Inside the world's largest arms fair

Lavish food and drink sits awkwardly with the sale of gleaming weapons that are ultimately used to k

There is a sense of nervous tension outside the ExCeL centre in London's east end. It is the first day of the Defence Systems and Equipment International (DSEI) exhibition -- otherwise known as the world's largest arms fair -- and a huge line of predominantly middle-aged men in suits are queuing to get inside. Some of them are arms dealers, others government representatives and intelligence agents. Scarcely a word is spoken as we shuffle slowly forwards. Police radios puncture the silence, beeping on and off as burly-looking security guards patrol intently.

Through a set of glass doors and beyond airport-like security scanners are two massive, 145,000 square-feet halls split by a long corridor, dominated on either side by shops and cafes. Delegates from some of the 65 countries in attendance sit enjoying breakfast next to a giant tank, its rooftop gun revolving in circles -- much to the approval of passers-by, who point and take photographs.

The two main exhibition halls have previously hosted concerts by Roxy Music, Alice Cooper and UB40. But today they are crammed with around 1300 exhibits, selling guns, bombs and the latest in security technology. A handful of stalls are devoted to life-saving equipment. Most of the space, however, is reserved for displays featuring 100lb hellfire missiles, AK47 rifles, stealth tanks and even gold-plated handguns.

The quiet dissipates and is replaced by the sound of chatter. Business cards change hands, and multi-million pound contracts are being negotiated. At a large stand run by the defence arm of SAAB, a Swedish company more renowned for its cars, Håkan Kappelin is showing off a laser-guided missile system to delegates from India. It has a range of 8km and can travel at speeds of up to 680 metres per second.

"It could be deployed inside a city like London. And you can engage any type of target," he says. "Not like when you use an infra-red system, where you have problems with houses in the background. Just reload in five seconds and engage the next target."

The delegates nod approvingly. "680 metres per second," one repeats to another.

Upstairs, in a briefing room, Defence Secretary Liam Fox delivers a speech. Anti-arms campaigners have levelled criticism against the government for doing deals with Bahrain and Saudi Arabia in the aftermath of crackdowns on protesters across the Arab world. Fox is dismissive. "I am proud that the UK is the second biggest defence exporter in the world," he says. "This is fundamental part of the coalition government's agenda for economic growth, but it is also part of our strategy of enlightened international engagement."

Back on the exhibition floor, the atmosphere is carefree. A tall Arab man dressed in a pristine white Thawb, and protected by a circle of six bodyguards, is treated like a celebrity at a stand offering intelligence and surveillance systems, made by German company Cassidian. Gold buckles on his brown leather sandals sparkle in the light; people walking by stop and stare. "I think he's a Saudi prince," one says.

Nearby, two glamour models, Rosie Jones and Charlotte McKenna, joke and flirt as they sign copies of a "Hotshots" calendar in which they are pictured, scantily clad, wielding various pistols and rifles. Next to stalls selling vicious-looking machine guns, gas masks and chemical suits for use in the event of a biological weapons attack, free massages are on offer and delegates eat canapés washed down with glasses of sparkling wine.

The prevailing opinion among the delegates and exhibitors is that they are in the business to bring security to the world -- they deny claims made by campaign groups that they are peddlers of death. A representative from Pakistan's exhibit, Major Ali Asghar Mushtaq, says his country is here selling weapons to help bring about a more peaceful world.

"The aim of Pakistan's army is that everything manufactured and sold should not be for killing and terror activities," he says. "It should bring peace on the whole world, not wars." Does he really believe manufacturing arms en masse will help bring about peace? "It's obvious," he says. "Once one country and the other country both have weapons, no one is going to use the weapons against each other. So there will be more stability."

Later, Major Mushtaq and his colleagues are removed from the exhibition after it is discovered they are advertising cluster bombs banned under UK law. But his viewpoint lingers. The South African exhibit on the other side of the hall boasts that it is "securing a peaceful future through high technology defence equipment," and Condor, a Brazilian company that supplied teargas and rubber bullets used against protesters in Bahrain, says it is committed to the "reduction of violence through gradual use of force."

These apparent paradoxes litter the hall. The lavish consumption of food and drink sits awkwardly with the sale of gleaming weapons that are ultimately used to kill and maim. And the talk of security attained through the mass production of arms is reminiscent of George Orwell's dystopian nightmare in Nineteen Eighty-Four, where peace is itself a state of perpetual war.

Walking around the exhibition, it is difficult not to recall US president Dwight Eisenhower's famous 1961 farewell address, during which he warned against the perils of an "immense military establishment and a large arms industry." Although there is an imperative need for the industry to develop, Eisenhower said, it has "grave implications" for the "very structure of our society." Government officials today are keen to point out that last year defence exports generated revenues of more than £22 billion for UK industry. A question Eisenhower might have urged us to ask is: at what cost?

Leaving the ExCeL centre, police officers advise anyone wearing a DSEI pass to conceal it from view. "There are protesters about and they might not like where you've been," one warns. We take a specially ordered train from the stop outside ExCeL to nearby Canning Town, where the arms traders, weapons makers and other defence industry insiders join a crowd of rush hour commuters. Just another bunch of men in suits, they disappear into the night.

Ryan Gallagher is a freelance journalist based in London. His website is here.

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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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