Paul Ryan is the Republicans' "ideas man". Shame his ideas are nonsense

To achieve his plan, Ryan would have to enact spending cuts which are "beyond draconian".

Paul Ryan, Mitt Romney's chosen Vice-Presidential candidate, has a reputation for being the brains of the Congressional Republican Party. But while he talks the talk, his brains are seemingly used more for misleading the public than coming up with credible fiscal policy.

This reputation stems largely from his role at the head of the House of Representatives' budget committee, where Ryan has spent the last 18 months rejecting the Democratic budget, while presenting his own vision of how the Government should be funded, through the "Ryan Plan".

Ryan's alternative budgets were presented annually from 2008, when the Democrats took control of both houses and the Presidency, but the first one to be passed by the House was his 2011 plan, which made it to the Senate before being shot down 57-40. The plan was updated and reintroduced earlier this year, but again fell in the face of Democratic opposition once it made it through the House of Representatives.

The ideological heart of the Ryan Plan can be found in its fourteenth slide:

There's a lot wrong with this graph: it assumes that the American healthcare paradigm, a system which all parties recognise as broken, will continue unless Ryan steps in and changes the country to the "path to prosperity"; it attempts to predict the Federal fiscal situation in 2080 when we can't even reliably predict what it will be like in 2018; and it took a lot of cajoling to get the CBO (an independent financial analysis organisation, and the model for our own OBR) to actually accept that Ryan's plan would result in anything like the debt dynamics he suggests. But it serves one purpose admirably, which is to convince the American public that Paul Ryan is a man who is Serious About Debt.

Unfortunately, that's just not particularly true. As Wonkblog reminds us, looking through his voting history reveals a typical Republican pattern: concerned about high taxes and "handouts", but little fear of the deficit per se. Ezra Klein writes:

He voted for the George W. Bush tax cuts, as well as the war in Iraq and the unfunded Medicare Prescription Drug Benefit. Perhaps his most ambitious policy proposal prior to his celebrated budgets was the Social Security Personal Savings Guarantee and Prosperity Act of 2005, a plan to privatize Social Security. The program’s actuaries found that Ryan’s plan would require $2.4 trillion in additional costs over the first 10 years, and the Bush administration ultimately dismissed it as “irresponsible.”

And one doesn't really need to look into the distant past to learn that the deficit itself ranks rather low on Ryan's list of priorities. His budget plans, like most, are easily split into two sections: changes to taxation, and changes to spending.

The tax changes are relatively simple, clearly specified, and hugely regressive. Ryan has proposed cutting federal income tax rates down to a baseline of 10 per cent and a 25 per cent marginal rate for higher earners, down from the current maximum of 35 per cent, and offset those cuts by removing most tax credits used by the poorest. The end result is a massive transfer of the burden of taxation from the wealthiest to the worst off in society, noteably leaving Romney himself paying just 0.82 per cent of his income in tax:

But while Ryan's tax plan is specified rather precisely, his spending plan isn't. It is famous for the slash-and-burn approach it takes to Medicare (health insurance for the elderly), Medicaid (health insurance for the poor) and Social Security (pensions): Ryan proposes cutting the budget for the first by around a quarter, for the second by around three-quarters, and capping the cost of the second in the face of a rapidly ageing population.

These policies would greatly increase human suffering across America, and have been blasted as "simultaneously ridiculous and heartless" by the likes of Paul Krugman. But they fit the idea of a hardcore deficit hawk. What doesn't is Ryan's policies on everything else – literally. The plan lumps "everything else" (that's defence, infrastructure, education, the environment, the civil service, the FBI. . .) together into a category on which Ryan claims spending will be cut to just 3.75 per cent of GDP.

That's a stupidly low number. It's even lower in the context of Romney's promise to spend 4 per cent of GDP on defence alone; that defence has never cost less than 3 per cent; and that even Ryan calls for a short term increase in defence spending.

Simply put, there is no way that a Romney/Ryan government would ever be able to achieve its spending ambitions. It would try, and hurt millions of people in the process, but even while cuts which are "beyond draconian" are being put in place, it would fail.

So Ryan has a clear, politically easy and well specified plan to cut revenue, and a vague, politically impossible plan to cut spending. It doesn't take a prophet to see that the former would be achieved in six months, while the latter would likely never come close to fruition. The hole in the budget would easily exceed the worst excesses of the Bush years (and that's assuming the Romney/Ryan administration doesn't launch a war with Iran).

So Ryan can credibly claim to be the candidate of lower taxes (for the rich) and can probably claim to be the candidate of smaller government (just not as small as he promises). But the candidate of a lower deficit, the candidate who can fulfil the promise made in the chart at the top of this post, is not him.

Paul Ryan and Mittens Romney. 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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Brexit confusion is scuppering my show – what next?

My week, from spinning records with Baconface, Brexit block and visiting comedy graves.

I am a stand-up comedian, and I am in the process of previewing a new live show, which I hope to tour until early 2018. It was supposed to be about how the digital, free-market society is reshaping the idea of the individual, but we are in the pre-Brexit events whirlpool, and there has never been a worse time to try to assemble a show that will still mean anything in 18 months’ time.



A joke written six weeks ago about dep­orting eastern Europeans, intended to be an exaggeration for comic effect, suddenly just reads like an Amber Rudd speech – or, as James O’Brien pointed out on LBC, an extract from Mein Kampf.

A rude riff on Sarah Vine and 2 Girls 1 Cup runs aground because there are fewer people now who remember Vine than recall the briefly notorious Brazilian video clip. I realise that something that gets a cheer on a Tuesday in Harrogate, or Glasgow, or Oxford, could get me lynched the next night in Lincoln. Perhaps I’ll go into the fruit-picking business. I hear there’s about to be some vacancies.



I sit and stare at blocks of text, wondering how to knit them into a homogeneous whole. But it’s Sunday afternoon, a time for supervising homework and finding sports kit. My 11-year-old daughter has a school project on the Victorians and she has decided to do it on dead 19th-century comedians, as we had recently been on a Music Hall Guild tour of their graves at the local cemetery. I wonder if, secretly, she wished I would join them.

I have found living with the background noise of this project depressing. The headstones that she photographed show that most of the performers – even the well-known Champagne Charlie – barely made it past 40, while the owners of the halls outlived them. Herbert Campbell’s obelisk is vast and has the word “comedian” written on it in gold leaf, but it’s in the bushes and he is no longer remembered. Neither are many of the acts I loved in the 1980s – Johnny Immaterial, Paul Ramone, the Iceman.



I would have liked to do some more work on the live show but, one Monday a month, I go to the studios of the largely volunteer-run arts radio station Resonance FM in Borough, south London. Each Wednesday night at 11pm, the masked Canadian stand-up comedian Baconface presents selections from his late brother’s collection of 1950s, 1960s and 1970s jazz, psychedelia, folk, blues and experimental music. I go in to help him pre-record the programmes.

Baconface is a fascinating character, whom I first met at the Cantaloupes Comedy Club in Kamloops in British Columbia in 1994. He sees the radio show as an attempt to atone for his part in his brother’s death, which was the result of a prank gone wrong involving nudity and bacon, though he is often unable to conceal his contempt for the music that he is compelled to play.

The show is recorded in a small, hot room and Baconface doesn’t change the bacon that his mask is made of very often, so the experience can be quite claustrophobic. Whenever we lose tapes or the old vinyl is too warped to play, he just sits back and utters his resigned, philosophical catchphrase, “It’s all bacon!” – which I now find myself using, as I watch the news, with ­depressing regularity.



After the kids go to sleep, I sit up alone and finally watch The Lady in the Van. Last year, I walked along the street in Camden where it was being filmed, and Alan Bennett talked to me, which was amazing.

About a month later, on the same street, we saw Jonathan Miller skirting some dog’s mess and he told me and the kids how annoyed it made him. I tried to explain to them afterwards who Jonathan Miller was, but to the five-year-old the satire pioneer will always be the Shouting Dog’s Mess Man.



I have the second of the final three preview shows at the intimate Leicester Square Theatre in London before the new show, Content Provider, does a week in big rooms around the country. Today, I was supposed to do a BBC Radio 3 show about improvised music but both of the kids were off school with a bug and I had to stay home mopping up. In between the vomiting, in the psychic shadow of the improvisers, I had something of a breakthrough. The guitarist Derek Bailey, for example, would embrace his problems and make them part of the performance.



I drank half a bottle of wine before going on stage, to give me the guts to take some risks. It’s not a long-term strategy for creative problem-solving, and that way lies wandering around Southend with a pet chicken. But by binning the words that I’d written and trying to repoint them, in the moment, to be about how the Brexit confusion is blocking my route to the show I wanted to write, I can suddenly see a way forward. The designer is in, with samples of a nice coat that she is making for me, intended to replicate the clothing of the central figure in Caspar David Friedrich’s 1818 German masterpiece Wanderer Above a Sea of Fog.



Richard Branson is on the internet and, just as I’d problem-solved my way around writing about it, he’s suggesting that Brexit might not happen. I drop the kids off and sit in a café reading Alan Moore’s new novel, Jerusalem. I am interviewing him about it for the Guardian in two weeks’ time. It’s 1,174 pages long, but what with the show falling apart I have read only 293 pages. Next week is half-term. I’ll nail it. It’s great, by the way, and seems to be about the small lives of undocumented individuals, buffeted by the random events of their times.

Stewart Lee’s show “Content Provider” will be on in London from 8 November. For more details, visit:

This article first appeared in the 27 October 2016 issue of the New Statesman, American Rage