The Iain Dale Iran challenge: Mehdi Hasan will pay him £100 if...

A nuclear throwdown.

Last night, on my way home after doing the late-night paper review on Sky News, I got involved in a minor Twitter spat with Iain Dale over the nature of Iran's nuclear programme. Iain is one of my favourite Tories - intelligent, open-minded, unpredictable, amusing. He's also my publisher - which means, of course, that I'm contractually obliged to say nice things about him.

Iain tweeted:

@ns_mehdihasan on #skypapers "... Iran's nuclear programme, if it exists at all." No, it's clearly a CIA plot [bangs head against wall].

When I pointed out that I had been referring to Iran's alleged nuclear weapons programme, not its NPT-approved nuclear energy programme, Iain responded:

@ns_mehdihasan "alleged weapons programme"? Come on. Even the IAEA reckons they're developing such a programme. Not being partisan at all.

So here's my challenge to Iain: if he can find even a single quote from the IAEA's latest report on Iran in which the UN's nuclear watchdog says, without caveat or qualification, that the self-styled Islamic Republic is building a nuclear bomb, developing nuclear weapons, or working on an active nuclear weapons programme, I will pay him the princely sum of £100. This is the "Iain Dale Iran challenge". In fact, it's open to anyone out there in the blogosphere - not just Iain.

But, before you start Googling and ctrl-F-ing, let me just point out that quoting the bits in the report where it says:

The information indicates that Iran has carried out the following activities that are relevant to the development of a nuclear explosive device

or

The information indicates that prior to the end of 2003 the above activities took place under a structured programme. There are also indications that some activities relevant to the development of a nuclear explosive device continued after 2003, and that some may still be ongoing.

or

The Agency has serious concerns regarding possible military dimensions to Iran's nuclear programme.

. . . will not be accepted. Why? Re-read those tentative sentences again - none of them state or conclude with any certainty or confidence that Iran is developing a nuclear weapons programme right now, let alone building nuclear bombs. They tend to relate to stuff that allegedly went on in or around 2003. In fact, in the same report, the IAEA admits that it

continues to verify the non-diversion of declared nuclear material at the nuclear facilities and LOFs declared by Iran under its Safeguards Agreement

And as the BBC's James Reynolds pointed out at the time:

The report says that Iran has carried out activities 'relevant to the development of a nuclear explosive device'. But. . . the report does not state that Iran is actually building a nuclear weapon.

Here's Greg Thielmann, a former US State Department intelligence analyst who now works for the Arms Control Association (ACA), commenting on the IAEA's November report:

There is troubling evidence suggesting that studies are still going on, but there is nothing that indicates that Iran is really building a bomb. . . Those who want to drum up support for a bombing attack on Iran sort of aggressively misrepresented the report.

Oh, and here's the US defence secretary, Leon Panetta, speaking on CBS, in January (that is, two months after the publication of the IAEA's Iran report which, according to Iain Dale, "reckons they're developing such a programme"):

Are [the Iranians] trying to develop a nuclear weapon? No.

On a side note, I've noticed how people who seem so keen to confront Iran over its nuclear programme tend not to have actually read the IAEA's report, or followed the history of Iran's strained relations with the IAEA. Iain clearly hadn't read it - when I asked him to quote from the report itself, rather than newspaper reports about the report, he responded by citing. . . a newspaper report!

Here's Iain's reasoning:

@ns_mehdihasan How strange. The NYT is the type of lefty liberal paper you normally quote approvingly. Stop being partisan :)

The New York Times is indeed a "lefty liberal paper", by US standards, but it also has an ignominious history of misrepresenting WMD "threats" in the Middle East. In 2004, after the Iraq war, the Times's public editor , Daniel Okrent, issued a now-notorious apology for the paper's failure to challenge the Bush administration's false and exaggerated claims about Iraq's supposed "weapons of mass destruction":

Some of The Times's coverage in the months leading up to the invasion of Iraq was credulous; much of it was inappropriately italicized by lavish front-page display and heavy-breathing headlines; and several fine articles by David Johnston, James Risen and others that provided perspective or challenged information in the faulty stories were played as quietly as a lullaby. . .

. . . The Times's flawed journalism continued in the weeks after the war began, when writers might have broken free from the cloaked government sources who had insinuated themselves and their agendas into the prewar coverage. . .

. . . The failure was not individual, but institutional.

I only wish every journalist and blogger writing or tweeting on Iran right now would first have a read of Okrent's piece to avoid making the same mistakes again.

 

 

 

Mehdi Hasan is a contributing writer for the New Statesman and the co-author of Ed: The Milibands and the Making of a Labour Leader. He was the New Statesman's senior editor (politics) from 2009-12.

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Britain's diversity crisis starts with its writers. Here's why

What happens on the casting couch draws the headline, but the problem starts on the page, says James Graham. 

I’m a playwright and screenwriter, which – pertinent to the issues we’ll be discussing in this enquiry – still feels weird to say. I get embarrassed, still, saying that, in a taxi or hairdressers. I don’t know why I still carry that insecurity about saying I’m a writer, but I do, because it sounds like I’m lying, even in my own head.

Obviously I’m completely biased, and probably overstating the influence and importance of my own profession, but I think so many of the problems surrounding lack of representation in the performing arts start with writers.

If we aren’t encouraging and generating writers from certain communities, classes or backgrounds to tell their stories, to write those roles, then there’s not going to be a demand for actors from those communities to play them. For casting agents or drama schools to prioritise getting diverse actors on stage. We need to create those plays and TV dramas –like the ones that I grew up with. I didn’t have any access to much theatre until I was fifteen, but I did have Boys From the Black Stuff, and I did have Cracker, and I did have Band of Gold. I think the loss of those regional producing bodies – Central, Granada – now all completely centralised into London, means that we just tell less of those stories. I remember a TV show called Boon – anyone? – which was set in Nottingham, and I would see on the TV streets I’d walked down, and think, Oh my God, that actor is walking down a street I’ve walked down. That sounds like it’s insignificant. If you’re from a town that is deprived, that feels ignored, it isn’t.

I was very lucky that at my school (which was, at the time, the largest comprehensive school in the country), from the headmaster down to the drama teachers, everyone just believed that working class kids should do plays. Be in plays, read plays, perform plays to the community. Both inside the curriculum of the school day, and outside it – drama teachers dedicating their time to staying behind. Our head of drama identified a group of us who clearly had a passion for it. We weren’t likely thesps. One lad’s entire family were made unemployed when the pit closed. Many lived on the big council estate. My parents and step-parents worked respectively in warehouses, the local council, or as the local window cleaner (incidentally, my first real job. Which I was terrible at).

Our drama teacher was encouraged and determined enough to launch the first ever Drama A-Level in our school. Based on that, about 10 or 12 of us got the confidence – or arrogance – to take our own show to the Edinburgh Festival. We were 16 or 17, and the first people in our community to ever go to visit the festival. We did a play up there, and after that, a psychological unlocking happened, where I thought: maybe I could do a degree in drama (it was the first time I had ever thought to do so) at university (the first in my family to go. Well, joint-first. My twin sister went on the same day, but I walked into my digs first).

I enrolled in drama at Hull University. A high proportion of my peers were middle class. A higher proportion from London or the South East. They talked often about institutions I had never heard of. They were talking about the National Theatre: I didn’t know we had a national theatre that my parents had been paying tax for that I had never been to. Many had performed with the (again, apparently) ‘National’ Youth Theatre, also in London. Paul Roseby, also on this panel, has made such leaps forward in getting the NYT producing in regional venues, and making auditions possible for people across the UK, but unfortunately, at the time, that wasn’t the case for me – and I was the ideal candidate to be in the National Youth Theatre.

I started writing because I had the confidence after I read texts by people like Jim Cartwright, Alan Bennett, John Godber, Alan Ayckbourn: Northern writers, working class writers that made me think it wasn’t just something that other people do.

After returning home, and working at local theatres, I moved down to London. I had to. The major new writing producers are there. All the TV companies are there. The agents are there. I was lucky to find support in a pub fringe theatre – though the economics meant there was no money to commission, so I wrote plays for free for about four years, that would get produced, and reviewed in the national press, while I worked various jobs in the day and slept for a time on a mate's floor. The first person to ever pay to commission me to write a play was Paul Roseby of the National Youth Theatre. I’m now very lucky to be earning a living doing something I love. In a way, compared to actors, or directors, it’s easier for writers who don’t come from a background that can sustain them, financially, in those early years. Your hours can be more flexible. Yes, it was annoying to miss rehearsals because I had a shift in a call centre, but it was still possible to do it. If you’re an actor or director, you’re fully committed. And if you’re doing that for nothing, there starts to be cut-off point for those from backgrounds who can’t.

I’m sure that local and regional theatres are the key to drawing in talent from less privileged backgrounds. But the range of national arts journalism that cover work outside London has been so significantly reduced. In our little echo chamber a few weeks ago, we theatre types talked about Lyn Gardner at the Guardian. Her coverage has been cut, which is very directly going to affect her ability to cover theatre shows outside of London – and so the self-fulfilling cycle of artists leaving their communities to work exclusively in London takes another, inevitable, turn.

I am culpable in this cycle. I have never done a play at the Nottingham Playhouse, my local producing house growing up – why? Because I’ve never submitted one, because I know that it will get less national press attention. So I just open it in London instead. That’s terrible of me. And I should just bite the bullet and say it doesn’t matter about the attention it gets, I should just go and do a story for my community. And if I, and others, started doing that more, maybe they will come.

I also want to blame myself for not contributing back to the state schools that I come from. I really really enjoy going to do writing workshops with kids in schools, but I would say 90 per cent of those that I get invited to are private schools, or boarding schools, or in the South of England. Either because they’re the ones that ask me, because they’re the ones who come and see my shows in London and see me afterwards backstage, or because they have the confidence to email my agent, or they have the budget to pay for my train ticket. Either way, I should do more. It would have helped the younger me so much to meet a real person, from my background, doing what I wanted to do.

I don’t know how to facilitate that. I take inspiration from Act for Change, creating a grassroots organisation. I know that there is a wealth of industry professionals like me who would, if there was a joined-up structure in place that got us out there into less privileged communities, we would on a regular basis go to schools who don’t get to meet industry professionals and don’t unlock that cultural and psychological block that working class kids have that says, that is not for me, that is something that other people do, I would dedicate so much of my time to it. That’s just one idea of hopefully better ones from other people that might come out of this enquiry.

James Graham is a playwright and screenwriter. This piece is adapted from evidence given by James Graham at an inquiry, Acting Up – Breaking the Class Ceiling in the Performing Arts, looking into the problem of a lack of diversity and a class divide in acting in the UK, led by MPs Gloria De Piero and Tracy Brabin.