Article
Comment
General Election 24
Politics
10 min read

‘Let your yeah be yeah’: when style supplants substance

The frustrating language of politics.

Roger is a Baptist minister, author and Senior Research Fellow at Spurgeon’s College in London. 

Rishi Sunak
Campaign slogans.
Newzeepk, X.

You know what it’s like. A catchy piece of music is going round and round in your head. You can’t stop it. You don’t know where it came from. And, if you did originally like it, you find yourself quickly going off it.  

Some call it ‘sticky music’, while others have labelled the phenomenon as ‘stuck song syndrome’. I prefer the more evocative ‘earworm’ as it ably expresses the experience of something both invasive and undesirable. 

On this occasion the tune was accompanied by its refrain, ‘Let your yeah be yeah, and your no be no, now’. Round and round and round it went. It’s not a song I know well, and I couldn’t even remember who sang it.  

Thankfully a quick google identified it as a top 10 single from 1971 by the Jamaican reggae trio, The Pioneers. Unfortunately, discovering that did not make it go away. 

It was not rocket science to understand what was going on inside my head. It was the first week after Prime Minister Rishi Sunak had called the election and the campaigning had begun in earnest.  

Now it’s not that my instant reaction was to do a ‘Brenda from Bristol’. Brenda, you will remember, became an internet sensation in 2017 for her memorable outburst when Teresa May called a snap election. She exclaimed, ‘You must be joking, not another one!’ No, I’m to be found more at the aficionado end of the political spectrum. 

Still, I have been finding myself increasingly exasperated over recent years. I don’t think my irritation is just about getting older and becoming more grumpy. But I do find myself frustrated by what politicians do with language and the words they choose to use. I’m annoyed by the strategies they adopt as they justify themselves and the rhetorical devices they surreptitiously employ to bolster an argument. 

Inside I find a deep longing for people to say what they mean and mean what they say. Is it too much to ask? Of course, there’s the root in my psyche, ‘let your yeah be yeah, and your no be no, now’. 

It’s not that this is some kind of naïve desire for politics to become what it never can be - some kind of genteel, educated, middle-class debating society.  

The very nature of democracy has passionate argument at its very heart. We don’t wrangle over what we agree on and hold in common. Democracy obliges our leaders to be in a mindset of perpetual persuasion towards us. 

No, for me, the nub of the problem is when emotive words are chosen to make a point that the substance of an argument can’t. Or, when rhetorical sleight of hand is deployed on an unsuspecting audience, much like the misdirection of a magician in creating the illusion of magic. 

Style supplants content and soundbites replace substance that has depth and an evidential basis. 

This is nothing new. It has been a part of our public life in the West since the classical era of Aristotle, Plato and Cicero. It was the English rhetorician Ralph Lever who, in the sixteenth century, attempted to translate the key concepts of Aristotelian logic into English in his The Arte of Reason, rightly termed, Witcraft. That is, ‘witcraft’ – the art, skill or craft of the mind, NOT ‘witchcraft’: though some might see that as an apt descriptor of the dark arts that classical rhetoric can enable. 

Aristotle, however, was clear in his understanding that the function of rhetorical skills was not to persuade in and of themselves, but rather to make available the means of persuasion. The substance of an argument was always to be more important than the manner in which it was communicated. 

It is hardly a revelation that the world of contemporary comms has been birthed in a brave new world of technology. As the American media theorist and cultural critic Neil Postman pointed out, the advent of TV introduced entertainment as the defining principle of communication and what it takes to hold our attention. 

Amusing Ourselves to Death: Public Discourse in the Age of Show Business was Postman’s 1985 era-defining commentary of how things have changed. Gone are the 2-hour long political ‘stump’ speeches and hour-long church sermons. Style supplants content and soundbites replace substance that has depth and an evidential basis. 

The speed of the internet, the ubiquity of social media and the omniscience of the algorithms have only served to distil and intensify the phenomena that Postman was concerned about. That recent history has witnessed the success that has accompanied the media experience and understanding of Boris Johnson and Donald Trump, only serves to underline the prescience of Postman’s observations.  

The ability to cut through the surrounding cacophony, engage an audience and then hold their attention long enough to communicate something of value is challenging to the nth degree. This has merely served to ramp up the intensity, exaggeration and immediacy of political speech. To impact us it must evoke an emotional response. In this anxiety and fear are the most effective drivers. 

Former Labour Prime Minister Harold Wilson was quite clear in his assessment that ‘a week is a long time in politics’. We might now consider a day, or even an hour, to be the operative chronological measure. The news cycle can turn very quickly indeed. 

Yet the underlying dynamics of communication remain. Rhetoric remains supreme. Political machines have become the masters of ‘spin’ and of the art of gaming the opportunities, language and positioning presented by contemporary media. 

As voters we should always be highly sensitive to what’s being communicated when a speaker talks about ‘us and them’, ‘ours and theirs’, ‘we and they’.

All this is in a context in which it is estimated that those in middle age have consumed an average of 30-40,000 hours of TV and some 250,000 advertisements. Britain is a media savvy society. Yet for all of this sophistication in media consumption, I remain fearful of how aware my fellow citizens are of the techniques that inform contemporary political messaging. 

The former Speaker of the House of Representatives in the United States, Newt Gingrich, provides a helpful case study. Back in 1994 he produced a notorious memo to Republican candidates for Congress entitled ‘Language: A Key Mechanism of Control’.  

Following extensive testing in focus groups and scrutiny by PR specialists he highlighted around 200 words for Republicans to memorise and use. There were positive words to associate with their own programme and negative ones to use against their opponents.  

The positive words he advocated included: 

opportunity… control… truth… moral… courage… reform… prosperity… children… family… we/us/our… liberty… principle(d)… success… empower(ment)… peace… rights… choice/choose… fair…  

By contrast, when addressing their opponents: 

decay… failure … collapse(ing)… crisis… urgent(cy)… destructive… sick… pathetic… lie… they/them… betray… consequences… hypocrisy… threaten… waste… corruption… incompetent… taxes… disgrace… cynicism… machine… 

Careful choice of words can then be layered with other strategies to construct a highly sophisticated political message.  

At a most basic level come the ever popular ‘guilt by association’ and its twin sibling ‘virtue by connexion’. Are migrants portrayed as ‘sponging off the benefits system’ or ‘filling recruitment shortfalls in the NHS, social care and industry’? Is British culture under threat of being overwhelmed or enriched by cultural diversity? 

Integral to this use of language are the various methods of ‘virtue signalling’ to a particular audience and the infamous ‘dog-whistle’ subjects and phrases to call them to heel. Tropes and labelling also play their part. On labelling, the nineteenth century statesman John Morley powerfully denigrated the practice by suggesting that it saved ‘talkative people the trouble of thinking’.   

As voters we should always be highly sensitive to what’s being communicated when a speaker talks about ‘us and them’, ‘ours and theirs’, ‘we and they’. By implication who is ‘in’ and who is ‘out’? We should be aware too when more general arguments are made that leave us, as listeners, to fill in the blanks. This hidden rhetorical manoeuvre gets us ‘onside’ by leading us to intuitively believe that the speaker agrees with us. Along the way they haven’t defined what ‘responsible government’, or ‘critical priorities’ or ‘British values’ actually are. Instead, they have left for us to supply our own definition, ensuring our agreement and support. 

To these can be added the ever more common practice of ‘gaslighting’, where information or events are manipulated to get people to doubt their own judgment, perception and sense of reality. And then there’s my favourite that the Urban Dictionary defines as a ‘Schrodinger’s douchebag’. Especially popular among populist politicians, this is where an outrageous statement is made and the speaker waits for the audience to respond. Only retrospectively do they declare whether they meant what they said or were only ‘just joking’. 

It's perhaps no surprise that Rhetorical Political Analysis is actually a thing. Academics study it and political journalists use it to sniff out any hint of obfuscation. Depressingly, in the media, this frequently descends into an unholy game of ‘bait and trap’. Politicians, for their part, then become much more guarded as they seek to side-step a ‘gotcha’ move, whether merited or not. 

… the truth will set you free’, he said. Free from the ducking and diving around our half-truths and fabrications.

So where does that leave the aspiration of ‘Let your yeah be yeah, and your no be no, now’? It may be surprising to some that The Pioneers’ song about a troubled love affair is directly quoting Jesus’ Sermon on the Mount. But Jesus’ focus is not about romance here. 

What he is talking about is truthfulness, authenticity and integrity. Say what you mean and mean what you say. For Jesus, truth and truthfulness was at the very centre of his own identity. Indeed, in Christian theology Jesus is the ‘word made flesh’, the ‘exact representation’ of who God is and what he is like. Jesus then advocates what he embodies: an alignment and integration of who we are, with what we say and what we do. 

This has to be the foundation for authenticity and integrity. These are the very principles that are so highly prized in the political arena, and yet so quickly abandoned in the maelstrom of the conflicting demands of public life.  

Jesus advocated living a truthful life, not least because of its liberating outcomes, ‘… the truth will set you free’, he said. Free from the ducking and diving around our half-truths and fabrications. Free from the fear of being found out or the implications of the ever-deepening holes to be dug. Free to be ourselves and have all the bits of our lives fit together as one. 

This has to be the principle to live by, the standard to benchmark, the way of life to aspire to. It’s no coincidence that integrity and honesty are two of the seven Nolan principles that inform the UK government’s Committee on Standards in Public Life

But the fact is we know the world to be a complicated place. We are not always the people we long to be. In the church’s liturgy the prayer of confession calls out our challenges. We miss the mark ‘through negligence, through weakness, [and] through our own deliberate fault.’ 

The reality is that, while we aspire to be the best that we can be, we also need to be alive to alternative realities. Our political processes can throw up flawed actors, bad actors and nefarious actors. They present very differently, yet we must always read through what is being communicated to access what is being said. 

Life is complicated. There are many different ways to legitimately tackle the issues that we face as a country. Always there are trade-offs. Frequently the future turns out to be different to what has been predicted. Ultimately there are too many variables. 

The 2024 General Election has proven to be refreshingly different. Neither Rishi Sunak nor Keir Starmer are as natural or charismatic in front of a camera as some of their predecessors.  

It rained on the Prime Minister when he announced the election without an umbrella and the day after took him to the Belfast shipyard where the Titanic was built. Such gaffes are reassuringly human. Labour’s tragically cack-handed approach to Diane Abbott and whether she could stand for election as MP for Hackney North & Stoke Newington where she faithfully served for 37 years is in a similar vein. 

Yet, through it all it is worth noting Laura Kuenssberg’s comments for the BBC. 

Both leaders inspire unusual loyalty among their teams. They are often praised by those who work with them as being warmer than they appear on camera: staffers describe them as decent family men, who take their jobs incredibly seriously and work incredibly hard. 

I find this remarkably encouraging. In the meantime, that song keeps going round in my head. 

‘Let your yeah be yeah, and your no be no, now’.  

Please make it stop. 

Review
Culture
Film & TV
Freedom of Belief
Politics
4 min read

Anna Politkovskaya took on the Kremlin and she paid the ultimate price

The Russian journalist who became a martyr for truth

Simon is Bishop of Tonbridge in the Diocese of Rochester. He writes regularly round social, cultural and political issues.

A journalist wearing a body armour and a helmet looks defiant
Maxine Peak plays Anna.
Rolling Pictures

While truth recedes as a global public good, a war on journalists is taking shape. In 2024, the Committee to Protect Journalists recorded the highest number of journalists killed since collecting data thirty years ago. A large number of these were killed in Gaza, but there were deaths elsewhere: in Mexico, Syrian, Pakistan, Haiti, Myanmar.  Many more than these at least 124 journalists were physically threatened and abused online; an unknown number have been imprisoned and abused by state authorities, shadowy militias or criminal gangs. 

The illiberal tide is more powerful than the flow of liberal ideas today in the unregulated online market of opinion. A groundswell of distrust in so-called mainstream media has been effortlessly generated by sources with no obligations to impartiality and fewer professional standards round fact checking and evidence gathering. While every news source needs to be assessed for accuracy and fairness, the labelling of journalists as ‘enemies of the people’ by President Trump in his first term strayed into language used by the world’s despots. Territory occupied for many years by Vladimir Putin’s Russia. 

The 2025 film Words of War tells the story of Anna Politkovskaya, reporter for the Russian independent newspaper Novaya Gazeta who rose to fame, and therefore to the attention of the Kremlin, through unvarnished despatches from the first Chechen war that uncovered terrible war crimes. Moscow learned its lesson for the second war in Chechnya by declaring the whole region off limits to reporters. For Politkovskaya, this provided an extra incentive to be there, returning to the country over forty times to document ever more awful crimes of disappearance, rape, and torture. 

‘I witness very grave events and no-one else is reporting on them. I can’t not write about it’, Politkovskaya told the BBC’s Sarah Rainsford when they met. The meeting ended with some blunt Slavic advice: instead of interviewing a journalist about the war in Chechnya, the interviewer should be going there herself.   

Words of War has an unreal quality to it. The actors are English, but the scenes are entirely Russian. It is a reminder of Armando Iannucci’s dark comedy The Death of Stalin and even shares an actor in Jason Isaacs, who swaps General Zhukov’s blunt Yorkshire accent for the more cultured tones of Politkovskaya’s anxious husband, Sasha.  

Politkovskaya was a force of nature, and a devout Christian. She knew the kind of people she was messing with and what they were capable of, but she carried on the same, driven by an implacable will to truth. On flying to cover the appalling school siege at Beslan in 2004 – a scene the film begins with - she became violently ill, almost certainly a targeted poisoning like Alexei Navalny suffered on a plane over Siberia. 

I get intimidating calls, people hovering in my hallway, she observed. There’ve been so many threats, there was a time when my editors decided my life really was in danger.  But I’m used to it.  If the FSB is so opposed to me, it only proves that what I’m doing is effective. 

On October 7, 2006, Anna Politkovskaya was shot dead as she entered her block of flats with a handful of groceries. It was Vladimir Putin’s birthday. Five men were eventually found guilty of organising and carrying out the murder, but the person who ordered the killing was never found out. Speculation round how high the order came from is, in a way, superfluous: this is the nature of Russia’s state in the twenty first century.     

Elena Kostyuchenko is a millennial writer who features in the film as a young Novaya Gazeta intern and was inspired by her contact with Politkovskaya, ensuring a legacy in a younger generation: 

She was the first person I saw when I came to the Novaya Gazeta editorial offices. Tall, radiant, with silver-white hair, flying down the hall. I didn’t recognise her. I was just struck by her beauty. 

Stalin’s alleged mantra: no person, no problem, remains barely deniable Kremlin policy. The late politicians Boris Nemtsov and Alexei Navalny are simply the highest profile of a large cohort of individuals barely known in the west who have opposed Putin with stunning levels of bravery. Caricaturing Russians as corrupt, rapacious and violent – as well as being a lazy trope - is to abuse the names of an untold number who retain their dignity, integrity and agency. 

New histories are written in nations where regimes fall, but whether they tell a truthful story about the past depends on the environment the new authorities allow. The human rights group Memorial began this work in the early post-Soviet era, only to be shut down by Putin’s police officers. Words of War should have been made in Russia by Russians. One day maybe it will be, and Anna Politkovskaya will be seen across Russia for what she is: a martyr for truth.  And not an enemy of the people. 

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