Romney has much to gain from a deal with Ron Paul

Paul could aid Romney's attempt to win over sceptical conservatives.

We have now entered the stage of the presidential election season in which reporters are getting bored. They have started playing a game called Find the Gaffe.

Here's how you play: When a candidate speaks publicly, pay attention to every sentence, phrase and clause that could be used against him by the opposing campaign.

For instance: Last week, President Barack Obama was explaining why the unemployment rate ticked up to 8.2 per cent in May, thus raising fears that the recovery is stalling and talk of a dip into another recession. His conclusion was that the public sector has seen significant job loss while the private sector has shown incremental gains. "The private sector is doing fine," he said.

Blammo!

"Are you kidding?" said House Majority Leader Eric Cantor. The private sector is not doing fine. "Did he see the job numbers that came out last week?"

Mitt Romney rejected the idea increasing the size of government by creating more public-sector jobs:

"He says we need more firemen, more policemen, more teachers. Did he not get the message of Wisconsin? The American people did. It's time for us to cut back on government and help the American people."

Fire the beloved firemen! Blammo!

"I would suggest [Romney]'s living on a different planet if he thinks that's a prescription for a stronger economy," said David Axelrod, the president's senior political adviser.

And on it goes. It's enough to make you forget there are other people, other candidates, involved in the election.

You don't hear much about third parties inside or outside the US, but they exist. They are tiny compared to Republicans and Democrats yet they can be game-changers by pulling votes from one of the other candidates. The Green Party's Ralph Nader is perhaps the most famous example. In 2000, he peeled enough Florida votes from Al Gore to give George W. Bush the win.

Gary Johnson is another. He's the former Republican governor of New Mexico and current nominee for the Libertarian Party. He couldn't gain entry into an over-stuffed roster of GOP candidates, because, well, except for fiscal matters, Johnson isn't much of a Republican: He's pro-pot, pro-gay marriage, pro-choice. He supports the Tea Party and the Occupy Movement. But! He does want to slash the federal government's annual budget by $1 trillion. For this and (hopefully) other reasons, the Libertarian Party tapped him last month.

When it was clear he wasn't going anywhere as a Republican, Johnson launched a bid for the Libertarian Party's nomination. That meant notifying the Secretary of State of each state in the union that he'd no longer pursue the GOP's nomination. In Michigan, he missed the deadline for withdrawal by three minutes, thus violating a law that bars candidates who lose primaries from switching parties so they can run in the general election.

As of now, Johnson won't appear on the ballot. That's why the Libertarian Party of Michigan is poised to file a lawsuit next week alleging that Republicans in Michigan are reading the law too narrowly (three minutes!) in order to keep Johnson off that state's presidential ballot. The reason, they say, is that Romney fears a libertarian candidate will siphon off votes in a swing state where the margin of victory is likely to be slim. They might be right.

***

Meanwhile, another libertarian has set off a firestorm by endorsing the candidacy of Mitt Romney. That would be US Sen. Rand Paul of Kentucky, the son of Ron Paul. The endorsement came on Fox News when Rand Paul called for greater "kinship between our families." That was kinda weird but kinda weirder was that Rand's announcement occurred while Dad Paul was technically still running for president. The Revolution was not pleased.

But unlike Obama's saying the private sector is doing fine and unlike Romney's saying the American people want fewer firefighters, Rand's endorsement wasn't a gaffe.

Ron Paul has a history of breaking from GOP ranks when he believes the party is going in the wrong direction. He did it in 1988 when he ran on the Libertarian Party ticket (as Johnson is now) against the Republican Party's Anointed One, George H.W. Bush. This time, it's an inside fight where Paul has captured gads of delegates in caucus states even though he didn't come close to winning the popular vote in those states. With the delegates, Paul hopes to influence the party from its libertarian flank, though no one is sure how he plans to do that. More certain is that Paul has much to bargain with and Rand's endorsement may be a signal that Dad is ready to deal.

Romney, for his part, stands to gain a lot from an association with Paul. For one thing, Romney continues to struggle with conservatives. He can't sway independent voters without getting hammered by conservatives sceptical of his bona fides. No one, however, doubts Paul's conservatism. For another, Romney does not inspire voters, even Republicans. Paul, on the contrary, has built a voracious following.

Time will tell, of course, and the national convention is still a long way off. Meanwhile, it's good reminder that sometimes a gaffe is just a gaffe, except when it isn't.

Republican presidential candidate Mitt Romney speaks during a campaign rally in Las Vegas, Nevada. Photograph: Getty Images.

John Stoehr teaches writing at Yale. His essays and journalism have appeared in The American Prospect, Reuters Opinion, the Guardian, and Dissent, among other publications. He is a political blogger for The Washington Spectator and a frequent contributor to Al Jazeera English.

 

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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.