Kings of the jungle: amphibians are at the very centre of our finely balanced ecosystem. Image: Christian Ziegler/ Minden Pictures
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An unexpectedly vital part of the ecology

The disappearance of frogs and toads contributes to the appalling modern phenomenon that conservationists are now encountering everywhere: “trophic cascade”.

What is it with poets, frogs and toads? “Stop looking like a purse,” says the poet Norman MacCaig, carrying a toad outside. “How could a purse/squeeze under the rickety door and sit,/full of satisfaction, in a man’s house?” The pair of toads Jamie McKendrick encounters find their own exit: “they make for the hallway with sagging hops/like small encrusted beanbags on the move”, he says in “Right of Way”.

Frogs and toads live on all continents except Antarctica, in 24 different families and more than 4,000 species. In children’s literature they are gently comical, but the amphi in amphibian reminds us that they belong to two worlds.

They disappear in a second, leaping from one medium into another, and global folklore invests them with darker powers than Kenneth Grahame. A life cycle of spawn, tails and legs means they incarnate metamorphosis: you kiss them into princes, get turned into one by witches. In the Rig Veda, Great Frog supports the universe. They are familiars, boiled up by the Weird Sisters in Macbeth, and the “great kings” of slime terrify the boy in Seamus Heaney’s “Death of a Naturalist”.

Frogs and toads are an unobtrusive but vital part of the ecology, and their loss contributes to the appalling modern phenomenon that conservationists are now encountering everywhere: “trophic cascade”.

As children, we used to put bricks up on end in a long wavy line, then tip the first and watch the whole circuit ripple to the ground. Imagine a similar sequence in a South American forest, with frogs at its centre. The frogs live in delicate balance with nine other species: lizards, mango trees, mango-eating ants, monkeys, wild pigs, owls, wasps, mosquitoes and a microbial parasite. They breed in riverbank puddles created by the rootling wild pigs. Mosquitoes breed in those puddles, too. The parasite they carry infects monkeys that eat the mango fruit, spreading its seed in fertilising scat, but few monkeys die, because the frogs’ tadpoles eat most mosquito larvae.

The lizards eat the ants; they also eat wasps that nest in holes in trees. Owls compete for these nesting holes and keep the wasps in check.

Now men kill off the pigs. No more puddles – so the frogs die out, but the mosquitoes breed in rainwater instead. Uneaten, they multiply, along with their parasites, which kill off the monkeys. With no monkey-scat, the mango trees die, along with the mango-eating ants. This halves the lizards’ food and they fade away. No lizards means more wasps, which crowd the weakening owls out of nesting sites. The owls go. Only three viable species are left: wasps, mosquitoes and their parasite, which will now turn on the cause of all this - man.

Trophic cascade could happen here. Frogs are disappearing globally into extinction. Two diseases are ravaging amphibians worldwide. Chytrid fungus has extinguished hundreds of species, and thousands of British frogs are dying from ranavirus.

Conservationists are working against time to save them. Scientists from the Zoological Society of London have swabbed amphibians in ponds across the UK and are collaborating with other organisations on the Garden Wildlife Health website, which asks for the public’s help in monitoring British wildlife. ZSL has also rescued, through a unique conservation programme you can see in action at Regent’s Park, the Majorcan midwife toad – until 1979 believed extinct – whose males carry new-laid spawn on their back until the tadpoles hatch.

Glyn Maxwell has written a poem to these toads, not now entering human houses but being saved – just – by human beings from exiting the world. “We are back who were never gone,” they sing. “We were here and you never knew./We thought you’d died out too.”

Next week: Felicity Cloake on food

Ruth is a British poet and author with close connections to conservation, wildlife, Greece and music. She has published a novel, eight works of non-fiction and eight poetry collections, most recently The Mara Crossing, which mixes poems and prose to explore migration. She is a Fellow of the Royal Society of Literature and a Council Member for the Zoological Society of London.  See her website for more.

This article first appeared in the 17 October 2013 issue of the New Statesman, The Austerity Pope

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Ariana and the Arianators: "We really are like a family"

The pop star provides her fans with a chance to express themselves joyfully - their targeting was grimly predictable.

Ariana Grande’s concert at Manchester Arena on 22 May began like any other. Children and teenagers streamed through the doors wearing pink T-shirts, rubber wristbands and animal ears (one of Grande’s signature looks). They screamed when she came on stage and they sang along with every song. It was only once the music had ended, and the 20,000-strong audience began to leave the venue, that the horror began – with a bomb detonated at the main entrance.

The show was just one date on Grande’s Dangerous Woman tour, which began in Phoenix, Arizona in February, moved across the United States and Europe, and had stops scheduled for South America, Japan, Australia and Hong Kong. (Since the Manchester attack, Grande has suspended the tour indefinitely.)

Since releasing her debut album in 2013, Grande has successfully transitioned from teen idol to fully fledged pop star (all three of her studio albums have sold over a million each) with a combination of baby-faced beauty and Mariah Carey-style, breathy vocals. Her most popular records are bubblegum pop with a Nineties R’n’B influence, a combination also expressed in her fashion choices: Nineties grunge meets pastel pinks.

She entered the limelight at 16 on the children’s TV programme Victorious, which ran on the Nickelodeon channel, pursuing her musical ambitions by performing the show’s soundtracks. Many of the young people who grew up watching her as the red-haired arts student Cat Valentine on Victorious would become fans of her pop career – or, as they call themselves, the Arianators.

As she outgrew her child-star status, Grande’s lyrics became more sexually suggestive. Recent songs such as “Side to Side” and “Everyday” are more explicit than any of her previous hits. She has repeatedly insisted that young women should be able to speak openly about sex and feel empowered, not objectified.

“Expressing sexuality in art is not an invitation for disrespect,” she tweeted in December. “We are not objects or prizes. We are QUEENS.”

Grande also has a reputation as something of a gay icon. She has advertised her records on the gay dating app Grindr, headlined shows at Pride Week in New York, and released a single and a lipstick to raise money for LGBTQ charities.

Cassy, a 19-year-old film student and fan, told me the fanbase is “made mostly of young women from 14-23, but I run into guys and non-binary fans all the time.”

“It’s pretty well known that Ariana has got a LGBTQ+ fan base. She’s so outspoken about it and that’s what draws us to her. Because she’s accepting of everyone, no matter who you are.”

Like many child actresses-turned-pop star, Grande has a fan base skewed towards the young and female: teenage and pre-teen girls are by far the majority of her most dedicated supporters. A writer on the Phoenix New Times described the typical Ariana Grande crowd as “pre-tween, tweens, teens, young gay (and fabulous) men, moms with cat ears, and multiple candidates for father of the year”. The Arianators form tight-knit groups on social media. I spoke to several over Twitter after the attack.

Arena concerts, which often have more relaxed age restrictions than nightlife venues, have long been a safe space for children, young people and teenage girls. They provide a secure place for concert-goers to dress up, experiment, play with burgeoning sexualities, dance, scream and cry: to flirt with an adult life still slightly out of reach. Glitter-streaked tears stream down the unapologetic faces of fans touched by an emotion bigger than themselves. It is appalling, if grimly predictable, to see children, teenage girls and young gay men targeted by agents of regressive ideologies for expressing themselves so joyfully. On 23 May, Isis claimed the attack.

“I went to my very first Ariana concert on 9 April,” Cassy tells me. “It was one of the warmest places I’ve ever been. People were so happy, smiles just beaming from their faces. People were being themselves – if that meant showing up in drag, they did. It was such an amazing place to be.”

Andréa, a 17-year-old fan from France, told me about her first experience of a Grande concert. “It was incredible,” she said. “Everyone was so kind, excited and happy. We really are like a family.”

The fans are devastated by Monday’s bombing. Thousands of messages appeared on social media to commemorate those who lost their lives. “As an Arianator,” Alexandre, aged 16, told me, “I’m really sad and I’m scared.”

“We’re all taking it really hard,” Cassy said. “We’re a family and we lost 22 members of that family last night.”

Ariana began her gig in Manchester with the song that has opened every night of her current tour: “Be Alright”. In it, she repeatedly reassures the crowd, “We’re gonna be all right.” It’s a phrase that her fans are clinging to after the attack. So, too, are the lyrics of “Better Days”, by Grande and her support act Victoria Monét, which was also performed the night of the explosion. “There’s a war right outside our window,” the words go. “I can hear the sirens . . ./I can hear the children crying . . ./I’m hoping for better days . . .”

“It’s hit us all very hard because we’ve lost some of our own,” said one Arianator who runs a popular Twitter account about the tour. “People we interacted with on a daily basis. People that just wanted to have a night of fun. These are dark times, but we are looking forward to better days.”

Anna Leszkiewicz is a pop culture writer at the New Statesman.

This article first appeared in the 25 May 2017 issue of the New Statesman, Why Islamic State targets Britain

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