James Blunt performing at the Invictus Games in 2014. Photo: Getty
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I care deeply about diversity in the arts, but I can’t help sympathising with James Blunt

The UK has a serious problem with a lack of diversity in the arts. But I can understand James Blunt’s anger – it hurts when you are lazily used as the metaphor for a social class where you often feel left out.

Chris Bryant, Labour’s shadow culture minister, has made some important comments about the lack of diversity in the arts. He recently stated that:

“I am delighted that Eddie Redmayne won [a Golden Globe for best actor], but we can’t just have a culture dominated by Eddie Redmayne and James Blunt and their ilk,” he said.

Where are the Albert Finneys and the Glenda Jacksons? They came through a meritocratic system. But it wasn’t just that. It was also that the writers were writing stuff for them. So is the BBC, ITV, Channel 4, doing that kind of gritty drama, which reflects [the country] more? We can’t just have Downton programming ad infinitum and think that just because we’ve got some people in the servants’ hall, somehow or other we’ve done our duty by gritty drama.” (My italics.)

James Blunt, feeling that Bryant was trying to say that his success was unearned, gave a punchy rejoinder in the Guardian, in which he referred to Bryant as “a classist gimp”.  I read Blunt’s letter, and instinctively applauded him for his rebuttal. But then I took a step back.

Bryant was essentially right. There is a severe problem with diversity in the arts, and the media, right across the board. It’s so obvious that you don’t even need statistics to see it. And it’s getting worse, now that the cost of living in many large cities plus, for example, the falling revenues in the music industry – means that it is much, much harder to make it. Those who do make it will typically have somewhere to crash during those lean years, and those who do are disproportionately well-off.

So why, then, did I applaud Blunt? Well, here’s where we need to separate the personal from the political. Bryant clearly triggered something in Blunt. Blunt has spent many years being the only boy from a visibly posh background in most rooms he has entered, and being called out for it clearly still stings him now. Blunt sounds like he was something of an outlier at boarding school, and so now to be seen as representative of that world, as the mere beneficiary of a ready and complacent nepotism, is infuriating.

I think I first applauded Blunt because I partly understood, as someone who also attended boarding school, where he was coming from.  No one likes being told that they don’t deserve whatever position they have reached, particularly when they have worked hard to get there. But Bryant wasn’t trying to be offensive. He didn’t mean that. And, though it was difficult for Blunt to step back from his rage, it’s something that he could usefully do.

Because the playing field in the arts isn’t level. It just isn’t, and if James Blunt had really wanted to, if he really needed to call goodnight on his dream, then all of those other careers that he mentioned in his open letter were still open to him. And that is the one thing that people with boarding school educations very often have: the ability to do something completely different with their lives. Very often, for those who do not have degrees or networks that they can tap into when seeking jobs, the artistic dream is all they have. There is no safety net, and if we don’t fund the arts we are consigning them to a pretty bitter future. In fact, screw the future – that is the present we are sitting in, right now.

Yes, it hurt James Blunt when he was called too posh to make it in the music industry, just as it hurts to be called an Uncle Tom because I am a black person who went to boarding school, even though I sometimes got the shit kicked out of me for being black while I was there. It hurts when you are lazily branded as the metaphor for a social class where you often felt like the odd one out, particularly when that class is scorned.

But you know what’s far worse? The fact that there is a generation of outstanding artists out there who, due to their lack of opportunity, will not achieve their potential if our funding bodies do not help them as best they can. That was Bryant’s point, and it was vital, and I hope that it is not lost in the ensuing to-and-fro between him and Blunt.

This article first appeared on okwonga.com and is crossposted here with permission

Musa Okwonga is a Berlin-based poet, journalist and musician.

Photo: Getty
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Commons Confidential: Jeremy in Jerusalem

Your weekly dose of gossip from around Westminster.

Theresa May didn’t know if she was coming or going even before her reckless election gamble and the Grenfell Tower disaster nudged her towards a Downing Street exit. Between the mock-Gothic old parliament and the modern Portcullis House is a subterranean passageway with two sets of glass swing doors.

From whichever direction MPs approach, the way ahead is on the left and marked “Pull”, and the set on the right displays a “No Entry” sign. My snout recalls that May, before she was Prime Minister, invariably veered right, ignoring the warning and pushing against the crowd. Happier days. Now Tanking Theresa risks spinning out of No 10’s revolving door.

May is fond of wrapping herself in the Union flag, yet it was Jeremy Corbyn who came close to singing “Jerusalem” during the election. I gather his chief spinner, Seumas Milne, proposed William Blake’s patriotic call to arms for a campaign video. Because of its English-centred lyrics and copyright issues, they ended up playing Lily Allen’s “Somewhere Only We Know” instead over footage of Jezza meeting people, in a successful mini-movie inspired by Bernie Sanders’s “America” advert.

Corbyn’s feet walking upon England’s mountains green when the Tories have considered Jerusalem theirs since ancient times would be like Mantovani May talking grime with Stormzy.

The boot is on the other foot among MPs back at Westminster. Labour’s youthful Wes Streeting is vowing to try to topple Iain Duncan Smith in Chingford and Woodford Green at the next election, after the Tory old trooper marched into Ilford North again and again at the last one. Streeting’s marginal is suddenly a 9,639-majority safe seat and IDS’s former Tory bastion a 2,438-majority marginal. This east London grudge match has potential.

The Conservatives are taking steps to reverse Labour’s youth surge. “That is the last election we go to the polls when universities are sitting,” a cabinet minister snarled. The subtext is that the next Tory manifesto won’t match Corbyn’s pledge to scrap tuition fees.

Nice touch of the Tory snarler Karl McCartney to give Strangers’ Bar staff a box of chocolates after losing Lincoln to the Labour red nurse Karen Lee. Putting on a brave face, he chose Celebrations. Politics is no Picnic and the Wispa is that McCartney didn’t wish to Fudge defeat by describing it as a Time Out.

Police hats off to the Met commissioner, Cressida Dick, who broke ranks with her predecessors by meeting the bobbies guarding parliament and not just their commanders. Coppers addressing Dick as “ma’am” were asked to call her “Cress”, a moniker she has invited MPs to use. All very John Bercow-style informality.

Kevin Maguire is Associate Editor (Politics) on the Daily Mirror and author of our Commons Confidential column on the high politics and low life in Westminster. An award-winning journalist, he is in frequent demand on television and radio and co-authored a book on great parliamentary scandals. He was formerly Chief Reporter on the Guardian and Labour Correspondent on the Daily Telegraph.

This article first appeared in the 22 June 2017 issue of the New Statesman, The zombie PM

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