How to lose the battle and win the war for immigration

Skilled migration isn't that much better economically – but it's a lot easier to get through politically.

Sunny Hundal points out that the public are pretty solidly anti-immigration, and Chris Dillow gets in a funk about it:

Several things make me fear that an evidence-based approach won't suffice to change people's minds:

  • Hostility to immigration does not come merely from the minority who lose out in the labour market. People from higher social classes and the retired are as opposed to immigration as others.
  • There's little hope of attitudes changing as older "bigots" die off. The Yougov poll found that 68% of 18-24 year-olds support the Tories' immigration cap.
  • Antipathy to immigration has been pretty stable (in terms of polling if not the violence of its expression) since at least the 1960s.
  • There's an echo mechanism which helps stabilize opinion at a hostile level. Politicians and the media, knowing the public are opposed to immigration, tell them what they want to hear and - a few bromides aside - don't challenge their opinion.

This, more than the economic arguments, is why the focus on "high-skilled immigration" is important.

After all, economically, immigration is good. One of the easiest shortcuts to growth is population growth, especially when that population growth comes in the form of people who arrive able to start working immediately. The canard about "benefit scrounging immigrants" is just that; and given many migrants return home long before retirement, even benefits which they may actually be eligible for aren't claimed.

Insofar as there are negative economic repercussions from such a policy, they would mainly limited to a potential downwards squeeze on low-skilled wages. But, as Dillow points out, we already have an answer for policies which help the nation overall while hurting those worst off: redistribution of wealth. And living wage policies, and stronger enforcement of them, would help too.

But, as Dillow bemoans, none of these points help win the argument. The record seems to show that talking about the facts doesn't change much, and immigration attitudes are remarkably set in stone.

Loosening the restrictions on high-skilled immigration, though, ought to be a much easier thing to implement. It would have much less of an effect on the overall figure, and would still result in large increases in welfare. But it remains a far more politically acceptable thing to push for. Even some of the attacks on high-skilled immigration – like the crackdown on student visas or the increased hurdles foreign graduates have to jump over to use their (still largely publicly funded) skills in the UK – only became popular once they were rephrased as attacks on low-skilled immigration. So the student visa discussion, for instance, was focused on "fraudulent" language colleges, rather than accredited universities which are also hit.

Hopefully there will still be a genuine change in attitude. I still look forward to a day where we accept that discrimination against someone based on where they were born is as unacceptable as discrimination against someone based on what gender they are. But until then, if we want more and better immigration, we may have to sneak it in under the radar.

Photograph: Getty Images

Alex Hern is a technology reporter for the Guardian. He was formerly staff writer at the New Statesman. You should follow Alex on Twitter.

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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.