How on earth is my religion to blame for Asian gangs and sex abuse?

Melanie Phillips's latest outburst against Islam and Muslims is opportunistic and goes beyond the pale.

So there I was, on a Monday morning, in a rather good mood, having had Ed Miliband give my forthcoming book about him a free plug, live on Sky News and BBC News, and still recovering from the shock of having Norman Tebbit (yes, that Norman Tebbit!) aim some warm words in my direction in a blog post on the Telegraph website about British Muslims; a post in which he wisely concludes:

There are Muslims out there seeking an accommodation with our society. They may not be able to defeat the Islamist fanatics, but we would be foolish to reject a hand held out in understanding and reconciliation.

But then I turned to the Daily Mail and, specifically, to Melanie Phillips. The headline?

While Muslim sexual predators have been jailed, it is white Britain's hypocritical values that are to blame

My first response? Can you imagine a headline that said, "While Jewish murderers have been jailed . . ." or "While Hindu bank robbers have been jailed . . ."? When was it that we first started classifying crimes and criminals by religious affiliation?

Phillips, of course, has long suffered from a sort of Muslims Tourette's syndrome -- she refers to Muslims 18 times in her column today. From the outset, she makes clear that she plans to go beyond Jack Straw, Leo McKinstry and others who have fallen over each other to make spurious arguments about the "cultural" factors behind the so-called on-street grooming of young girls for sex by criminal gangs. Nope, Mel has the dastardly religion of Islam in her sights:

Police operations going back to 1996 have revealed a disturbingly similar pattern of collective abuse involving small groups of Muslim men committing a particular type of sexual crime.

Sorry, but I have to ask again: what has the assumed faith of these men got to do with the crime itself? I must have missed the chapter of the Quran that encourages Muslim men to go out and ply young girls with alcohol (!) and drugs and then pimp them out to older men for sex. While I disagree with Straw, McKinstry, Yasmin Alibhai-Brown, David Aaronovitch and others who have speculated about the various cultural factors behind these crimes, I'm not that surprised that "culture" has raised its ugly head -- and I, for one, would welcome some peer-reviewed, nationwide studies of this particular crime and the perpetrators of it. But religion??

Phillips writes:

For while, of course, most Muslims repudiate any kind of sexual crime, the fact remains that the majority of those who are involved in this particular kind of predatory activity are Muslim.

First, we don't know that's the case. Sorry. But we don't. You can't extrapolate from such a small sample (50 out of 56 men) in one corner of the country. That's also the view, I might add, of the two UCL academics whose research was cited by the Times in its original story last Wednesday. In a letter to the Times published on 7 January, they wrote:

While we were heartened by the open and insightful discussion of the crime, we are concerned that limited data can be over-extended to characterise an entire crime type, in particular, in terms of race and gender. The identity of victims and offenders identified to date, primarily in the Midlands and the north of England, may misrepresent this crime on a national level.

In our work, based on two major police operations, we found that perpetrators were predominantly but not exclusively of Pakistani descent: several other ethnicities featured, too. Only through nationwide scoping studies can ethnicity be reliably established. If we allow ourselves to be blinded by this emergent and untested racial stereotype, we risk ignoring similar crimes perpetrated by offenders of other ethnicities.

It is also worth remembering that the "fact remains" that the "majority of those who are involved in" internet child sex offences (95 per cent) are white, as are the majority of prisoners (80 per cent) behind bars for sex crimes. And, as Chris Dillow notes:

Straw gives us no statistics to justify his claim.
Those that do exist seem to undermine his claim.
Table 5.4b of this pdf shows that, in the latest year for which we have data, Lancashire police arrested 627 people for sexual offences. 0.3% of these were Pakistanis. That's two people. 85.5% were white British. In Lancashire, there are 1,296,900 white Brits and 45,000 Pakistanis. This means that 4.163 per 10,000 white Brits were arrested for a sex crime, compared to 0.44 Pakistanis. If you're a journalist, you might say that the chances of being arrested for a sex crime are nine times greater if you're white than Pakistani. If you're a statistician, you might say they are 0.037 percentage points greater.

So what conclusions should we draw about white people from such statistics? Has Melanie checked with her white husband Joshua or her white son Gabriel as to why white men are so much more likely to commit sex crimes in this country than men from non-white, minority communities? Is this a problem of "white culture" or Judeo-Christian culture? Why the "conspiracy of silence"?

Phillips continues:

For these gang members select their victims from communities which they believe to be 'unbelievers' -- non-Muslims whom they view with disdain and hostility.

You can see that this is not a racial but a religious animosity from the fact that, while the vast majority of the girls who are targeted are white, the victims include Sikhs and Hindus, too.

"Religious animosity"? According to the Times's own research, several victims of a British Pakistani gang in an unnamed northern city were Bangladeshi Muslim girls. So much for Islamic solidarity among Asian gangs. And has Phillips, or Straw, ever been to Pakistan? Don't they know that young girls are sold into sexual slavery in Pakistan, too, where they all happen to be Muslims, as do the perpetrators of this heinous crime?

The only "fact" that we learn from Phillips's rant is that she is willing to find an Islamic angle to any story, no matter how horrific the story, no matter how tenuous the angle. For someone who rails against anti-Semitism under every bed and foams at the mouth at the first sight of journalists or bloggers stereotyping or generalising about Jews or Israelis to then make such sweeping and lazy assumptions about Muslims is particularly hypocritical and, I would add, unforgivable.

Since the Times story broke last week, just two people have decided to "Islamise" it and thereby exploit it for their own Muslim-baiting agendas: Nick Griffin and Melanie Phillips. Shame on them both.

UPDATE:

On a side note, I should point out that I am the co-author of the Ed biography that I referred to in passive, above, and that is provisionally entitled Ed: Ed Miliband and the Remaking of the Labour Party. My co-author on this project is my former New Statesman colleague, James Macintyre. You can read more about our forthcoming book here.

Mehdi Hasan is a contributing writer for the New Statesman and the co-author of Ed: The Milibands and the Making of a Labour Leader. He was the New Statesman's senior editor (politics) from 2009-12.

Photo: National Theatre
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I hate musicals. Apart from Guys and Dolls, South Pacific, Follies – oh, wait

Every second is designed to be pleasing, so that by the end my face aches from all the smiling.

I always thought I hated musicals. Showy, flamboyant, and minutely choreographed, they seemed to be the antithesis of the minimalist indie scene I grew up in, where a ramshackle DIY ethos prevailed, where it wasn’t cool to be too professional, too slick, too stagey. My immersion in that world coincided with the heady days of Andrew Lloyd Webber’s triumphs in the West End – Evita in 1978, Cats in 1981 – neither of which I saw, being full of scorn for such shows.

From then on I convinced myself that musicals were not for me, conveniently forgetting my childhood love of West Side Story (for which I’d bought the piano music, bashing out “I Feel Pretty” over and over again in the privacy of the dining room, on the small upright that was wedged in behind the door).

I was also conveniently forgetting Meet Me In St Louis and A Star is Born, as well as An American in Paris, which I’d been to see with a boy I was actually in a band with – he somehow finding it possible to combine a love of The Clash with a love of Gene Kelly. And I was pretending that Saturday Night Fever wasn’t really a musical, and neither was Cabaret – because that would mean my two favourite films of all time were musicals, and I didn’t like musicals.

Maybe what I meant was stage musicals? Yes, that was probably it. They were awful. I mean, not Funny Girl obviously. When people ask “If you could go back in time, what gig would you most like to have attended?” two of my answers are: “Judy Garland at Carnegie Hall, and Barbra Streisand in the original 1964 Broadway production of Funny Girl.” I would, of course, also make an exception for Guys and Dolls, and South Pacific, and My Fair Lady, and… oh God, what was I talking about? I’d always loved musicals, I just stopped remembering.

Then one of our teens took me to see Les Misérables. She’d become obsessed with it, loving the show so much she then went and read the Victor Hugo book – and loving that so much, she then re-read it in the original French. I know! Never tell me today’s young people are lazy and lacking in commitment. So I went with her to see the long-running stage version with my sceptical face on, one eyebrow fully arched, and by the time of Éponine’s death and “A Little Fall of Rain” I had practically wept both raised eyebrows off my face. Call me converted. Call me reminded.

I was late to Sondheim because of those years of prejudice, and I’ve been trying to catch up ever since, keeping my eyes open for London productions. Assassins at the Menier Chocolate Factory was stunning, and Imelda Staunton in Gypsy (yes, I know he only wrote the lyrics) was a revelation. Here she is again tonight in Follies at the National Theatre, the show that is in part a homage to the era of the Ziegfeld Follies, that period between the wars that some think of as the Golden Age of Musicals.

Although, as Sondheim writes in his extraordinary book, Finishing The Hat, (which contains his lyrics plus his comments on them and on everything else): “There are others who think of the Golden Age of Musicals as the 1950s, but then every generation thinks the Golden Age was the previous one.” How I would have loved to have seen those shows in the 1970s, when they were new and startling.

They still are, of course, and this production of Follies is a delight from start to finish. A masterclass in lyrics – Sondheim’s skill in writing for older women is unmatched – it is also sumptuously beautiful, full of emotion and sardonic wit, switching between the two in the blink of an eye, in a way that appears effortless.

And I realise that what I love about musicals is their utter commitment to the audience’s pleasure. Every second is designed to be pleasing, so that by the end my face aches from all the smiling, and my mascara has somehow become smudged from having something in my eye, and I have already booked tickets to go again. So sue me.

Tracey Thorn is a musician and writer, best known as one half of Everything but the Girl. She writes the fortnightly “Off the Record” column for the New Statesman. Her latest book is Naked at the Albert Hall.

This article first appeared in the 21 September 2017 issue of the New Statesman, The revenge of the left