Little Mix: Holding Hands Is A Political Act

Little Mix are at it again – using catchy pop songs to relay important political messages and this time it’s all about holding hands.

For some holding hands is a simple act done on a regular basis. A guy and a gal just holding hands as they reveal their love to the world and walk to Sainsbury’s to get some snacks. Inside the shop he might put his hand around her waist and even tap her bum. Outside, snacks now bought and waiting in their bag-for-life, they might hug and briefly lock lips. Do you do this? Are you in an opposite-sex relationship where you both feel comfortable to express your affection in public? Well, if so, count your fricking blessings, because for many people holding hands, let alone snogging, could land them with a punch in the face, at the very least.

It’s different for same-sex couples. The Sexual Offences Act of 1967 decriminalised homosexual acts in private between two men, both above the age of 21. That was only fifty years ago and it applied only to men. It was in 2000 that the age of consent for homosexual couples was reduced to 16 years, so only sixteen years ago that gay couples achieved parity with straights. And in the Sexual Offences Act of 2003 was sexual activity between more than two men no longer a criminal offence across the entirety of the UK – yup, fourteen years ago and a threesome+ would have been illegal. What this brief political history demonstrates is that the law can be absolutely ridiculous, focussed often not on upholding justice and equality but enforcing prejudice and discrimination. That’s nothing new but it’s worth repeating.

Of course, it’s one thing for laws to change, quite another for culture. And for this reason same-sex couples holding hands in public is still a political act. There’s still so much hostility and discrimination out there that it makes hand holding dangerous. And even if the passersby aren’t homophobes they may still offer a good stare just because it ‘fascinates’ them to see these exotic queer people demonstrating affection. Whereas, straight couples usually don’t get stared at or if they do it’s because they are swapping way too much saliva. So thank god for this song by the wonderful Little Mix, which speaks directly to this issue. The video below is for Secret Love Song Part 2 as Jason Derulo was involved in Part 1 and he (or his producers) ensured it was decidedly straighter than originally intended. So here’s the better more political version. Thanks for singing out Little Mix!

https://www.youtube.com/watch?v=eB6mfr1Cbxs

London Spy: London Spoilers

London Spy – a new 5 part series on BBC 2 stars Ben Whishaw. He plays Danny, a young guy living in London. He goes out one night, takes a load of drugs, goes clubbing and then the following morning bumps into an attractive jogger on Vauxhall bridge called Alex. To cut a long story short: they fall in love, have sex, Alex turns out to be a spy, then gets killed (stuffed in a trunk in an attic full of BDSM kit) and Danny is framed for the murder. Cue dim lighting, an untrustworthy ensemble cast and bucketfuls of suspicious glances, it’s all classic spy fare…or is it?

There’s a lot resting on London Spy (LS) because it’s the first TV spy thriller to be populated by predominantly gay characters. Danny is gay, Alex is/was gay (can we really be sure his was the body in the trunk!?) and Danny’s older male friend, Scottie, is gay. Then there’s the nasty drug dealer played by Mark Gatiss who addicts younger men to drugs and sleeps with them. And Edward Fox plays an unfriendly spy master who may well also be gay. Add to this themes of drug addiction, unsympathetic parents, lonely old men (Scottie) falling for disinterested younger men (Danny), institutionalised homophobia, HIV, prostitution, oh, and murder, and the picture LS paints of gay life in London is pretty grim. But we like a bit of grim, don’t we? I mean the Hunger Games is pretty grim. Perhaps these issues add a cold slap of gritty realism to LS and ground it in a seedy underworld that’s so fascinating to watch. But I think LS is up against a bigger problem than bodies in trunks.

Homophobia. Stories about straight men doing straight things and blowing stuff up have populated spy thrillers for decades. Heterosexuality saturates the genre and is considered normal which is why we would tend not to watch James Bond or a Le Carre as a straight film, just a film. However, gay characters going about doing gay things isn’t normal and so we watch them differently, because we’ve been conditioned to see gay characters as ‘other’. It was fellow blogger, Alex Gabriel, who reminded me of this (via Twitter). He offered numerous interpretations for why LS is so bleak: within the story itself we witness how the British spy establishment treats gay spies and gay patsies – very, very badly. In essence the establishment machine (think MI6, Whitehall & Big Money) will crush anyone it needs to and use whatever means necessary to frame them (e.g. attics full of sex toys, drugs and bondage gear – all of Danny’s past). This is a world where gay people are killed, they don’t come back to life in twists at the end (although I still think Alex might), and their lives are grim and unhappy. Meanwhile, in the non-fictional world of spy thrillers the fact that LS is so unique just reminds us how engrained and seemingly normalised the white, straight, male is in so much popular culture, especially the spy genre.

So, LS is pushing the boat out, populating a notoriously straight genre with more queer characters and reminding us that queer, spy lives can be just as dark as those of straight spies. Unfortunately though, whilst I still want to know what happens, I’m not sure LS is actually that good. Despite the title I just don’t find it that spy-y. Sure, Danny is a civilian caught up in a spider’s web of international political intrigue and corruption but it seems as if the creators of LS have watched a lot of spy programmes but not necessarily done much spying themselves (or at least interviewed spies). A lot of the time the intrigue comes from the fact that rooms aren’t very well-lit and no one (even innocent housekeepers) actually says anything explicitly, it’s all riddles and enigmas. Sure, this is the stuff of spy drama but sometimes it just seems as if they’re trying to stretch out a very thin story, do we really need 5 hours of Ben Whishaw looking forlorn and put-upon in dimly lit rooms? Hopefully though LS will open up the door for more queer spies and mysteries (ideally better ones).

Quentin Letts And The Right To Bigotry

“I disapprove of what you say, but I will defend to the death your right to say it,” said Evelyn Beatrice Hall, an English writer of the 19th and 20th centuries. It’s a nice summary of the principle of freedom of speech – i.e. we’re all free to say what we like and anything that curbs that freedom is a form of censorship and an abuse of our rights.

Well, I disapprove of what Quentin Letts had to say about the latest series of The Great British Bake Off, and whilst I’m probably not going to risk my life so he can repeat it I do wish to explain exactly why I disapprove in the hope that he’ll be less likely to say it again. To clarify, I am most certainly not advocating censorship, far from it, I think it better that the views of Letts are aired precisely so we can challenge them and in doing so maybe even inspire him to be a little less of a bigot.

He begins by describing the different contestants that have been chosen for the sixth series of Bake Off. He notes that one of them is Muslim and wears a headscarf, one is a house husband, another is a female vegan bodybuilder from Lithuania, one of the men has tattoos and wears a hat, one of them is Afro-Caribbean, there’s one on a gap year, at least one of the contestants lives in the north of England, there’s a British-Asian male and another man originally from the Philippines.

This might sound like an exciting and interesting group of people who we can look forward to getting to know as the series progresses but not for Letts. What he takes umbrage with is the very diversity that the contestants represent. He considers this part of a grand political conspiracy as perpetrated by the BBC, in his own (far too easily parodied) words: “a leaning to modernity, to fashion, to ‘the alternative’, the ‘different’, sometimes for reasons of group-think, sometimes out of a desire to jack up the ratings in the manner of a commercial TV station. It is in keeping with the creed of egalitarianism. It is deeply unconservative.” No doubt it’s political correctness gone mad, something he writes about in his book Bog Standard Britain as crushing “the individualism from our nation of once indignant eccentrics.”

Of course, Letts’ version of individualism (and conservatism) is of a particular hue: namely white. He makes it pretty clear that in his world it’s not Muslims or Lithuanians that bake but homosexual men or older, white, middle-aged women (“mum-next-doorish” types as he describes). As a white, middle class male Letts has the privilege of being one of the most represented groups in mainstream culture (and history in general), so it’s no surprise that he gets a bit uppity when suddenly there are fewer people like him appearing on his favourite television shows. He wants to see more “humdrum, plain-as-white-flour, Middle-English bumblers” (nice to see him appealing to the casual bigotry of equally insecure Middle-Englanders, that infamous squeezed middle beset upon by socialist loons, crafty immigrants and vicious feminists). His privilege is being undermined and whilst this is a good thing because it represents power being more equally distributed and an increase in equality all Letts wants to do is get angry. He expresses his anger (and deep set insecurity) by cracking racist, sexist, homophobic and Islamophobic jokes in his article, no doubt scoffing into his favourite suitably middle class and white supremacist breakfast cereal as he does so. For all his life Letts will have found positive discrimination working in his favour but because it’s so ingrained and commonplace he never will have questioned it, let alone give it a second thought. But now’s it not working in his favour he’s going to kick up a fuss.

“I just wish I didn’t feel, as I looked at the contestants yesterday, that I was being preached at – that the BBC’s social engineers were up to their transparently political tricks again.” Some unintentional comedy gold from Letts here who has just spent a whole article preaching bigotry and narrow-mindedness at us. He accuses the Beeb of having a political agenda whilst clearly forgetting that white, heteronormative, androcentric patriarchy fired at us on a daily basis is itself just drenched in politics. But it doesn’t suit Letts to acknowledge this so instead he’ll deride the “sinister” politics of the BBC, one that favours equality, diversity and representation – you know, those really sinister values. He’s scared these values depart so far from the mainstream “that they often fail to represent adequately that very mainstream” – but Letts doesn’t really care about these people, his article has shown such a lack of compassion that it’s hard to think he cares about anyone, no, he cares about himself and wants more men just like him on TV (he wont’ be happy until Mary Berry’s been replaced by Jeremy Clarkson and Sue Perkins has been ousted for someone overtly heterosexual, such as Katie Hopkins).

So no I don’t approve of what Letts has to say and whilst I won’t risk my life in defence of him saying it I still won’t call for its censorship. His argument is as floppy as a failed souffle and has the soggiest of soggy bottoms. Whilst the BBC’s sinister world of equality and diversity is just brimming with creamy Victoria sponges and rolling Swiss Rolls. He’ll figure it out one day – that a more equal and fair society works out better for everyone, even people like him, but in the meantime we’ll just have to tolerate the bitter aftertaste of his bigotry.

Quentin Letts with spaghetti (interestingly not a baked good)
Quentin Letts with spaghetti (interestingly not a baked good)