Why UKIP's right wing economics won't appeal to the city

They're far too simple.

“The government has NO money!!!” – so erupted a speaker at a lunch at the House of Commons, and he brought down his fist so hard on the table the water glasses bounced into the air. As they landed, even I received the message that this was someone with a sense of conviction.

To be fair this wasn’t the first time I had come across Professor Tim Congdon: he was one of the first people to warn of the impending problems in the UK economy in a 1987 Channel 4 opinion piece just at the time when everyone else was congratulating themselves that the Thatcher government had achieved the holy grail of a deunionised, free market economy based upon borrowed money. People had been persuaded that everybody could be materially equal as long as you were up to your neck in debt but Congdon was intent on pricking that particular bubble. Much to everyone’s annoyance, he was right.

Fast forward some time from the tub-thumping House of Commons moment and Congdon is standing for the leadership of the UK Independence Party (UKIP) against Nigel Farage. He loses, but in the process has imbedded himself deeply into the early intellectual base of the party, mainly because he is usually right on economics. His main area of interest is how money dictates inflation. Or, more to the point, how the growth of borrowed money dictates inflation: the more borrowed money there is, the more inflation there is. It seems a self-evident truth but some are apt to violate it from time to time. The departure from this mantra led Congdon to become disappointed with Margaret Thatcher in the latter years of her premiership. Unforgivably, inflation had hardly changed, at some 10 per cent, at the end as at the beginning of her premiership, because according to Congdon she ignored the law of controlling broad money supply  – it was a betrayal of his principles.

Congdon is famously unforgiving to people who contradict him on economic matters, especially when he believes himself to be uncontrovertibly right. But it isn’t out of a sense of hand-wringing fear that one wonders why he is so absent in UKIP’s public statements on economic policy even though he is officially UKIP’s economics spokesman. Perhaps even more interesting, why there are no economic policies on UKIP’s website? There is a long exposition on their position on tax, written by Godfrey Bloom MEP, but that is all. Bloom laces his text with classical references from Adam Smith through David Ricardo, Arthur Laffer and the Regan/Thatcher nexus. You get the feeling Aristotle is missing merely because there wasn’t enough room.

There are some economic principles within Bloom’s thesis: an acknowledgement of the UK’s chronic debt position, recognition of the rising UK interest bill and the desire to reduce taxes to increase the tax take. There is also the claim of being able to reduce government expenditure by £90bn a year without touching front-line services, including defence. There is advocacy of low and flat taxes and the idea that people are better than governments at spending their own money. If you shut your eyes and had it read out loud you would be forgiven for confusing it with a Conservative Party political broadcast (particularly if you left out the stuff about Europe but even that is beginning to harmonise).

What UKIP appeal to is what they would call common sense economics. They are “sound money” advocates: they see the economy like a PLC or a household. They certainly don’t advocate policies that would put them in the camp of those who would use that last hiding place of failed economic policy – currency devaluation – as a tool for economic management. The economist David Blanchflower would be shaking his head in disbelief at this omission, as though – in a famous similie -- they were going onto a golf course with only a driver and a putter in their bag.

On the surface you could be forgiven for assuming that if the UKIP economic thesis, such as it is, could be brought together into something with specific implementation points, there would be many in the clubs up and down Pall Mall and the wine bars of the City of London nodding in agreement with the principles evinced. But this forgets that proper capitalists don’t necessarily want sound money policies: they may welcome low taxes but in capitalist societies all profits are financed through a lavish debt cycle which is the antimatter of sound money and, by extension, of Tim Congdon. Rapacious and calculating capitalists beset by cold ambition for profit would rather see a party in power which lets society at large flash the cash than one that saved up for an indulgence sometime in the future. So to say that the City, or business generally, would automatically welcome UKIP on the basis of ostensibly right-wing policies is too simplistic.

The right isn’t synonymous with capitalists and capitalism isn’t synonymous with financial temperance. In fact, arguably, the opposite is true and may be what is needed in the future. UKIP have a problem.

Nigel Farage. Photograph: Getty Images

Head of Fixed Income and Macro, Old Mutual Global Investors

Getty
Show Hide image

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.

0800 7318496