t there. It’s more insidious, with occasional flashpoints of gross injustice, neglect and mistreatment such as Windrush and Grenfell. One current example: according to research by the Institute for Social and Economic Research at the University of Essex, workers from ethnic minorities are less likely to have been furloughed with more than 20% losing their jobs). 

Many of us in attendance have weighed up the heightened risk against the persistent mistreatment and murder of black people, and how those in positions of power – from employers to police officers, politicians and CEOs – seem able to act with impunity. George Floyd was the final straw. Or, as University of Pennsylvania professor and author of The Loud Minority: Why Protests Matter in American Democracy Daniel Q Gillion puts it, the “crescendo” to Ferguson, BLM 2016, Occupy and all the other protests.

It was a similarly laboured yet dogged campaign between 1961 and 1963 that eventually led to the Civil Rights Act in 1964 and the Voting Rights Act in 1965. Even non-violent protest advocate Dr Martin Luther King conceded that, “A riot is the language of the unheard.” Different methods are required for different times to make others pay attention, and the slower the progress the greater the risk of conflict. That is not an excuse but it is the reality.

So this is about more than one murder. This is the struggle for a new world order and it’s been a long time coming. And yet critics are stupid enough to question why protesters in the UK care so much about George Floyd instead of asking what his public execution (along with those of Breonna Taylor and Ahmaud Arbery, among others) represent. Even worse, many were quick to point out he had a long rap sheet. It's as if this “criminal” deserved to die by asphyxiation. 

Screenshot 2020-06-08 at 17.11.39.png
Screenshot 2020-06-08 at 17.36.04.png

The crowds had a simple answer for them: “The UK is not innocent.”

I can't condone unprovoked violence against anyone, or the damage and defacement of property, but there comes a time when you have to take the streets. To be visible, vocal and disobedient in pursuit of a better world. Why says protesters haven't also taken to social media, written to MPs or signed change.org petitions? Resources like these are pinging around the internet. But it's not enough. Millions of people around the world are rising up against inequality and injustice and refuse to be complicit in their silence or inaction. They want greater urgency and policy change at all levels – criminal justice, citizenship, education, jobs, housing and so on.

I have read so many snap reactions from keyboard judges who make no attempt to empathise with the humanitarian cause at the root of the protest, instead using the NHS as emotional leverage to denounce all protesters.

Screenshot 2020-06-08 at 17.09.48.png
Screenshot+2020-06-08+at+17.26.52.jpg

How many of them know that almost a third of BAME NHS employees reported being bullied or abused by co-workers in 2020, up by 27% from 2016 according to the latest workforce equality data? How many of them were only too quick to close the door on EU migrants who prop up the health service and care for us, without considering the precarious status of these workers and their families under a points-based system with prohibitively expensive visa fees?

In our increasingly polarised world there seems to be less and less room for nuance and calm consideration of both sides of a debate in order to find a solution that benefits the largest possible cross-section of our society. That is also what I was standing up for on Saturday and will continue to do so.

Read, Watch, Listen

  • Kareem Abdul-Jabbar made be look at forceful protest in a different way with this op-ed. “What I want to see is not a rush to judgment, but a rush to justice.”

  • WIlson Academy Founder Bryan F Wilson on why wealth creation and economic action are the path to critical influence and sustainable change for the black community.

  • The notion of nation is biologically meaningless yet as a social construct it has become the predominant tool of oppression. Let’s go back to the beginning with Scene On Radio’s John Biewen and guest Chenjerai Kumanyika, assistant professor in Rutgers University’s Dept of Journalism and Media Studies.

  • In 2019, Reveal dug into Facebook group data to reveal the alarming number of US police officers spouting hate speech, extremism and conspiracy theories online. The rot goes deep. It's systemic and often covert.

  • Run the Jewels’ Killer Mike with an impassioned plea for calm over chaos. "It is your duty not to burn your own house down for anger with an enemy. It is your duty to fortify your own house so that you may be a house of refuge in times of organisation. And now is the time to plot, plan, strategise, organise and mobilise.”

  • Author Kimberley Jones on the long-standing history of exploitation and theft from black people, why the game is fixed and the social contract is broken.



Amar Patel

TAGS: Parliament Square, George Floyd, Black Lives Matter, Priti Patel, Edward Colston, Downing Street, Belly Mujinga, BAME, NHS, British Values, Windrush, Grenfell, Institute for Social and Economic Research, Breonna Taylor, Ahmaud Arbery, asphyxiation


September 26, 2015

Making the BBC the best it can be

by Amar Patel in TV, media, radio


Last week I attended a discussion about the future of the Beeb, with a particular focus on the poor level of diversity both on screen and behind the scenes. We challenged the universality of the organisation – the notion of "a BBC for all" – and learned why there should be no taxation without representation for licence fee payers.

The aim was to make a few recommendations to the House of Lords as part of a public consultation on the Royal Charter review, which closes on 8 October. The Royal Charter is the constitutional basis for the corporation. It sets out the public purposes of the BBC, guarantees its independence, and outlines the duties of the Trust and the Executive Board. The current Charter runs until 31 December 2016. What comes next could be dramatically different and set in stone for another ten years. So we need to get it right.

The mission of the BBC has always been “to enrich people’s lives … inform, educate and entertain.” However, given the rapid changes in technology, shifting market forces and media consumption habits, a review is long overdue. That review will explore the evolving purpose, scale and scope of the institution as well as how it’s funded and governed.

I have always felt immense pride in and privilege in being a BBC viewer and listener. The productions are reassuringly world-class, great entertainment and often deeply insightful – from old favourites such as Question Time, Match of the Day, Desert Island Discs and Gilles Peterson’s Worldwide show, to numerous BBC4 arts and culture documentaries and occasional one-offs such as Adam Curtis’ Bitter Lake. I could even live stream the Olympics and Glastonbury on the magnificent iPlayer from the comfort of my lounge. And let’s not forget the countless laughs, both old (The Graham Norton Show) and new (People Just Do Nothing). There's even a show about how bureaucratic and buffoon-laden the BBC is. You will have your own favourites. Strictly Come Dancing, Sherlock, Poldark, The Great British Bake Off, Wolf Hall… The list goes on.

Some of the cast from People Just Do Nothing, a mockumentary series about pirate radio station Kurupt FM. The BBC Three hit started life on YouTube in 2010, before coming to the attention of The Office producer Ash Atalla, who helped to get the show…

Some of the cast from People Just Do Nothing, a mockumentary series about pirate radio station Kurupt FM. The BBC Three hit started life on YouTube in 2010, before coming to the attention of The Office producer Ash Atalla, who helped to get the show commissioned

Not forgetting Chabuddy G, aka The Rig Doctor, self-proclaimed entrepreneur and "UKIP's worst nightmare"

Not forgetting Chabuddy G, aka The Rig Doctor, self-proclaimed entrepreneur and "UKIP's worst nightmare"

All this, and much more, for £2.80 a week? That is a bargain. Satisfaction levels among the 97% of UK adults using BBC services each week are quite high, although they do vary depending on the region and age group.

BBC_satisfaction_levels_2014

But there are challenges, growing pains, a need to adapt… The main issue is budget, with the government forcing the BBC to cover the cost of TV licences for over-75s (that’s around £750 million each year). High-quality, on-demand programming is expensive and not everyone is willing to pay for it, particularly those who say they do watch the BBC. So do you impose a household media levy as in Germany, introduce a tiered subscription model geared to how much we consume, or perhaps a combination? How can you fund a public broadcaster and encourage development over time without diminishing value to the customer or imposing a stealth tax? For one thing, iPlayer on-demand viewers should not be getting a free ride. Regardless of whether the programme is streamed live or watched on catch up, everyone should contribute.

Another issue is the number of people who say they don't feel represented by the Beeb and that is where the figures on BAME (Black, Asian and minority ethnic) talent have been particularly damaging to the public broadcaster. Channel 4 has announced that 20% of its London staff will be BAME by 2020; at Sky it's 20% of all UK on-screen and writing talent before 2016. And at the BBC? A disappointing 15% (on screen) by 2017. This latter target was announced by Director-General Lord Hall in June 2014 as part of a diversity strategy. Other measures include a £2.1 million fund for BAME talent on and off screen to develop new programmes, more training internships, recruiting six Commissioners of the Future and setting up an Independent Diversity Action Group featuring Lenny Henry and Floella Benjamin, among others. But this doesn’t go far enough for the likes of Simon Albury, chair at the Campaign for Broadcasting Equality, who has called for £100m of ring-fenced funding. "Money changes things," he says.

Lord Hall maintains that the BBC is making progress but a quick peek at casts and credits suggests otherwise. Henry, a tireless campaigner on this subject, noted that between 2006 and 2012, the number of black and Asian people working in the industry had gone down by 30.9%. The issue is one of both recruitment and retention: Broadcast Now reported that between 2009 and 2014, BAME resignations at the BBC increased from 8.6% to 16.1%. Henry first appeared on British TV in 1975. Today, his fleetingly autobiographical drama Danny & the Human Zoo is one of the few BAME stories on the BBC. Progress?

Kascion Franklin as Danny, a character loosely based on Lenny Henry's early years coming up in Dudley. 

Kascion Franklin as Danny, a character loosely based on Lenny Henry's early years coming up in Dudley. 


It’s important for the flagship BBC One to be setting the right example, which is why Oscar winner Steve McQueen’s forthcoming six-part drama about a West Indian family in London is so exciting. Meanwhile Motown-powered musical drama Stop!, written by Tony Jordan (Eastenders, By Any Means, The Ark), will “reflect the diversity of modern Britain” apparently. What about emerging talent though and even more provocative storytelling?  

Clearly, jobs at the BBC should be going to the most promising, suitably experienced and talented candidates regardless of race, gender or sexual orientation. (And that goes for studio guests too, lest we have more car crash TV like this Straight Outta Compton discussion on Newsnight. No wonder viewers have “given up” on the BBC, according to producer Jasmine Botiwala.) But until commissioners, casting agents and other key decision makers can be trusted to better reflect the true breadth of British voices on TV, there will have to be targets across departments. And, presumably, penalties imposed by OFCOM or the DCMS. 

The current Royal Charter is quite vague on the subject of diversity. Wade through the weighty tome and you’ll see phrases such as “representing the UK, its nations, regions and communities”, “bringing the UK to the world and the world to the UK” and having Audience Councils “to bring the diverse perspectives of licence fee payers to bear on the work of the Trust”. The broadcasting agreement between the BBC and the secretary of state elaborates further: “The Trust must, amongst other things, seek to ensure that the BBC—

1.   (a)  reflects and strengthens cultural identities through original content at local, regional and national level, on occasion bringing audiences together for shared experiences; and

2.   (b)  promotes awareness of different cultures and alternative viewpoints, through content that reflects the lives of different people and different communities within the UK.”

The Audience Councils appear too region-focused and do not sufficiently reflect the cultural nuances within those regions. Culture Secretary John Whittendale acknowledged this fact when delivering his charter review statement in the House of Commons in July: “Variations exist, and there are particular challenges in reaching people from certain ethnic minority backgrounds and in meeting the needs of younger people, who increasingly access content online. Variations exist among the different nations and regions too.”

But back to the question of funding, and one way to bolster the BBC is to “by pushing ourselves more commercially abroad,” in the words of writer and producer Armando Iannucci. During his James MacTaggart Memorial Lecture at the Edinburgh TV Festival he went on to say: "Be more aggressive in selling our shows, through advertising, through proper international subscription channels, freeing up BBC Worldwide to be fully commercial, whatever it takes.”

Lord Hall has acknowledged the need to raise commercial income to supplement the licence fee “so we can invest as much as possible in content for UK audiences.” One example is the forthcoming over-the-top streaming service in the US. He went much further when outlining his vision for the BBC at the Science Museum in September. Presenting his “open platform for creativity”, Hall announced a partnership with local and regional news organisations (funded by cuts to other departments), and advocated an Ideas Service (presumably an echo of the World Service) where the BBC hosts content from leading cultural institutions such as the British Museum and the Royal Shakespeare Company. He also implied that WoCC (Window of Creative Competition) quotas would be relaxed, allowing more independent producers to bid for BBC commissions beyond the current minimum of 25%. In theory that would mean greater flexibility and diversity in TV production. In theory.

Lord Hall, Director-General of the BBC, outlining his vision at the Science Museum in September 2015

Lord Hall, Director-General of the BBC, outlining his vision at the Science Museum in September 2015

His vision garnered mixed reactions. The government has cautioned against placing too great a burden on BBC Worldwide to generate extra revenue for fear of prioritising global commercial appeal before investment in public service content for UK audiences. The Mirror emphasised the huge competition for today’s viewers (between 1994 and 2015 the number of available channels has risen from 61 to 536) and the importance of the BBC to the UK economy. “The money the BBC spends on actors, cameramen, sets, equipment, technical experts and many other areas means more private sector jobs are created and more small businesses are sustained," we're told. "A recent report showed that the BBC was responsible for spending £2.2bn in the UK’s creative industries – with around £450m going straight to small businesses. This helps Britain build a TV industry to rival any in the world. It helps the UK develop some of the world’s best actors, cameramen, and directors.”

In the Guardian, Ashley Highfield, the vice chairman of the News Media Association and chief executive of regional publisher Johnston Press, said: “It is hard to avoid the conclusion that the BBC’s proposal … [is] anything other than BBC expansion into local news provision and recruitment of more BBC local journalists through the back door.”

Innovation charity Nesta gave a more pragmatic and favourable reading, echoing Hall’s tone of evolution not revolution. “The central argument is that the BBC needs to add to its historic mission of educating, informing and entertaining, an additional goal of empowering – using its resources to energise a surrounding ecology of other creators and providers."

Few can doubt Lord Hall’s dedication to the BBC and its founding principles. He genuinely wants to make the corporation more efficient and to serve audiences better through more bespoke and portable content. We should all put a hand in our pocket if we want to reap the benefits. The real challenge will be to make BBC programming more reflective of modern multicultural Britain – complex, nuanced, surprising – one that’s concerned with a whole lot more than cakes and costumes and celebrities in and around the capital. It's about building trust. Otherwise viewers, particularly the 16-24s, will simply switch off and turn to alternatives such as YouTube, Vice and Netflix. Comedy and drama are two areas that require attention.

The loss of BBC Three as a linear broadcast is regretful but the right decision given its core audience's viewing habits and the £50m saving. Perhaps in a new online-only guise, the channel that gave us Little Britain, The Mighty Boosh and a host of other cult hits, will find its way into the lives of tech-obsessed 16-24s, quickly building a following and helping to nudge new talent into prime-time mainstream. YouTube can help to identify shows and concepts that will capture the public's imagination, as Sky have found with Baby Isako's Venus v Mars. There is such much talent out there. Why isn't the BBC investing in confident young voices like director Cecile Emeke? 

BBC Taster is a good attempt to allow the public to influence programming but they could be involved even earlier in the creative process. BBC Raw allows young talent to use media to confront issues that matter to them but the project could benefit from better promotion. A golden opportunity awaits to make the BBC a true reflection of the best of British. The time is now.

Have you say here or email BBCCharterReviewConsultation@culture.gov.uk before 8 October.



Amar Patel

TAGS: BBC, Charter review, John Whittendale, House of Lords, Lenny Henry, Armando Iannucci, STeve McQueen, Stop!, Tony Jordan writer, Straight Outta Compton, Jasmine Botiwala, Lord Tony Hall, BAME, Floella Benjamin, Edinburgh TV Festival 2015, Netflix, YouTube, BBC Three, WoCC, Danny & the Human Zoo, People Just Do Nothing, Nesta, Ashley Highfield, Cecile Emeke, BBC Taster, BBC Raw