Locked up with writers

No duffers, no loons, they could cook, they were funny and twisted and many of them had nice mums -

Once again I am hunched in the only office I may ever know – a train - my own lovely home being a distant memory filled with housework and DVD’s I haven’t watched for ages. On this occasion I’m in a Birmingham-bound diesel office which has managed to sneak out of Edinburgh Waverly without being – thus far – stymied by all of the apocalyptic and mysterious things that happen to the rail network on Sundays. Yes, dear reader, I am mad enough to attempt Sunday travel.

Sitting opposite me in a kind of smiley coma is Gill Dennis the splendid creature responsible for writing, among other things, the screenplay for “Walk The Line”. We have just tutored a screen writing course and, having talked and thought almost continuously for five days we now find it challenging to organise complex tasks like blinking. Occasionally we cry. I may even be crying now.

Tutoring residential courses represents a delicious kind of community-based Russian roulette for writers. There you will be, trapped in a remote location with a number of complete strangers in order to Teach Something About Something, perhaps with another writer who may or may not turn out to be going through a drug-induced internal soap opera, or a sex-induced external soap opera, or a typing-induced grand opera.

Expecting typists to respond warmly to group experiences always seems odd to me. We are not naturally hugging, sharing, orderly folk. We have the power to transform The Walton Family Eats Dinner into The Manson Family Gets Even. Before arriving at one of these things – on a train – I am always assailed by similar questions. Will there be more than one nutter? Will inappropriate sexual behaviour in thin-walled bedrooms cause conflict/envy/bootleg recordings? Will we end up building a rudimentary altar and sacrificing the weakest participant? And, most importantly, will all the writing be shit?

Happily – miraculously – this course involved 100 per cent charming and co-operative people who could also write like the stars I hope they become. All sixteen of them - no duffers, no loons, they could cook, they were funny and twisted and many of them had nice mums. Plus, Mr. Dennis is one of nature’s gentlemen and a joy to be around. Much fun was had, much work was done – and I got to enjoy being slightly teary on the final evening as work was presented and everyone found out how good everyone else was.

If only there was a British film industry it would all have had a point. If only there was a Scottish film industry and the powers that be weren’t more interested in rebranding themselves than making watchable, unique films that would entertain, enlighten and delight. If only they were interested in the arts at all – we could be another Ireland. But we’re not.

Lately, I’ve also managed to lie in a couple of pals’ spare bedroom and finish the first draft of a short story. (I will commence serious rewriting once I have finished this.) As said pals were away for the weekend and left me in charge of their children – no, that’s not arrestable, I am in fact a competent warder/baby sitter – I had the incalculably wonderful experience of introducing two ankle-biters who don’t have a telly at home to the full glory that can be squashed into three box sets of Dr Who.

They are excellent young people – partly because their parents love them and they have not been accosted by television and partly because they have gone to a school that treats them like human beings and has equipment and proper teachers and lots of running about and mild risk – they just didn’t have the doctor.

And now they do. Ah, the flinching, the giggling, the looking away, the being surprised when tricky situations are not resolved by murder, the gentle exploration of a world that loves adventure and intelligence and curiosity and human potential. A television show that respects the viewer. They have only a vague idea of how rare that is. But they now do know how good the doctor is. I growed up with him around and they can, too. He’s where the BBC keeps what’s left of it’s soul.

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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.

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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