Nick Clegg on the Lib Dem role in the Spending Review

Emphasises role of Lib Dem ministers in Spending Review, but denies that cuts aim to create a smalle

Nick Clegg has just sent out an email to Lib Dem members giving some of the rationale behind the Spending Review. It's very light on detail, but does provide a couple of interesting insights into how the Deputy Prime Minister is seeking to position his party politically going into this afternoon's announcement.

The core argument is, naturally, the same as the one offered by Cameron and Osborne – the outcome of the review is about fairness and, above all, cutting "Labour's deficit". But there are also certain phrases that demonstrate once again how tightly Clegg's fortunes are now tied to those of the coalition's leading Tory figures. The following paragraph is particularly interesting:

The spending review is a thoroughly Coalition product. Liberal Democrat ministers have been involved every step of the way. Our values and priorities are written through the review, like the message in a stick of rock.

As my colleagues Mehdi Hasan and James Macintyre pointed out in the run-up to the Lib Dem conference, the spending review is just the first in a series of tests for the Lib Dems as a party of government, perhaps the most significant being the local elections to come next May. But with the polling numbers long suggesting we can expect a big swell of unpopularity for this afternoon's announcement, the Spending Review isn't without its challenges for the Lib Dems. Members, and a fair number of Lib Dem MPs, will be feeling very uncomfortable this afternoon.

However, the key paragraph of the letter comes at the end, where Clegg lays out his version of the motivation behind the cuts:

We are not taking the decisions today because they are easy or because we want to see a smaller state, we are taking them because they are right.

He said something similar in his conference speech – it's clearly a line designed for the membership, many of whom will be feeling uneasy about the Tories' mantra of "smaller state, bigger society". Now that Clegg has positioned his party and his ministers so centrally to the Spending Review, it will be fascinating to see how his backbenchers choose to respond, come the inevitable fallout.

Caroline Crampton is web editor of the New Statesman.

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Indie band The 1975 want to “sue the government” over the Electoral Commission’s latest advert

Frontman Matt Healy perhaps isn’t aware that the Electoral Commission is not, in fact, the government (or believes that this is part of a wider conspiracy).

How do you make registering to vote in the EU Referendum cool? It sounds like something  from The Thick of It, but judging by the Electoral Commission’s latest TV ad for their new voting guide, this was a genuine question posed in their meetings this month. The finished product seems inspired by teen Tumblrs with its killer combination of secluded woodlands, vintage laundrettes and bright pink neon lighting.

But indie-pop band The 1975 saw a different inspiration for the advert: the campaign for their latest album, I Like It When You Sleep For You Are So Beautiful Yet So Unaware Of It (Yes, a title perhaps even more cumbersome than “The EU Referendum - You Can’t Miss It (Phase One)”).

Lead singer Matt Healy posted a picture of the guide with the caption “LOOK OUT KIDZ THE GOVERNMENT ARE STEALING OUR THOUGHTS!!” back on 17 May. The release of the TV spot only furthered Healy’s suspicions:

Healy perhaps isn’t aware that the Electoral Commission is not, in fact, the government (or believes that this is part of a wider conspiracy).

The 1975’s manager, Jamie Oborne, was similarly outraged.

Oborne added that he was particularly “disappointed” that the director for the band’s video for their song “Settle Down”, Nadia Marquard Otzen, also directed the Electoral Commission’s ad. But Otzen also directed the Electoral Commission’s visually similar Scottish Referendum campaign video, released back in September 2014: almost a year before The 1975 released the first promotional image for their album on Instagram on 2 June 2015.

Many were quick to point out that the band “didn’t invent neon lights”. The band know this. Their visual identity draws on an array of artists working with neon: Dan Flavin’s florescent lights, James Turrell’s “Raemar pink white”, Nathan Coley’s esoteric, and oddly-placed, Turner-shortlisted work, Bruce Nauman’s aphoristic signs, Chris Bracey’s neon pink colour palette, to just name a few – never mind the thousands of Tumblrs that undoubtedly inspired Healy’s aesthetics (their neon signs were exhibited at a show called Tumblr IRL). I see no reason why Otzen might not be similarly influenced by this artistic tradition.

Of course, The 1975 may be right: they have helped to popularise this particular vibe, moving it out of aesthetic corners of the internet and onto leaflets dropped through every letterbox in the country. But if mainstream organisations weren’t making vaguely cringeworthy attempts to jump on board a particular moment, how would we know it was cool at all?

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