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Laurie Penny: Why the Pope has a point on child abuse

The abuse of children within the home is something that society has yet to tackle adequately.

The abuse of children within the home is something that society has yet to tackle adequately.

It has to be a bad day for the ethical health of the species when we are taking lessons in child welfare from the Catholic Church. Speaking to an audience of US bishops in a week when the US just happened to be embroiled in a scandal involving the possible cover-up of child sex-abuse at Syracuse University and Penn State College, the Pope took pains to remind the faithful - and anyone else who might be listening - that the Catholic church was not the only institution whose members have turned a blind eye to the rape and abuse of prepubescents in its care.

"Just as the church is rightly held to exacting standards in this regard, all other institutions, without exception, should be held to the same standards," said Joseph Ratzinger, conveying a rather tasteless undertone of relief to the church's statement of official repulsion.

Ratzinger, nonetheless, is technically correct. Child abuse is a social disease that contemporary culture has barely begun to address. It extends far beyond the institutional reach of the Vatican, American college sports, or the organised gangs of predatory paedophiles on whom the British government is orchestrating a welcome crackdown.

Child abuse is far from an institutional phenomenon. Eighty per cent of child sexabuse takes place within the home, and most of it is perpetrated by parents, close relatives and family friends. In 2010/11, more than 17,000 sexual crimes against children under 16 were recorded in England and Wales - a third of all recorded sexual crime - and this statistic represents only those cases that were brought to the attention of the police. A large proportion of young victims choose not to speak about or report their abuse, sometimes for many years. This may be for the same reasons that lie behind our hesitancy as a culture to speak and write about such abuse: shame and fear that we will be disbelieved and, above all, a confusion about how to confront cruelty when it occurs within the family - the very structure that is supposed to be the bedrock of love, support and social cohesion. That is the one institution no politician has yet been brave enough to challenge.

Home truths

The abuse of children within the home is something that society has yet to tackle adequately. There are plenty of resources available for survivors, particularly those who can afford therapy. Search online for "child abuse" and you will find endless web pages in soothing pastels where victims share their stories of suffering; wander into any chain bookshop and you will encounter shelves devoted to books with soft sepia pictures of weeping children and titles like Please, Daddy, No.

Child abuse is still approached, largely, as something for victims to grow up and get over, rather than as a systemic social ill that requires a political response. For all the appropriate public consternation over paedophile priests, seedy sports coaches and shadowy child-porn rings, we are as far as we ever have been from accepting on a broader level that the abuse of vulnerable young people is not something that can be allowed to continue, even behind closed doors, even within families who love one another.

Laurie Penny is a contributing editor to the New Statesman. She is the author of five books, most recently Unspeakable Things.

This article first appeared in the 05 December 2011 issue of the New Statesman, The death spiral

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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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