Why MPs are having a tantrum over votes for prisoners

MPs believe they are fighting a defensive action from a position of weakness.

The government is due tomorrow to publish proposed legislation to address the European Court of Human Rights ruling that a blanket ban on prisoner voting is illegal. Parliament will be given the option of lifting the ban, adjusting it so that only those serving short sentences are offered a ballot and upholding the status quo. As soon as they are given the chance, MPs will reaffirm the ban. There are few members of the House of Commons who are keen to advertise themselves, in tabloid terms, as soft on villains.

In reality, it should be easy enough to comply with the ECHR without inviting serial axe-murderers down to their local polling station. The assertion that those who have been denied their liberty for committing some crime must also, as a matter of course and without exception and regardless of the gravity of the offence, lose all of their basic civil rights is pretty extreme. Minor offenders could reasonably be given the vote without society falling into ruin. That isn’t how parliament sees it. It certainly isn’t how the popular press sees it.

Naturally, the argument can be framed as a conflict between liberal and authoritarian tendencies. It can also be seen as a battle of wills between a national institution and a European one (not, in this instance, the European Union; the ECHR is the judicial arm of the Council of Europe, although that nuance will be lost in most of the reporting). A vote to uphold the ban will be presented as a defence of national sovereignty. Immense frustration on the Tory side at the government’s apparent inability to evacuate Abu Qatada from UK soil – also a tussle with the ECHR - will galvanise the defiant mood.

But it would be a mistake to see parliament’s assertive impulses entirely as a reaction against Europe. I have been struck by the extent to which Westminster feels itself more generally belittled and ineffective. That feeling was channelled in the Prime Minister’s intemperate lashing out earlier this week at judicial reviews, equality impact assessments and other legal mechanisms that stop the executive from doing what it wants, when its want. Ministers in this government love a good grumble about interference and obstruction from Whitehall lawyers. When those lawyers cite European regulations as the obstacle, grumbles turn to howls.

MPs, meanwhile, feel assailed by hostile media coverage and digital activism which clogs their Blackberries with frothy outbursts from peevish petitioners. Among the 2010 intake there is an added dimension to the irritation. The newcomers would like to be presumed innocent of any expenses fiddling, given that they were not in parliament when the most famous offences were committed, but find themselves still tarred with the broad brush of anti-politician scorn.

Feeling a bit sorry for politicians is a pretty niche area in Britain at the moment. And it would be perverse for MPs to seek therapy for their feelings of inadequacy and impotence by denying that the prison population has civil rights. It is, however, worth noting that when MPs do vote that way, many of them will be acting in the sincere belief that they are fighting a defensive action from a position of weakness, and not, as it may appear from the outside, asserting their strength.

A prison guard at Pentonville prison stands behind a locked gate. Photograph: Getty Images.

Rafael Behr is political columnist at the Guardian and former political editor of the New Statesman

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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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