The battle for control of Labour's election machine

As big a question for Ed Miliband as the matter of who delivers Labour’s economic message is the question of who will run the party’s general election campaign.

The Labour Party is undoubtedly more united now than it has been for at least a generation. That is setting the bar fairly low, since its more recent session in government was characterised by a bitter feud between the Prime Minister and the Chancellor and their respective entourages. And Labour’s last stint in opposition only ended once vicious, factional warfare had been quelled.

Veterans declare that the Blair-Brown civil strife was not a patch on the civil wars of the Eighties and that any current tensions around the shadow cabinet are but a dim echo or mild aftershock from the TB/GB era.

That doesn’t stop the media feeling around for cracks to prise open, nor does it stop mischief makers inside and outside the party drawing attention to any fissures that might appear in the otherwise uniform veneer of message discipline. A rich but irregular supply of Kremlinological data is furnished by David Miliband’s periodic interventions.

Whenever the brother who might have been leader says anything in the House of Commons there is a flurry of speculation about his return to the front line of Labour politics. Most of it is unwelcome in the former foreign secretary's office. What he most wants is to be able contribute without it reviving pop-psychoanalytical chatter about his relationship with his brother and without the media gleefully readying itself for a re-enactment of old Blair-Brown-style strife.

Except the only way to get beyond that kind of chatter is for David’s participation to become a normal, regular part of the official Labour offer to the public. It is a good old-fashioned Catch 22: he can’t join the front line because of the psychodrama, and he can’t get out of the psychodrama without rejoining the front line.

The latest round of speculation began with a peculiar piece in the Times (£) on Monday, suggesting that anonymous senior Labour people want David back and are urging him to decide one way or another. The newspaper gave the story deliberate momentum with a leader, echoing that line.

There has been another spike in chatter levels following David’s speech in Tuesday’s welfare debate. The Guardian’s Nick Watt has blogged an arcane hermeneutic reading of the speech to explain what, in the Westminster imagination, David was really trying to say. In an interview in the Mirror yesterday, Ed was asked about his brother and replies that they are now friends. He was also asked to confirm that Ed Balls will hold the shadow treasury brief until the election and declined to do so. Thus the speculative story is embellished and sustained.

The obvious reason Ed Miliband might want his brother back on the front line is to act as a counter-weight to Balls, the shadow cabinet’s most heavyweight figure and the man many in the parliamentary party believe is putting voters off listening to Labour’s economic message.

There was a rash of anti-Balls briefing towards the end of last summer. That came to a stop at Labour’s annual conference, where the shadow chancellor went out of his way to sound collegiate and loyal to the leader’s official line. Both Eds know any hint of a serious rift between them would quickly swallow both of their ambitions. (As I wrote here.) Their relationship is sustained by residual esprit de corps as veterans of Gordon Brown’s entourage and, more substantially, by the old Cold War doctrine of Mutually Assured Destruction.

That doesn’t stop other Labour people agitating for a change of personnel. To some extent, those MPs and scarred Blairite veterans who were toasting David as a king-over-the-water in the early years of Ed’s leadership, when it all looked a bit shaky, have simply amended their toast to shadow-chancellor-over-the-water.

There isn’t any evidence that Ed Miliband plans to satisfy that appetite. At the same time, he cannot ignore the possibility that Balls – indelibly associated in many minds with Gordon Brown’s legacy – is a drag on Labour’s poll rating and an obstacle to the leader’s aspiration to represent renewal and definitive break from the past. Balls, meanwhile, has let it be known that he would rather retire from the front line altogether than take a more junior shadow cabinet role. Miliband hardly wants to contemplate what potential devilry could busy the hands of Balls if they fell idle on the back benches.

The discussion of whether Miliband should hang on to Balls usually focuses on the economic debate. On the one hand, the shadow chancellor’s prediction of a double-dip recession was vindicated; on the other hand, the voters don’t seem to care. But maybe, with a triple dip, they will ... but what if growth returns? And so on and so on, round and round the argument goes. But there is another factor in play.

Balls has historically commanded the loyalty of powerful players within the Labour Party. He has, by reputation, been assiduous in building a discreet internal power base: a party-within-the-party. As is often the case in politics, this apparatus has acquired mythic proportions in excess of its actual clout.

A lot of day-to-day rebuttal and attack politics on the Labour side is in the hands of Tom Watson, the party’s official campaign coordinator, and his deputy Michael Dugher. They are often presumed to be Balls acolytes, a loyalty legacy from the old Brownite clan. The capacity to call on an internal patronage network within the party has traditionally been seen as one of the shadow chancellor’s great advantages - and something that ultimately makes him indispensible to Miliband.

As one party adviser puts it: “Ed Miliband didn’t have a machine when he became leader and he needed one.” Balls’s machine might not have been the most sophisticated, high-tech Nimbus 2000 of 21st Century political combat. It was nonetheless famously effective.

But the Balls-Watson relationship, I’m told, has soured very dramatically since the shadow chancellor started writing for and courting support from the Sun and the Sun on Sunday, newspapers controlled by Rupert Murdoch. Watson styles himself as Murdoch’s nemesis and his standing in the party has grown in proportion to the ferocity of his battle with News Corp. In that key respect, he has greater loyalty to Miliband, whose political stock is just as heavily invested in the moral crusade against Murdochism and all its nefarious ways.

Increasingly, I hear Labour people question whether the famous Balls machine is the force it once was. (Which probably explains why there is a bit more chatter directed against him, since fear of reprisal would once have kept criticism more muted.) None of this detracts from the essential fact that Balls remains one of the Labour party’s most experienced, intelligent and astute political operators. No-one disputes his formidable and acute grasp of economics and his capacity in politics, as one shadow cabinet colleague puts it, “to always see two moves ahead.” Aside from all the mythology, gossip and neurotic navel-gazing lower down the ranks, the shadow chancellor is someone who must be taken seriously and whose removal from the shadow Treasury portfolio could certainly not be undertaken lightly. That is why Ed Miliband appears not to be in any kind of hurry to do it and very probably won’t do it at all.

But as big a question for Ed Miliband as the matter of who delivers Labour’s economic message is the question of who will run the party’s general election campaign; who will craft the strategy, shape the message and ensure it is delivered in the right way? At the moment, the default would be the Watson-Dugher team. There are plenty of people in the party who think they might not be the ideal candidates. “It would just be ‘Tory tax cuts for millionaires’ on a loop”, says one sceptical party insider.

There is a growing clamour for Miliband to name a high-profile figure who will take strategic control of party’s offer to the country. Ideally, it would be someone of sufficient stature that the appointment would send a frisson of anxiety through the Conservative ranks. Do not be surprised if David Miliband's name soon starts floating around in discussions of this hypothetical vacancy.

The Tories have George Osborne fulfilling the strategic function and have recently put Lynton Crosby in charge at a more operational level. Opinion in Westminster is divided as to whether Crosby is a campaigning mastermind or a massive liability to Downing Street. Even the Tories themselves aren’t sure. But no one doubts that his main skill is in getting people focused and organised. He is a notorious bringer of discipline. (He helped secure Boris Johnson’s mayoral victories partly just by making sure his candidate took the whole process seriously enough and turned up to work on time.)

The Tories are starting to get properly organised for the battle of 2015. Labour needs to get its own machine tuned and oiled for combat. But whose machine will it be?

Labour Party deputy chair and campaign coordinator Tom Watson. Photograph: Getty Images.

Rafael Behr is political columnist at the Guardian and former political editor of the New Statesman

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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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