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Why even a PhD isn’t enough to erase the effects of class? With Anna Stansbury

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This is an audio transcript of The Economics Show with Soumaya Keynes podcast episode: Why even a PhD isn’t enough to erase the effects of class?

Soumaya Keynes
You’ve heard about racial inequality. You have heard about the glass ceiling. Today we are going to be talking about something that in the US hasn’t had as much attention — the class ceiling. A recent working paper argues that we really need to think about it because independently of race or gender, people’s family circumstances seem to be holding them back. And that’s the case even after they have done enough work to get a doctor in front of their name. This week, we are going to talk about the finding that even a PhD isn’t enough to erase the effects of class.

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This is The Economics Show with Soumaya Keynes. I’m joined today by Anna Stansbury of MIT Sloan School of Management and one of that study’s authors. Anna, hello.

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Anna Stansbury
Hi. Thank you for having me.

Soumaya Keynes
Thanks so much for being here. OK, so first question, you are a Brit and you live in America. So on a scale of one to 10, how much of a problem do you think that Brits perceive class-based inequalities?

Anna Stansbury
Seven.

Soumaya Keynes
Seven? OK, OK. So pretty present. What about the US?

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Anna Stansbury
Four.

Soumaya Keynes
Ooh. OK. So the US is not doing so great on class consciousness. I mean, what do you think the main kind of qualitative difference is in how people talk about class between those two countries?

Anna Stansbury
Well, so when I first moved to the US, which was 11 years ago and talk to fellow grad students at the time, they would say in the UK, the problem is class, in the US, the problem is race. And that’s a pithy way of explaining kind of the big salient factor that people think about when they think about social and socio-economic inequality in each country. And there are good reasons why race is a lot more salient in the US. But class is also a factor independent of race, and I think people are aware of that in the extent to which it determines whether you go to school in a good place, but not really later in the life course.

Soumaya Keynes
Right. OK. OK, well, look, let’s step back for a second, though. What exactly do you mean by class?

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Anna Stansbury
So class is one of those words that is hard to define very specifically. Typically, when sociologists talk about class and they’re the academic discipline that thinks about it the most, they’re talking about the set of qualities and resources you had that determined your opportunities. So I’m talking specifically here about class background. So what was the class that you were raised in? And that’s some combination of the income and wealth that your family had as a kid because that determines your resources and your opportunities. That’s also the education that your parents had and the kinds of occupations that they worked in, because that determines some of the slightly less tangible aspects of tacit knowledge about how elite careers work and how education works and aspects of cultural capital. So whether you have access to the kinds of cultural knowledge that give you social status in certain groups, all of those factors together in some combination are what we talk about when we talk about class.

Soumaya Keynes
OK, so class as distinct from income, essentially?

Anna Stansbury
Class as much more than just income, yeah.

Soumaya Keynes
OK. All right. Well, what made you want to look into this question of whether class holds people back? I mean, I know you were struck moving from the UK to the US, but what made that into a research question?

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Anna Stansbury
So part of it was this, I think being from the UK makes you think a lot more about how these factors matter even later in life. Obviously in the UK class background can be a lot more salient in things like accent than it is in the US. But I think I believed that it probably mattered in similar ways in the US as well. And then what really got me into the research question was I was doing some kind of activism, advocacy-type work on gender and race in economics, diversity. Economics is bad on gender and race, as you’ve noted in prior work. And I wondered if this was also true about class and found some data that enabled me to investigate that and that sort of set me off on this route of trying to figure out whether class matches for people even once they’ve done their education, even once they’ve got a PhD, even once they’ve got into an elite career.

Soumaya Keynes
Yeah, because I mean, one thing your paper obviously does focus on is people who are pretty much in the elites, right? You’re looking at people with PhDs. And I suppose one question is why should we care about them? Right? We know that they’re doing pretty well.

Anna Stansbury
There’s a couple of different reasons we should care, and this is true of any kind of diversity. One is equity. We should care if people have opportunities to fulfil their talents for reasons of equity and justice. But the other is a very kind of banal economic reason, which is efficiency. If you assume that talent for something is equally distributed, then we should care if people that are talented aren’t getting to fulfil that talent because it’s worse for overall productivity and overall outcomes.

Soumaya Keynes
OK. And that’s essentially the high-level question that you’re asking in your working paper, which is if you compare people, do people from different backgrounds perform differently later on in their academic careers, having got that PhD? So can you just tell us a bit more about the methodology? How do you start going about answering this question?

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Anna Stansbury
Yes. So we have data from the National Science Foundation in the US which surveys a representative sample of people that got their PhD in the US. So we have basically a very large representative sample of everyone that got a US PhD since about 1993. The sample goes back to them. And so what we do is we ask the question conditional on getting your PhD in the same field from the same institution, does your class background affect what kind of job you end up in later in your life?

Soumaya Keynes
OK. So that’s interesting because you might think that your background would affect the kind of subjects that you would study and which institution you go to. But you’re kind of trying to essentially wipe all of that and say, no, we’re comparing people who are basically very, very similar, right? They’ve got their PhD from the same place in the same subject and what happens next?

Anna Stansbury
Exactly. So you can think about it as a very high bar to pass because we’re saying it’s quite plausible to believe that your class background might affect whether you manage to get into a PhD program at a really elite university because of all the prior factors in your life. But it might be much less simple to believe that your class background is gonna continue to affect you after that. And I think this is what has surprised people about these findings is that we find that it does continue to matter even if you get your PhD at the same program.

Soumaya Keynes
So just starting off, how exactly do you measure class?

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Anna Stansbury
So we use parental education background. As I said before, this is only one of the aspects that feeds into class background. Unfortunately, we can’t measure the rest in our data. And this is actually why class background is rarely studied. It’s very rare for surveys to ask this kind of question, particularly in the US. So we have parental education and we cut it into four groups, people who are first-gen college graduates. So they had no parent that got a four-year college degree, people who had a parent with a college degree but no graduate degree, people who have a parent with a graduate degree that’s not a PhD. So that would be MD, doctors, JDs, lawyers, MBAs, masters in education. And then finally, people that have a parent with a PhD, and we look at those four groups separately.

Soumaya Keynes
Just out of interest. If you got to be God for a day and could gather whatever data you wanted, what would your dream measure of class include?

Anna Stansbury
Great question. I think I would ask four things, and this tends to follow what I think a lot of sociologists would ask when they ask about class. It would be parental education, ideally not just the level, but also where they got that degree. It would be family income or wealth when they were a child. Again, ideally, both of those things because you might have low income but high family wealth. It would also be your parent’s most common occupation when you were a kid. And then finally, there’s a question people often ask that is trying to capture some combination of all of these which asks you to think about social status as a ladder and then place where you think your family was on that ladder. So that’s a sort of self-perceived measure of where you stood as a child in the overall socioeconomic distribution.

Soumaya Keynes
OK. I mean, that sounds attainable.

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Anna Stansbury
Absolutely. It’s definitely attainable. It’s just rarely asked.

Soumaya Keynes
OK. Well, in this survey, we have data on parental education, so that’s what you use. OK, let’s move on to what outcomes you look at, right? Because you’re looking at whether family background matters for success, what counts as success here?

Anna Stansbury
So what we look at mostly is success in academic careers. And we define this in a couple of ways. First, we look at do people end up in a tenured academic job? And then we look at where they end up, what kind of institution? So we use a couple of different measures for how prestigious their institution is. One is how research intensive it is, which reflects how much research funding you get and other kinds of opportunities an academic would want to have. And the other is the rank of the institution.

Soumaya Keynes
OK, so you’re actually looking at placement after they get their PhD? Can you look at anything else like pay, for example?

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Anna Stansbury
Yes. So we actually do also look at pay. In academia specifically, the sort of currency of success is less clearly only pay than it is in many other professions, which is why we mostly look at the kinds of institutions and whether people have tenure. But we also look at pay, and then we also look separately at the PhDs who go off into private sector careers instead of academia, which is a very large share of PhD recipients. And for those people, we look at pay as the primary measure, and then we also look at whether they end up later in their career in managerial positions.

Soumaya Keynes
OK. So you’ve got a fairly wide range of things that you look at. So what do you find?

Anna Stansbury
The top-level finding is a big class gap in career progression, even for two people from the same PhD program. So we can break that down into looking at the folks that went into academia and the folks that went into industry, private sector. In academia, we find that there is a big gap in the prestige or rank of the institutions that people end up employed at as professors. So a first-generation college grad is about 13 per cent less likely to end up as a tenured professor at a research-intensive university than someone from the same PhD program who is from a more advantaged background. And specifically, this more advantaged background that I’m referring to here is someone with a parent that had a non-PhD-graduate degree. So a parent that was like an MD, a JD, an MBA. We cut out those PhD parents because we think they might have academia-specific advantages that aren’t really about class background.

Soumaya Keynes
OK, so you see this class ceiling, are you able to look at any trends over time? I mean, I would really hope that perhaps this had become better as there was more thinking about inclusion, diversity.

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Anna Stansbury
Yeah. So I don’t want to be the bearer of bad news, but we actually don’t see any improvement over time. We have a relatively long time period. We have data from 1993 to 2021, and we don’t see any obvious improvement in this class ceiling or this class gap in where people end up conditional on that PhD program.

Soumaya Keynes
OK. Well, that’s not very happy, is it? I suppose it could be something to do with preferences, though, right? I mean, you know, the obvious conclusions draw from that is there’s some sort of discrimination, implicit bias against people who don’t grow up with the same kinds of resources as others. But what if it’s that, some types of people from a particular family background just have different priorities in their career? Maybe they want to go to an institution that may not be the highest-ranked institution but may have more of a social mission. Is that possible?

Anna Stansbury
Yeah. So we do a lot of work to try and understand if this is driven by preferences and we can’t find any strong evidence that it is. So one strong reason you might think, preferences or constraints play a role, is differential financial backgrounds. Academia in the US is relatively lucrative, but it’s not as negative as going into the private sector.

So you might think that people from less advantaged backgrounds are choosing to leave academic jobs or leave academia altogether and go get better-paid private sector jobs. We don’t see that that’s happening on average. You might think it’s what you raised, which is this idea of preference for social mission and being willing to trade off rank and prestige of institution for serving a less advantaged population. Sure, that happens to some extent, but we aren’t able to find evidence of that when we look at is there a difference in terms of the income of the student body that the school serves.

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We also thought about whether geographic constraints might play a role. If someone from a less advantaged background, there might be more constraints in terms of living far away from family. For example, if they’re a breadwinner or a carer for a family member. But again, we conditioned on distance from home as proxied by where they went to school. And again, we don’t find that that explains the gap. So we tried quite hard to see if preferences can explain it, but on average, it doesn’t seem to.

Soumaya Keynes
But that’s interesting that people from different socioeconomic backgrounds are just as likely to sort of stay in academia, right? It’s not that, because in say, gender, it looks like women are disproportionately dropping out of academia. And that is one thing that contributes to gaps in their outcomes. But more generally, how does this class gap operate differently to the gaps in gender or race?

Anna Stansbury
Yeah, this is a really interesting one, and I think we’re just scratching the surface here. I think it’s a super fruitful topic for research. So one thing to emphasise before I answer that question specifically is that when I’m talking about the class gaps that we estimate, we’re estimating them conditional on race and gender. So what that means is that our effects aren’t driven by, for example, in the US context, African-American PhD students are also more likely to be first-gen college grads. When we’re comparing outcomes of first-gen college grads, the people from more advantaged backgrounds, we’re effectively comparing them within racial groups. So within African Americans, within Asian Americans, within white Americans, and so on.

So having said that, our results aren’t driven by race, but we can compare them to the gaps by race and gender. And as you said, with gender, the big phenomenon is what you call the leaky pipeline. Women are falling out of the academic pipeline at every stage. They’re less likely to go on to get a tenure-track job, they’re less likely to get tenure. But actually, if you look at the women that stay in academia, there’s not that much of a gender gap in what kinds of institutions they end up employed at. They’re at similarly ranked, similarly prestigious places.

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The class gap looks the opposite. There’s no leaky pipeline. There’s no sense in which first-gen college grads are less likely to stay in academia. But when they do, they end up employed at these less prestigious places.

Race gaps. It’s shameful to say, but unfortunate, but still relatively few African American and Hispanic professors in our sample. So we estimate these with a lot of noise because it’s hard to get a precise estimate if you have a smaller sample. But the race gaps look more similar to the class gap, where you see these big gaps in the institution, rank and prestige.

Soumaya Keynes
But less so in the staying in academia?

Anna Stansbury
Yes, exactly.

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Soumaya Keynes
Just a quick question. Can you do anything to compare between subjects? Are some subjects worse than others? I’m thinking about economics, that is the name of the show. 

Anna Stansbury
So we do try and compare across subjects and we just don’t really find much going on there. Our data’s Stem and social sciences. So we compare the physical sciences, the biological sciences and the social sciences. The patterns look pretty similar across all three groups. We don’t have a super large sample of economists in this data, so we can’t say for sure that economics is not worse. But we don’t see any strong evidence that economics is worse.

This is different, by the way, to some of my prior work, which is just looking at the composition of people by class in fields. And in that sense, economics is worse. So the way you can think about it is when you look at PhD students, economics really stands out as having the lowest share of first-generation college grads of any PhD field in the US. So it’s doing really bad in terms of class diversity. But once you’re taking people who’ve already got their PhDs and looking at how they progress, economics then doesn’t look any worse than the other fields in terms of having disparate rates of success.

Soumaya Keynes
So just on that, do you have a theory as to why economics is so bad in attracting a diverse group of students?

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Anna Stansbury
Yeah, I think there are probably three things going on and I don’t know what role proportionately to this place. One of them I think is that economics is a subject where it’s not exactly obvious what it is or what it involves. And so you see that even at the college level, first-gen college students are less likely to major in economics in the US or to take an economics degree in the UK. Probably in large part because it’s not clear what economics is, what it does, what it’s useful for, and studies that sort of just provide information and nudges do find big enrolment increases from all kinds of minority under-represented groups, not just first-gen college grads, also women, also racial minorities. When there’s more awareness of what economics is and what it does.

The second is that economics has a big drop off from people that major in econ to people that then go on to graduate school to get a PhD, particularly for first-gen college grads. And I think that is probably because economics has really good outside options. So if you get an economics degree, you can get a very well-paid job after college. And that might be disproportionately attractive to people who have come from backgrounds that have less financial security. So I think that in some way, economics is a victim of its own success, specifically on that metric.

The third one, which I think is almost surely playing a role that have not been able to measure, is, I think, the way economics is taught and some of the language and inherent assumptions in sort of econ 101 and a lot of the economics profession can feel quite hostile to people from less advantaged backgrounds. And some of the language we use can feel quite off-putting, some of the assumptions, especially in their core econ 101 style teaching. So just to give one example, referring to workers as unskilled, referring to people that choose not to go to college as low ability in these models. Those kinds of terms feel offensive and inaccurate, I think. And when people have lived experience or family members who would fall into those terms in the econ vernacular, I think that could feel like this is not a subject for me. This is not a subject that describes the world accurately.

Soumaya Keynes
OK. Well, a lot for economists to think about there. Just building on this idea of outside options, though, and returning to your paper about outcomes for PhD holders. I know that you said that there wasn’t really much difference in who decided to stay in academia or not. But how does academia compare to other professions? Do you see what happens to people if they do choose to go into government or the private sector? Is the class gap still there?

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Anna Stansbury
So we look at the three other big destinations for PhD recipients. That’s the private sector, government and jobs in education that are not tenure-track academic jobs. So this could be teaching jobs at universities, at community colleges, or the kinds of education jobs. In industry in the private sector, we also find a class gap. Now, our measures here are slightly different because obviously, we don’t see whether someone is a tenured professor because that doesn’t exist in industry. We look at someone’s salary and how that progresses over their career and we look at whether they end up in positions with managerial responsibility. And we find a class gap in both that widens over the course of their career. So when PhD recipients, you know, first get their job in the private sector, there isn’t negative class gap in outcomes, but as they stay in these private sector jobs over their career, you see the salary gap widening and you see that people from first-gen college grad backgrounds are less likely to end up as managers. So that suggests to us pretty strongly that there’s a similar class gap, class ceiling dynamic in the private sector.

Soumaya Keynes
And what about the public sector?

Anna Stansbury
So the story is more optimistic in the public sector. In government and in non-tenure track education, we don’t find a class gap in salary or in managerial responsibilities. So it doesn’t look like, at least on those metrics, there’s a class ceiling.

Soumaya Keynes
Do you have any thoughts on what might be going on there?

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Anna Stansbury
So this is just speculation because we don’t have enough data really on what jobs people are doing in these other sectors to know exactly what’s happening. My guess is that particularly in government, there are more standardised pay scales and kind of promotion requirements that make it less easy for disparities to creep in. We also see smaller gender gaps in pay in government than we see in the private sector, although that’s not the focus of our paper. I think it’s an interesting comparator, but I don’t know for sure.

Soumaya Keynes
OK. Well, I think it’s time to throw to a break. But look, this is a controversial topic. And when we get back, I want to ask about the response to your research. So what it has been and what you wish it had been and what you think should be done next?

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Soumaya Keynes
We are back from the break. So what has been the most common critique you’ve heard, most common pushback against your paper?

Anna Stansbury
So one of the common pushbacks has been, how does this even happen among two people who’ve got their PhD from the same program? Hasn’t the effective class all kind of been washed out by having got this elite degree at this elite place? And I think depending on your experiences, that is either very obvious that those effects may not be washed out or not very obvious at all. And for me, I think maybe coming from the UK made this more salient, but I come from a relatively advantaged background. My parents both were qualified as lawyers and I was able to see throughout my education and then coming to the US how various factors that I received from my upbringing made it easier for me to basically exist and take up space in these elite places. And so part of the process of doing the paper has been talking to a lot of people who come from different backgrounds, who are in academia to try and ask them what their experiences are about, whether the progression has been affected by that class background. And we’re actually about to run a survey on this as well.

Soumaya Keynes
That’s super interesting. What kinds of things have you been hearing?

Anna Stansbury
So one of the big factors is this sense of ease. Ease is a word that is, you know, often used by sociologists when they’re talking about what does an elite education give you? And I think it’s a really good word for this circumstance, because to have a career, a successful career in academia, but also in lots of other industries, you need basically to seek out mentors who are elite people in their own field and get advice and sponsorship from them. You need to be able to network effectively in specific kinds of spaces that you may not be used to being in. This relationship building, this seeking out of advice and mentorship, I think can be much easier for people that have been raised in environments where they’ve been doing this kind of thing from an early age in gauging in more elite spaces from an early age. That’s something we’ve heard a lot.

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Soumaya Keynes
Can I ask about the idea that this look at academia is relevant for the broader economy? Because I suppose in one sense you have this incredible data, you’re able to look at outcomes quite precisely. And so, you know, that looks like, Oh, this is a really good test! But in another sense, actually, within academia, there’s huge amounts of subjectivity on what is good research. So many places for implicit bias to creep in. So isn’t it possible that really academia is some kind of upper bound for the effects of class on your outcomes? It could be an area that’s really, really vulnerable to those kinds of biases.

Anna Stansbury
Yeah. So this is one of the other things that we’ve heard from talking to people and thinking about how it works in academia is these judgments that enable you to get the prestigious grant, get your paper published in a great journal, get tenure at a top institution. These judgments are based, obviously, they’re trying to be based on your research, but they’re inherently subjective because someone’s trying to see not just if you produce decent research, but if you are brilliant. If you have that touch of, you know, spark that makes you the academic genius that people want to have and promote and see. Those kinds of judgments are hugely subject to bias. And I think there’s a lot of extent to which the way you speak, the way you dress, the way you act, those kinds of things that can be affected by your social class background can be used by people subconsciously or consciously as markers of genius or brilliance rather than what they are, which is just markers of, you know, where you went to school and how you were brought up. So I think in academia, this is probably one of the other mechanisms by which we’re seeing this glass ceiling, this class gap emerge.

You said, is academia an upper bound? Now, I don’t know because I think academia does have this space for these value judgments, these subjective judgments to be made. But we do have very, very detailed, transparent, quite objective measures of research, quantity and quality as well. You can see, you know, you can read people’s papers, you can see what journals they’ve been published in, how many citations they have and all this kind of stuff. Compare that to something like professional services or law, where you’re working in teams, you might have less objective measures of one individual specific outputs. And these are settings where being able to do all this kind of social networking, form relationships with elite people is probably even more important than it is in academia, because you’ve got to impress elite clients if you’re a lawyer or a consultant or something like that, as well as the partners at your firm. So my sense is I would guess that academia is, if anything, maybe a lower bound on these effects relative to some other professions. Ideally, we would be able to have this data and so we wouldn’t have to guess.

Soumaya Keynes
Amen. Economists call for more data. That’s the first time that’s ever happened.

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Anna Stansbury
Sorry to be a stereotype.

Soumaya Keynes
It’s OK. We’re all there. OK, but now I want to ask about the, so what? I mean, what do you think should be done as a result of these findings?

Anna Stansbury
So it’s quite a boring answer. But I think some of the most obvious concrete policy changes are incorporate social class background in the diversity initiatives that we already had for race and gender. It’s not rocket science to do things like track your applicant pool, your pool of employees or PhD students and how well they do to have mentorship initiatives that also incorporate someone coming from a less-advantaged family background, as well as incorporating someone who’s a minority gender or minority racial group. There are a lot of things that we know work relatively well. Don’t do everything. They’re not silver bullets, but work relatively well to advance sort of people from less advantaged groups in careers like academia that are just not really being done for class backgrounds. So there’s a lot of low-hanging fruit.

Soumaya Keynes
Do you see any movement in this space? Are there any people doing this kind of thing?

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Anna Stansbury
Yeah, there’s some going on. So in academia specifically, some of the professional associations now have, you know, groups and committees set up for first-gen college grads, people from low-income backgrounds in the same way that they have committees for women or minority racial groups. I’m doing some work to look at other private sector firms. I knew very, very few private companies currently collect data on report on or target class background in their DEI report. So all the big companies have DEI reports where they’re tracking gender and race. Very, very few track class. But over the last few years, the number that tracks class has gone from basically zero to, you know, few, but not zero. And so I think there are companies that are now trying to incorporate this into their hiring, into their diversity practices. So there’s change, but we’re still on the early end of it, I think.

Soumaya Keynes
Yeah. One of the things I was actually quite impressed by when I moved to the FT, was that I was asked about this kind of information, so . . . 

Anna Stansbury
Well, I should say in the UK, companies have been more proactive about this. In the UK there’s been more action over the last 10 years or so for companies to track this and monitor this and do more about it in diversity.

Soumaya Keynes
Just thinking about one final comparison. Do you have a hunch of whether this class gap would be higher in the US or in the UK?

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Anna Stansbury
My initial guess would be higher in the UK because class is more directly visible. So all the mechanisms we’ve been talking about. About, you know, is someone perceived to have the polish or the brilliance required to do this job will get the opportunity. That stuff is all magnified, I think. And there’s a great book by two sociologists, Dan Morrison and Sam Friedman called The Class Ceiling, which looks at the UK and UK occupations, which I highly recommend to read for any listener. But the one caveat I would say is that in the US, inequality on basically all dimensions is higher, income inequality, even within professions, the inequality of really status of being, you know, a manager at a really, really super big, super successful company versus a medium-sized company or being tenure track at a top institution versus a middling institution. All of those gaps are magnified. And so having a small advantage in the US might actually translate to a bigger disparity later on relative to the UK.

Soumaya Keynes
OK. Something to think about Americans. Take it away. Ponder. And that is where we will finish this week. Anna, thank you so much for joining me.

Anna Stansbury
Thank you so much. It was great to talk to you.

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Soumaya Keynes
That is all for this week. You have been listening to The Economics Show with Soumaya Keynes. If you enjoyed the show, I would love it if you could rate and review us wherever you listen.

This episode was produced by Edith Rousselot with original music from Breen Turner. It is edited by Bryant Urstadt. Our executive producer is Manuela Saragosa. Cheryl Brumley is the FT’s global head of audio, I’m Soumaya Keynes, thanks for listening.

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Paul Anthony Smith on finding photos and piercing paintings

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When the artist Paul Anthony Smith sees an abandoned photo album on the street, he snaps it up like a lucky penny. On an afternoon in his studio in the Bronx, New York, he is surprised to learn that I didn’t do the same when I encountered one recently. “Oh no, you take it,” he says disapprovingly. “It’s so sad no one was able to adopt those images.” For Smith, these keepsakes represent an antidote to the scourge of iPhone photos; they are tactile and intimate yet anonymous.

The Jamaican-born artist is constantly filling his own albums with personal snapshots from his 35mm camera: a dinner party in London, Carnival festivities in Trinidad and Tobago, a beach day in St Thomas with his wife and children. Sometimes, he blows them up and uses them as the basis for large-scale compositions.

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Smith’s distinctive style comes from the way he adds layers — spray-painted chain-link fences, tiny holes in the shape of breeze blocks, three-dimensional objects such as flags — to create distance between the source image (always his own) and the viewer. For many artists, the medium is the message. For Smith, the mediation is the message. In other words, the way he obscures his imagery is just as important as the imagery itself. “Sometimes, it’s like, ‘Ah, I’m revealing too much,’” he says. “I pick over some of my works . . . to disguise and protect the information that’s beneath.”

A man, crouched on the floor of an artist’s studio, goes through several photograph albums.
Paul Anthony Smith goes through prints of some of the thousands of photographs he has taken on his 35mm camera © Lindsay Perryman for the FT

At Frieze London next week, Timothy Taylor Gallery will dedicate its entire booth to Smith’s work, marking the 36-year-old’s first solo presentation in the UK. Taylor describes Smith as “one of the most exciting young artists I’ve seen in a couple of years”.

Smith’s mention of disguising was referring to picotage, the novel technique for which he is best known. A portmanteau of “picking” and “collage” that originally referred to a French textile printing technique, the term also describes Smith’s laborious process of puncturing the surface of an ink-jet print with a sharpened potter’s needle over and over. (He studied ceramics at the Kansas City Art Institute, which refined his attunement to surface texture.) “I don’t have assistants except for these 10 fingers,” he notes. The repetitive process is so strenuous that he often sleeps with his right hand in a brace. But it is also effective. The ritual can turn figures into ghostly apparitions or add a shimmering, lenticular overlay that reframes the entire composition.

Painting of a field of wild flowers, partially obscured by an out-of-focus chain-link fence
‘Dreams Deferred #72’, (2024), Paul Anthony Smith — many of Smith’s paintings see bucolic images obscured by chain-link fences © Courtesy the artist and Timothy Taylor © Paul Anthony Smith

At the fair, Smith will present several picotage works based on images he took of the ocean at sunrise while travelling across the Caribbean. The majority of the booth will be dedicated to thickly impastoed paintings of lush gardens, sometimes seen through a chain-link fence. Both bodies of work are informed by Smith’s identity as an immigrant — more specifically, the feeling of being simultaneously like an outsider looking in and an insider looking out.

Smith was born in Saint Ann’s Bay in 1988; his parents worked on cruise ships. After they split, his father moved to Florida and Smith followed aged nine. Often left in the care of his stepmother and three stepsiblings while his father travelled for work, Smith was an insider and outsider in his own home, as well as in his new country. His family was part of the Seventh Day Adventist church, following strict dietary rules and observing the sabbath. “I was always questioning religion and belief systems,” he says.

Smith, who sports a bushy beard and a baseball hat, speaks like someone accustomed to translating his experiences for others. He loves a simile. Making an image on the wrong surface, he explains, is like wearing clothes that don’t fit; returning to a location and taking subpar pictures is like going to a restaurant and finding the food isn’t as good as you remembered. His art shares a similar impulse. “Everyone is trying to [be] like, ‘This is mine and this is yours,’” he says of his experience as an immigrant to the US. “I’m trying to visually pull people together.”

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An artist’s studio, with dozens of crayons, pastels, paint tubes, brushes, adhesives and varnishes, with some large photograph prints propped up in the background
Smith’s studio in the Bronx features different types of paint, pastel and adhesive being used to adapt his photographic prints © Lindsay Perryman for the FT

Smith’s Eye Fi Di Tropics series at Frieze is also inspired by twin sensations: watching a boat approach from the shore and watching a shore draw near from a boat. (The latter, Smith notes, is an experience shared by his seafaring parents and colonising figures such as Christopher Columbus.) In recent years, Smith has travelled throughout the Caribbean taking photos of the water, “trying to understand how [locals] saw people coming into their lands”.

These days, Smith is moving away from picotage and towards a looser, more improvisational mode of painting. The second body of work at Frieze, Dreams Deferred, is wild, tangled floral landscapes rendered in oil stick. Smith paints these lush scenes over photographs of gardens ranging from Versailles and Central Park to rangy, wildflower-dotted plots along highways.

Dramatic landscape view of a sunset over the sea, blurred slightly by grass at the forefront,  and further obscured by a patterend breezeblock pasted over the fringes of the piece
‘Eye Fi De Tropics, Grand Cayman’ (2024) by Paul Anthony Smith © Courtesy the artist and Timothy Taylor © Paul Anthony Smith

The series, which takes its name from a Langston Hughes poem, began as a meditation on the fences and forces that keep people in and out of manicured spaces. (He got the idea from a fenced-in basketball court next to his former studio in Brooklyn.) For some of the works at Frieze, Smith abandoned the fence to focus solely on the flowers. “I love Arthur Jafa,” he says, referring to the American artist whose recent work plumbs the seedy underbelly of American culture, “but sometimes I don’t want to see those gory images, right?” 

A man in an artist’s studio, carrying a large framed painting of a tree covered in pink cherry blossom
Smith mounting two of his thickly impastoed prints of cherry blossom © Lindsay Perryman for the FT

Smith is also well aware that florals are friendlier for an art fair, where viewers have hundreds, if not thousands, of images competing for their attention. If he were to return to the UK for a gallery show, he says, he would explore more Caribbean imagery and potentially come back to picotage. But it is important to him that those works, which take more than 10 hours each to make, are viewed slowly, without distraction. “People always ask about the time it takes to make them,” he says with a sigh. I ask if that question annoys him. “It takes a lifetime,” he replies.

Frieze London runs October 9-13, timothytaylor.com

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Cathay Pacific schedules Aria Suite debut

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Cathay Pacific schedules Aria Suite debut

The new business class product will debut on Hong Kong-Beijing from 18 October

Continue reading Cathay Pacific schedules Aria Suite debut at Business Traveller.

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More than 9k pubs risk going bust in a YEAR unless Chancellor reverses booze tax, shock poll finds

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More than 9k pubs risk going bust in a YEAR unless Chancellor reverses booze tax, shock poll finds

MORE than 9,000 British pubs are at risk of going bust within a year, a shocking new poll shows.

The survey found one in five boozers believes it is unlikely to survive the next 12 months unless the Chancellor reverses last year’s brutal tax hike on spirits. 

Chancellor Rachel Reeves will deliver her Budget on October 30

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Chancellor Rachel Reeves will deliver her Budget on October 30Credit: Alamy

Pub bosses argue the tax cut for draught beer has been a total flop, with only 4 per cent saying it provided any meaningful support.

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They are now urging Rachel Reeves to scrap the 10.1 per cent duty hike on spirits at the Budget, which they claim has not only hit pubs and distillers hard but has also cost the Treasury £298 million in lost revenue.

The poll of more than 200 pubs by Survation for the UK Spirits Alliance (UKSA) also found 89 per cent of pub owners have seen boozers in their area close in the last six months.

Another 58 per cent fear a negative outlook for their own business in the next year and  53 per cent say spirits generate a higher profit margin than other drinks.

Megha Khanna, owner of the Gladstone Arms in London, warned: “By choosing to support only beer and cider makers while raising taxes on other products, the previous Government damaged our pubs and bars and targeted those consumers who choose to enjoy a cocktail, gin and tonic or spritz.  

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“The Chancellor can back pubs, and the fantastic spirits makers that supply them, by reversing the disastrous decision by the last Government to hike duty by 10.1 per cent, which heaped pressure on pubs, slammed the breaks on the gin-boom, and ramped up inflation.”

Founder of Westminster-based Tamesis Dock Neema Rai added: “This is a sector we should be proud of and invest in. Reversing the last duty increase now at a time of economic hardship is a win-win situation for the Chancellor and businesses alike.”

A Treasury spokesperson said: “Thriving pubs are often at the heart of our communities and play a vital role in supporting economic growth across the UK. That’s why it is important for us to act on the challenges that they face, including through our national growth mission.
 
“Business is at the heart of that mission, which is why we have pledged to cap corporation tax at 25 per cent, make the business rates system fairer, and publish a business tax roadmap so that future investments can be planned with confidence.”

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What to see in London during Frieze Week

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Minor Attractions fair

© Courtesy the artist, Studio Chapple

In June 2023, London gallery owners Jacob Barnes and Jonny Tanna posed themselves a question: “Can two guys get up off the couch and run an art fair?” By October they had proved that the answer was “yes” with Minor Attractions, which launched as a satellite to Frieze. “We refer to last year’s edition as a proof of concept,” says Barnes, “but this year it’s a real art fair.” 

Taking place at The Mandrake, a five-star hotel in Fitzrovia, the week-long event will commandeer rooms as fair booths, “creating a new context for London’s buzzing art scene”. Local exhibitors include Mayfair institution Sadie Coles HQ but also new nomadic gallery Bolanle Contemporary; others are joining from further afield: Tbilisi to Toronto to Seoul. “We want to create a level playing field where exciting project spaces stand alongside major international galleries,” says Barnes. 

The native New Yorker opened art space Season 4 Episode 6 in Marylebone earlier this year, while Tanna runs north-west London gallery Harlesden High Street. Among their fair highlights are an LED light work by German multimedia artist Christian Jankowski, a life-size Plexiglas mannequin by Klara Zetterholm (both from Bucharest-based gallery Suprainfinit), and the deftly distorted paintings of Georgia Semple (with Deptford-based gallery Studio/Chapple). 

Accessibility is key. Tickets are required but are free of charge, while a programme of night-time happenings is being hosted by the likes of dance music collective Touching Bass (which Semple is part of) and performance platform Diasporas Now. “It’s out with the old and in with the new,” says Tanna, “that’s what we’re trying to do.” VW

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October 8-13, minorattractions.com

Studio Voltaire, Casa Loewe

© Image courtesy of the artist Photography-by-Francis-Ware1

This year marks the 30th anniversary of not-for-profit arts and education organisation Studio Voltaire, and its director, Joe Scotland is on a mission. “Like many art organisations, the support we get from the Arts Council is very small — it equates to 4 per cent of our turnover,” he says. “But we’re being very proactive about it. We’ve established the Studio Voltaire Future Fund to support our work over the next five years; thus far we’ve raised half a million pounds.” 

Based in a former Victorian Methodist church in Clapham, south London, Studio Voltaire is centred on a programme of exhibitions and events that champion emerging and under-represented artists. Frieze Week presents an opportunity to celebrate its three-decade output — from career-launching shows to the “Rainbow Plaques” initiative, honouring queer communities across London — but also to add to the pot. 

To that end, Allied Editions is offering a lithograph print by British painter Rose Wylie — “Party Clothes (RW and Cat)”, 2024 — in the main fair, while at Casa Loewe on New Bond Street, the fashion label’s Foundation has collaborated with Studio Voltaire and artists including Alvaro Barrington, Anthea Hamilton and Sheila Hicks on a new series of limited editions.

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“Loewe is a really important partner of ours,” says Scotland, highlighting the Loewe Foundation / Studio Voltaire Award that supports an international residency as well as free studio space for London-based artists. “They also have amazing in-house artisans.” This has enabled Barrington to create a “chain wrapped in leather, which can be used as jewellery or a charm”, while Hamilton has conceived a leather fan, de-embossed with the phrases “Che Bello/Che Brutta” (How Beautiful/How Ugly). VW

October 9-13, studiovoltaire.org

Lygia Clark, Whitechapel Gallery

© Photo: Vicente de Mello Sem data. Courtesy Associacão Cultural O Mundo de Lygia Clark.

Lygia Clark (1920-88) revolutionised art by making it interactive. Fed up with the rigidity of concrete art, the Brazilian trailblazer created works that were meant to be touched, manipulated and experienced by audiences. Her innovative “Bichos” (“critters”) were hinged geometric forms that viewers could fold and reshape. These feature in The I and the You, a major survey at Whitechapel Gallery that traces her output from the mid-1950s to the early 1970s. During this period, Clark experimented with ways to transform art into a shared experience while navigating Brazil’s military dictatorship and, later, exile in Paris. The show includes paintings, works on paper and even performances restaging the artist’s participatory group works. KF

To January 12, whitechapelgallery.org

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Marlene Dumas at Frith Street Gallery

© Courtesy the artist and Frith Street Gallery, London. Photo: Peter Cox

Myth and grief swirl through Marlene Dumas’s new exhibition at Frith Street Gallery. Its title, Mourning Marsyas, references Ovid’s tale of a satyr who challenged Apollo to a music competition; his punishment for losing to the god was to be flayed alive. In a haunting painting of the same name, the South African painter transforms this gruesome story into what the gallery calls “a homage to those prepared to die for speaking truth to power”. Drawing from a range of visual and literary sources, other works, with their spectral figures and blurred faces, allude to distressing tragedies or capture dark moods. KF

To November 16, frithstreetgallery.com

Robert Longo at Pace and Thaddaeus Ropac

© Robert Longo. Courtesy Pace and Thaddaeus Ropac gallery

In Searchers, a two-part exhibition, Robert Longo continues his career-long exploration of diverse visual media. At Thaddaeus Ropac, the American artist builds on his multimedia “Combines” with a seven-metre work, “Untitled (Pilgrim)”, composed of five panels each executed in different media: charcoal drawing, video, painting, sculpture and photography. Inspired by Sergei Eisenstein’s montage theory and John Berger’s seminal book Ways of Seeing, the new work contrasts art-historical images with film stills, ads and news photographs of disasters to interrogate how meaning is created and disseminated. Concurrently, a companion piece, “Untitled (Hunter)”, will also be exhibited at Pace Gallery. KF

October 8-November 20 ropac.net; Oct 9-Nov 9, pacegallery.com

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Letizia Battaglia, The Photographers’ Gallery

© Courtesy Archivio Letizia Battaglia

Letizia Battaglia put her life on the line with her work. Her career as a photojournalist began in the 1970s, and though she frequently captured daily life in her hometown of Palermo, she is remembered for her fearless documentation of the Mafia’s unrelenting grip on Sicily during the 1970s and 1980s. The Photographers’ Gallery will show a wide selection, from arresting images of small children brandishing guns to bodies beneath white sheets and a woman dancing at a New Year’s Eve party. NA

October 9-February 23, thephotographersgallery.org.uk

Yayoi Kusama, Victoria Miro

© Courtesy the artist, Ota Fine Arts and Victoria Miro © YAYOI KUSAMA

With decades of era-defining artwork behind her, it is difficult to imagine how Yayoi Kusama will continue to excite attendees at her latest exhibition. Yet with Everyday I Pray for Love at Victoria Miro, the 95-year-old artist does just that. Paintings feature her singular explorations of line and form and signature polka-dot patterning; treelike forms are made from stuffed and sewn fabrics; drawings of women’s profiles are given new life in bronze. But the big draw is Infinity Mirrored Room Beauty Described by a Spherical Heart, where visitors will find their reflections refracted into infinity in a new light-filled installation. NA

To November 2, victoria-miro.com

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Lauren Hasley at the Serpentine

© Courtesy Lauren Halsey.

Emajendat is the first UK exhibition of Los Angeles-based artist Lauren Halsey. Her South Central upbringing is an integral source of inspiration in her work, and her mixed-media installations and standalone objects often explore material culture. At the Serpentine, pink plastic tubes are turned into palm trees and luridly coloured signs are emblazoned with brand names in a maximalist vision. Visitors will find themselves wading through technicolour sand dunes and wandering past mirrored walls and floors plastered with discarded CDs. NA

October 11-March 2, serpentinegalleries.org

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Octopus Energy customers have just hours left to avoid bill blunders after price rise

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Octopus Energy customers have just hours left to avoid bill blunders after price rise

MILLIONS of households have just hours left to submit their meter readings amid the fresh energy price cap.

After tomorrow (October 8), Octopus Energy customers will no longer be able to backdate their October 1 meter readings, meaning they could risk unexpected charges to their bill.

Octopus Energy has allowed customers extra time to backdate their meter readings from October 1

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Octopus Energy has allowed customers extra time to backdate their meter readings from October 1Credit: EPA

Energy suppliers often recommend customers submit their meter readings on National Meter Reading Day, October 1, so they can secure an accurate bill when the price cap changes.

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However, some suppliers have allowed customers extra time to submit the reading from October 1 in case they missed the date.

Households on a Standard Variable Tariff (SVT) are affected by the price cap and should submit a meter reading.

Households without an accurate bill could risk being overcharged – or if they are undercharged, they could eventually owe money – so either way it pays to get it right.

The new energy price cap, which limits the amount that can be charged, is now around 10% higher than the previous level which had been in place since July.

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According to Ofgem, which sets the limit, this means the average dual fuel bill rises from £1,568 on average to £1,717, though the exact amount you pay still depends on usage and can be higher or lower.

The energy price cap changes every there months – for instance, in June, the cap fell to the lowest level in two years, from £1,690 to the previous rate of £1,568.

Now, a household in England, Wales and Scotland using a standard amount of gas and electricity will see their annual bill rise by about £149.

The price cap makes sure that prices for people on SVTs are fair and reflect the cost of energy.

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It is calculated using a range of factors, including wholesale energy prices, as well as network, operating and policy costs, and VAT.

In order to maintain an accurate bill amid the price cap change, customers should have remembered to take a meter reading from the first day of October.

Octopus Energy customers must submit this reading via the phone, website, or mobile app by the end of tomorrow..

Keep in mind that if you are planning to submit your reading via the phone, Octopus phone lines close at 5pm.

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If you don’t submit your reading by this date you can still tel the supplier later on, but it may not be applied to your next bill.

Can I backdate my meter reading if I’m with another supplier?

Octopus customers aren’t the only ones with hours to submit – E.on Next is another supplier which has set its deadline as tomorrow.

E.on Next advises that the best way to submit a reading is via your online account – the website also informs customers on how to take an accurate meter reading.

EDF, OVO and British Gas customers have a bit more time, with EDF’s deadline being October 9, OVO’s being October 11, and British Gas allowing another week, until October 14.

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EDF customers can submit meter reads through the EDF app, their online MyAccount, or via telephone, email, text or Whatsapp.

Ovo Energy customers can submit their meter readings via the app, online account, phone, Whatsapp or webchat at any time, however the closer to the bill date the customer provides their bill date, the less of the bill will need to be estimated.

For accurate bills, Ovo recommends customers opt for a smart meter.

Meanwhile, back in September British Gas said: “If customers take a read on 1st October, but don’t get a chance to provide it on the day, a form on our website, including on our meter read page, will be available until 14th October.

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“This will allow them to submit the read they took on 1st October and we will use that reading to calculate what they pay before the rates change.”

For customers of Scottish Power or Utility Household, the deadline to submit a meter reading has unfortunately closed.

What if I have a smart meter?

If you are on a smart meter, you do not need to submit a reading, as this is automatically sent by your device.

Those on prepayment plans or fixed rates also do not need to worry, as their bill is either predetermined, or their rate is locked in for the duration of their deal.

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Only households on an SVT are required to submit a meter reading, so they can avoid any disputes with their energy dealer when their bill comes through.

If you’re unsure what plan you are on, visit your suppliers website or revisit your paperwork from when you began your energy package.

If you’re concerned about the new price cap

If you’re worried about affording hiked up bills this winter, many energy suppliers are opening Support Funds to help struggling customers.

For example, British Gas has reopened its Individual and Families support fund, which in the past has helped over 21,000 British customers with energy debt write off grants of up to £2,000.00.

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Over £140 million has been set aside this winter season for those who are struggling financially.

This extends to British Gas customers and non-customers, who live in England, Scotland or Wales.

To find out if you are eligible, visit the British Gas website and search for the Individual and Families support fund – here you will find all the details available.

It is recommended that customers from companies with hardship funds first seek assistance from their own schemes.

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For example, Octopus Energy has recently launched a scheme for pensioners after their Winter Fuel Payments were slashed, offering fresh discretionary credit of between £50 and £200.

Scottish Power’s Hardship Fund has also handed out more than £60 million to struggling customers.

And Utilita also offers grants to its customers to help clear of minimise debt, by operating through its charity partner, Utilita Giving.

Utilita Giving also partners with other charities such as IncomeMax, which helps customers make sure they are claiming what they are entitled to, and Let’s Talk, which provides replacement white goods.

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E.ON’s Next Energy Fund also provides grants and appliance replacement services to struggling customers.

To find out what support your energy supplier is offering this colder season, visit their website or ring their helpline (which can be found online).

Help can also be accessed from the government via the Household Support Fund, which has renewed a fresh pot of £421 million funding for vulnerable households.

To find out if this is available with your supplier or council, and whether you are eligible, go to their websites and read the terms and conditions of the scheme.

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How to save on your energy bills

SWITCHING energy providers can sound like a hassle – but fortunately it’s pretty straight forward to change supplier – and save lots of cash.

Shop around – If you’re on an SVT deal you are likely throwing away up to £250 a year. Use a comparion site such as MoneySuperMarket.com, uSwitch or EnergyHelpline.com to see what deals are available to you.

The cheapest deals are usually found online and are fixed deals – meaning you’ll pay a fixed amount usually for 12 months.

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Switch – When you’ve found one, all you have to do is contact the new supplier.

It helps to have the following information – which you can find on your bill –  to hand to give the new supplier.

  • Your postcode
  • Name of your existing supplier
  • Name of your existing deal and how much you payAn up-to-date meter reading

It will then notify your current supplier and begin the switch.

It should take no longer than three weeks to complete the switch and your supply won’t be interrupted in that time.

If you’re just looking for simple ways to reduce your bill this winter, each of these supplier schemes, as well as the Household Support Fund also offer free electric blankets as part of their deal.

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For example, Octopus have said they will distribute 20,000 electric blankets from Dreamland to its most vulnerable customers, keeping them warm for “as little as 3p an hour”.

The “heat yourself not your home” approach is trending fast, with retailers such as B&M introducing ranges of affordable self-heating appliances.

However, it is important to note that the elderly should not avoid turning the heating on if they are cold – for energy help contact your provider or local council, or read our article here.

Do you have a money problem that needs sorting? Get in touch by emailing money-sm@news.co.uk.

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What to see in London during Frieze Week 2024

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What to see in London during Frieze Week 2024

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