The political impossibility of the Ryan-Romney budget

You are better off believing in the tooth fairy than the Republican pair's economic strategy.

Pain has no political constituency.

This fundamental rule of American politics (and democratic systems more generally) points up the difficulty of enacting or sustaining public policies that leave large numbers of citizens worse off. Politicians dread casting votes on legislation that will impose costs on any significant group of constituents, lest the opposition seize on the issue in the next election. Austerity policies typically spell defeat for the political party or coalition that imposes them (see Greece). Given the political consequences of inflicting pain, many of the key budget prescriptions embodied in the budget plan developed by Representative Paul Ryan and now effectively endorsed by Mitt Romney will never be realized in practice.

Political parties that run on a “cod liver oil” platform face a critical obstacle on the campaign trail. They can always be undersold in the competition for votes by other parties that offer voters instead the proverbial spoonful of sugar. The political challenge entailed by recommending policies that promise pain becomes more acute if the danger that the pain is designed to avert lies far off in the future.

In 1984, Democratic presidential nominee Walter Mondale vividly demonstrated the lesson that pain is a losing political proposition. He believed that the American people would accept the hard truth that tax increases were the only solution to the large federal deficit generated by the tax cuts pushed through by the Reagan administration. In his acceptance speech at the Democratic convention, he delivered the bad news directly:

“Whoever is inaugurated in January, the American people will have to pay Mr. Reagan’s bills. The budget will be squeezed. Taxes will go up….Mr. Reagan will raise taxes, and so will I. He won’t tell you. I just did.”

Mondale’s candor earned him no credit among the American people. With barely 40 per cent of the popular vote, he lost 49 states. (If Reagan had decided to campaign in Minnesota, Mondale’s home state, the Democrat might have lost all fifty.)

Another episode from the Reagan era demonstrates a more palatable approach to allocating pain. In 1981, recognizing that Social Security would soon face a short-term funding shortfall, Reagan appointed a bipartisan group, the National Commission on Social Security Reform (called the Greenspan Commission after its chair, Alan Greenspan) to review the program and its finances. The commission recommended a series of changes that included increased taxes and reduced benefits. Congress in 1983 approved recommendations that yielded $168bn to assure that the program would remain solvent. The solution set borrowed from both parties, including increasing in the retirement age and raising the payroll tax ceiling on higher income workers. Importantly, the commission gave both parties political cover, and the bipartisan support effectively removed the issue from the 1984 campaign.

But the conditions that made possible the 1983 compromise have proven harder to replicate over time. Barack Obama sought to lay the groundwork for a similar bipartisan approach when he appointed the National Commission on Fiscal Responsibility and Reform (usually referred to after its co-chairs as Simpson-Bowles). Rather than embrace the report, however, lawmakers in both parties shunned it. Among the obstacles were a more sharply polarized political context and the lack of urgency inherent in the underlying problem. Any long-term debt crisis involves a distant threat, quite unlike the immediate problems facing Social Security in the early 1980s.

If we apply the lessons from these episodes to the Ryan budget, certain conclusions follow. First, so long as the Democrats control one of the main policy branches of the national government (the White House, the Senate, or the House), the plan will go nowhere. Indeed, that is the best of all worlds for the GOP, because then Republicans don’t have to answer for the consequences. Second, were the Republicans to sweep the 2012 elections, they might enact the features of the plan attractive to their core constituents — cutting discretionary expenditures for the poor and lowering taxes. The result would be a larger federal deficit and a worsening of the future debt problem. Third, Republican lawmakers would likely defer proposed changes in Medicare and changes in the tax code (such as eliminating popular deductions) intended to offset tax cuts. These unpopular moves would leave them politically vulnerable in 2014. To enact them could spell a quick farewell to majority status for the GOP.

Republicans know this. Many are already scared to run on the Ryan scheme to replace traditional Medicare for those under the age of 55 with vouchers that cannot possibly cover the same level of services. That Medicare poses a danger to the federal government’s solvency as baby boomers retire may be true, but proposing to slash Medicare spending still makes for bad politics. (And the Republican ticket appreciates the politics, too, witness the Romney-Ryan attack on Obamacare for allegedly cutting Medicare.) Nor will the Republicans’ Orwellian efforts to package the reform as a plan to protect and enhance Medicare work. In a contested information environment, efforts to reframe the terms of debate don’t work.

The same holds for the unspecified revenue increases that the Ryan plan expects to realize from reforming the tax code. At a time when the federal government already takes in much less than it spends, the GOP budget formula seeks lower tax rates and an end to taxes on capital gains. The plan in its pure form offers more than $4trn in tax cuts over the next decade. Finding the revenue to offset such a loss runs afoul of political reality at every turn. End the home mortgage interest deduction? The one for state and local taxes? How about putting a stop to charitable deductions? These moves amount to political suicide. Yet nothing less could close the gap between revenues and expenditures entailed by the Ryan budget (or the Romney tax plan proposed during the primaries).

In the end, then, the politics of pain mean that anything resembling the Ryan-Romney budget approach will become another exercise in supply-side economics — the discredited faith that cutting taxes sharply enough will generate so much economic growth that total revenues will increase. The Republicans can deliver the tax cuts and some spending reductions targeted at the most vulnerable, who are also the least organized and powerful in our politics. But for those who think the Ryan budget represents a serious approach to the long-term federal debt problem, believing in the tooth fairy is a better bet.

Andrew Polsky is Professor of Political Science at Hunter College and the CUNY Graduate Center. A former editor of the journal Polity, his most recent book is Elusive Victories: The American Presidency at War. This post originally appeared on the OUP blog here.

Mitt Romney and Paul Ryan arrive at a campaign rally in Powell, Ohio. Photograph: Getty Images

Andrew Polsky is Professor of Political Science at Hunter College and the CUNY Graduate Center. A former editor of the journal Polity, his most recent book is Elusive Victories: The American Presidency at War.

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Love a good box set? Then you should watch the Snooker World Championships

The game relies on a steady arm, which relies on a steady nerve. The result is a slow creeping tension needs time and space to be properly enjoyed and endured. 

People are lazy and people are impatient. This has always been so – just ask Moses or his rock – but as illustrated by kindly old Yahweh, in those days they could not simply answer those impulses and stroll on.

Nowadays, that is no longer so. Twitter, YouTube and listicles reflect a desire for complex and involved issues, expansive and nuanced sports – what we might term quality – to be condensed into easily digestible morsels for effort-free enjoyment.

There is, though, one notable exception to this trend: the box set. Pursuing a novelistic, literary sensibility, it credits its audience with the power of sentience and tells riveting stories slowly, unfolding things in whichever manner that it is best for them to unfold.

In the first episode of the first series of The Sopranos, we hear Tony demean his wife Carmela's irritation with him via the phrase “always with the drama”; in the seventh episode of the first series we see his mother do likewise to his father; and in the 21st and final episode of the sixth and final series, his son uses it on Carmela. It is precisely this richness and this care that makes The Sopranos not only the finest TV show ever made, but the finest artefact that contemporary society has to offer. It forces us to think, try and feel.

We have two principal methods of consuming art of this ilk - weekly episode, or week-long binge. The former allows for anticipation and contemplation, worthy pursuits both, but of an entirely different order to the immersion and obsession offered by the latter. Who, when watching the Wire, didn’t find themselves agreeing that trudat, it's time to reup the dishwasher salt, but we’ve run out, ain’t no thing. Losing yourself in another world is rare, likewise excitement at where your mind is going next.

In a sporting context, this can only be achieved via World Championship snooker. Because snooker is a simple, repetitive game, it is absorbing very quickly, its run of play faithfully reflected by the score.

But the Worlds are special. The first round is played over ten frames – as many as the final in the next most prestigious competition – and rather than the usual week, it lasts for 17 magical days, from morning until night. This bestows upon us the opportunity to, figuratively at least, put away our lives and concentrate. Of course, work and family still exist, but only in the context of the snooker and without anything like the same intensity. There is no joy on earth like watching the BBC’s shot of the championship compilation to discover that not only did you see most of them live, but that you have successfully predicted the shortlist.

It is true that people competing at anything provides compelling drama, emotion, pathos and bathos - the Olympics proves this every four years. But there is something uniquely nourishing about longform snooker, which is why it has sustained for decades without significant alteration.

The game relies on a steady arm, which relies on a steady nerve. The result is a slow creeping tension needs time and space to be properly enjoyed and endured. Most frequently, snooker is grouped with darts as a non-athletic sport, instead testing fine motor skills and the ability to calculate angles, velocity and forthcoming shots. However, its tempo and depth is more similar to Test cricket – except snooker trusts so much in its magnificence that it refuses to compromise the values which underpin it.

Alfred Hitchcock once explained that if two people are talking and a bomb explodes without warning, it constitutes surprise; but if two people are talking and all the while a ticking bomb is visible under the table, it constitutes suspense. “In these conditions,” he said, “The same innocuous conversation becomes fascinating because the public is participating in the scene. The audience is longing to warn the characters on the screen: ‘You shouldn't be talking about such trivial matters. There is a bomb beneath you and it is about to explode!’”

Such is snooker. In more or less every break, there will at some point be at least one difficult shot, loss of position or bad contact – and there will always be pressure. Add to that the broken flow of things – time spent waiting for the balls to stop, time spent prowling around the table, time spent sizing up the table, time spent cleaning the white, time spent waiting for a turn – and the ability for things to go wrong is constantly in contemplation.

All the more so in Sheffield’s Crucible Theatre. This venue, in its 40th year of hosting the competition, is elemental to its success. Place is crucial to storytelling, and even the word “Crucible” – whether “a ceramic or metal container in which metals or other substances may be melted or subjected to very high temperatures,” “a situation of severe trial”, or Arthur Miller’s searing play – conjures images of destruction, injustice and nakedness. And the actual Crucible is perhaps the most atmospheric arena in sport - intimate, quiet, and home to a legendarily knowledgeable audience, able to calculate when a player has secured a frame simply by listening to commentary through an earpiece and applauding as soon as the information is communicated to them.

To temper the stress, snooker is also something incredibly comforting. This is partly rooted in its scheduling. Working day and late-night sport is illicit and conspiratorial, while its presence in revision season has entire cohorts committing to “just one more quick frame”, and “just one more quick spliff”. But most powerfully of all, world championship snooker triggers memory and nostalgia, a rare example of something that hasn’t changed, as captivating now as it was in childhood.

This wistfulness is complemented by sensory pleasure of the lushest order. The colours of both baize and balls are the brightest, most engaging iterations imaginable, while the click of cue on ball, the clunk of ball on ball and the clack of ball on pocket is deep and musical; omnipresent and predictable, they combine for a soundtrack that one might play to a baby in the womb, instead of whale music or Megadeth.

Repeating rhythms are also set by the commentators, former players of many years standing. As is natural with extended coverage of repetitive-action games, there are numerous phrases that recur:

“We all love these tactical frames, but the players are so good nowadays that one mistake and your opponent’s in, so here he is, looking to win the frame at one visit ... and it’s there, right in the heart of the pocket for frame and match! But where’s the cue ball going! it really is amazing what can happen in the game of snooker, especially when we’re down to this one-table situation.”

But as omniscient narrators, the same men also provide actual insight, alerting us to options and eventualities of which we would otherwise be ignorant. Snooker is a simple game but geometry and physics are complicated, so an expert eye is required to explain them intelligibly; it is done with a winning combination of levity and sincerity.

The only essential way in which snooker is different is the standard of play. The first round of this year’s draw featured eight past winners, only two of whom have made it to the last four, and there were three second-round games that were plausible finals.

And just as literary fiction is as much about character as plot, so too is snooker. Nothing makes you feel you know someone like studying them over years at moments of elation and desolation, pressure and release, punctuated by TV confessions of guilty pleasures, such as foot massages, and bucket list contents, such as naked bungee jumping.

It is probably true that there are not as many “characters” in the game as once there were, but there are just as many characters, all of whom are part of that tradition. And because players play throughout their adult life, able to establish their personalities, in unforgiving close-up, over a number of years, they need not be bombastic to tell compelling stories, growing and undergoing change in the same way as Dorothea Brooke or Paulie Gualtieri.

Of no one is this more evident that Ding Junhui, runner-up last year and current semi-finalist this; though he is only 30, we have been watching him almost half his life. In 2007, he reached the final of the Masters tournament, in which he faced Ronnie O’Sullivan, the most naturally talented player ever to pick up a cue – TMNTPETPUAC for short. The crowd were, to be charitable, being boisterous, and to be honest, being pricks, and at the same time, O’Sullivan was playing monumentally well. So at the mid-session interval, Ding left the arena in tears and O’Sullivan took his arm in consolation; then when Ding beat O’Sullivan in this year’s quarter-final, he rested his head on O’Sullivan’s shoulder and exchanged words of encouragement for words of respect. It was beautiful, it was particular, and it was snooker.

Currently, Ding trails Mark Selby, the “Jester from Leicester” – a lucky escape, considering other rhyming nouns - in their best of 33 encounter. Given a champion poised to move from defending to dominant, the likelihood is that Ding will remain the best player never to win the game’s biggest prize for another year.

Meanwhile, the other semi-final pits Barry Hawkins, a finalist in 2013, against John Higgins, an undisputed great and three-time champion. Higgins looks likely to progress, and though whoever wins through will be an outsider, both are eminently capable of taking the title. Which is to say that, this weekend, Planet Earth has no entertainment more thrilling, challenging and enriching than events at the Crucible Theatre, Sheffield.

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