To recover, the Scottish Yes campaign needs to go on the attack

The pro-independence camp can't afford to spend the next 20 months simply responding to aggressive unionist and media questioning.

By the time Mitt Romney formally launched his bid for the US presidency in late summer 2012, the race for the White House was already more or less over. For the preceding 12 months, the former Massachusetts governor had poured all his energy into securing the Republican nomination from his conservative rivals, leaving the Democrats free to bury his reputation as a successful entrepreneur under a volley of personal attacks. These attacks cast Romney, not entirely inaccurately, as a predatory capitalist whose business practices at Bain Capital had put thousands of ordinary Americans out of work or into bankruptcy. The result was that in the weeks leading up to 6 November, Romney spent more time fending off accusations that he was ‘out of touch’ than he did explaining his policies or scrutinising Barack Obama’s record. Romney’s mistake was to allow his public image to be defined negatively by his opponents before he had a chance to define it himself. 

A comparison can be drawn between Romney’s experience and the situation Scotland’s pro independence movement currently finds itself in. Since the launches of the official 'Yes' and 'No' campaigns last year, the unionists have been far more effective at setting the terms and conditions of debate than the nationalists have. On a series of issues, most notably the currency and (until yesterday) Scottish membership of the European Union, Better Together, the official vehicle of unionism, has forced the SNP onto the back-foot. Time and time again, Scottish government ministers have been rushed out to provide what seem like hurried or improvised responses to awkward questions. With his relentless emphasis of the apparent "risks" and "hazards" of separation, Better Together chairman Alistair Darling has become an almost ubiquitous presence on Scottish TV screens. Darling’s rhetoric reflects the No camp’s key theme: that the consequences of Scotland leaving the United Kingdom are uncertain and uncertainty is bad for the Scottish economy. 

With at least two recent polls showing a decline in support for independence, there is good reason to believe this strategy is working. The unionists have an additional advantage in the fact Scottish political culture is dominated by an essentially conservative middle-class with little enthusiasm for far-reaching constitutional reform. Worse still for the Yes campaign, the Scottish government doesn’t intend to publish its White Paper on Independence, clarifying its proposals for an independent Scottish state, until the end of the year. This grants Better Together yet more time in which to compound voters’ anxieties, increasing the likelihood that, come the final stages of the referendum debate, it will be too late for the SNP and its allies to rescue independence as a credible constitutional option in the eyes of the Scottish electorate. 

There is another reason the pro-independence movement has struggled in the referendum PR battle: a lack of structural discipline. Although the majority of Yes Scotland activists are members of the SNP, the organisation itself is made up of a broad coalition of groups, each with their own ideas about how independence should be achieved. To some extent, this laissez-faire style acts as a source of creativity, generating new initiatives, like the Radical Independence Conference, and genuine excitement at the grassroots level. (600 people attended the launch of Yes Glasgow earlier this month.) But it also makes the task of developing a coherent message about independence extremely difficult. By contrast, Better Together is a considerably smaller and less cumbersome outfit, with a much more tightly controlled and clearly defined narrative. Its role - to erode trust in Alex Salmond and reinforce widespread concerns about secession - is relatively uncomplicated. 

So how might Yes Scotland regain the initiative? A more effective Yes campaign would balance its aspirational account of Scotland’s ‘journey’ from devolution to independence with a critique of the British state, highlighting the democratic and international costs Scotland pays for remaining part of the UK. In particular, it would make clear the link between Scotland’s abysmal social record (one of the worst in western Europe) and the concentration of political and economic power in London and the south east. It would also aim to systematically undermine the Scottish public’s confidence in the desire and capacity of Westminster to act in Scotland’s interests, even if this means abandoning its much vaunted commitment to positive campaigning. The one thing it can’t afford to do is spend the next 20 months responding to aggressive unionist and media questioning. 

Of course, it was the use of exactly these sorts of ‘negative’ tactics that secured Obama’s second presidential term. Recognising that the circumstances of the 2012 election were going to be very different from those of the 2008 one, Obama and his team discarded the transformative rhetoric of "hope" and "change" for a harder, more cynical approach, turning what should have been Romney’s greatest asset - his commercial success - into his greatest weakness through a sustained media offensive. Likewise, the SNP needs to acknowledge that the 2014 referendum will not be a re-run of its 2011 electoral triumph, when it bulldozed its way to victory on the back of what one commentator called a nationalist "juggernaut of joy." The independence vote will take place against a backdrop of high unemployment, recession and austerity imposed by a discredited and corrupt Westminster class increasingly at odds with Scottish political values and preferences. There is a deep well of political dissatisfaction in Scotland: advocates of independence need to learn how to exploit it. 

Scottish First Minister Alex Salmond speaks at the SNP annual conference on October 20, 2012 in Perth, Scotland. Photograph: Getty Images.

James Maxwell is a Scottish political journalist. He is based between Scotland and London.

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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.

“I went to my very first Ariana concert on 9 April,” Cassy tells me. “It was one of the warmest places I’ve ever been. People were so happy, smiles just beaming from their faces. People were being themselves – if that meant showing up in drag, they did. It was such an amazing place to be.”

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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