Tory MPs divided over tax cuts after Miliband's 10p tax pledge

Conservative MP Graham Brady demands the abolition of Air Passenger Duty but Robert Halfon tells the New Statesman it would be the wrong move.

After Ed Miliband's audacious pledge to reintroduce the 10p tax rate, funded by a mansion tax on houses worth more than £2m, George Osborne is under even greater pressure from Conservative MPs to play a "trump card" when he delivers the Budget on 20 March. There's frustration among the Tories that the 10p tax rate, a measure championed by a Conservative MP, Robert Halfon, was taken up by Labour before Halfon's own party. If he wants to avoid a backlash, the Chancellor now has no choice but to announce significant tax cuts when he steps up to the despatch box next month. 

In an article for today's Daily Telegraph, Graham Brady (profiled by Caroline earlier this year), the chairman of the powerful 1922 Committee of backbench Tory MPs, wastes no time in setting out hs Budget wishlist. While praising the Chancellor's cuts to corporation tax (which has been reduced from 28 per cent to 23 per cent and will fall again to 21 per cent next year), he urges him to "go further". 

Brady's principal demand is for Osborne to abolish Air Passenger Duty - "the highest aviation tax in the world" - which the Chancellor increased by eight per cent in last year's Budget. He points to a study by PricewaterhouseCoopers which found that scrapping the tax would deliver an immediate economic boost of 0.5 per cent of GDP. This, Brady pointedly notes, is "not to be sneezed at in these days of anaemic growth." 

But when I spoke to Robert Halfon earlier this week (undoubtedly now the most influential backbench MP), he told me that cutting Air Passenger Duty would be the wrong move. "In times like this, flying is a luxury, it's not something you have to do" he said. "It's [reducing Air Passenger Duty] not the best way to help low-earners".

Having criticised Labour's 10p tax proposal on the grounds that it would only mean an extra £34 a year for a family (once benefit withdrawal is taken into account), Halfon is still pushing for Osborne to adopt his policy in full: a reintroduced 10p rate on earnings between £9,440 and £12,000 (Miliband's proposal would only apply to the first £1,000 of earnings over the personal allowance).

But with Osborne having unambiguously ruled out the introduction of a "mansion tax" ("this party of home ownership will have no truck with it," he said in his Conservative conference speech), the question remains how the Chancellor would pay for a 10p rate. Halfon has proposed funding the measure by  ring-fencing the extra revenue from the 45p rate (on the assumption that a lower top rate of tax will benefit growth). But with growth likely to remain anaemic or non-existent, Osborne will have little room for manoeuvre, not least because he has already promised to raise the personal allowance to £10,000 by the end of this parliament. Whether or not Tory MPs secure the tax cuts they wish to see may yet depend on whether the Chancellor, a fiscal conservative to his core, is finally willing to tolerate a higher deficit. 

George Osborne is under pressure to deliver tax cuts in the Budget after Ed Miliband pledged to reintroduce the 10p income tax rate. Photograph: Getty Images.

George Eaton is political editor of the New Statesman.

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Want your team to succeed? Try taking a step back

From the boardroom to the sports ground, managers need to step back for creativity to thrive.

Everyone is in favour of creativity, usually at the expense of creative people. The concept is in perpetual boom. Give us creative midfielders, creative leadership, creative solutions, creative energy. It’s with the “how” that the problems start – with extra meetings and meddling, over-analysis and prescriptiveness, whiteboards and flow charts. Professional systems rarely support the creativity that they allegedly seek. The creativity industry system is at odds with its stated goals.

The novel was an early casualty. Nothing makes me close a book more quickly and finally than the creeping realisation that the author is following a narrative map purchased on an American creative writing course. Life is too short for competent novels. The creativity industry pulls up the worst while dragging down the best.

Something similar happens inside professional sport, even though creativity is so obviously linked to performance and profit. Yet sport, especially English sport, has suffered from excessive managerialism. Perhaps guilt about English sport’s amateur legacy gave “professionalism” free rein, however pedestrian its form.

Here is sport’s problem with creativity: professional systems crave control, but creativity relies on escaping control. If an attacking player doesn’t know what he is going to do next, what chance does the defender have?

So when truly unexpected moments do happen, they take on a special lustre. This month, Olivier Giroud scored an unforgettable goal for Arsenal. Bearing down on the goal, he was already launched in mid-air when he realised that the cross was well behind him. With his body far ahead of his feet, Giroud clipped the ball to the top corner of the net with the outside of his left ankle – a so-called scorpion kick.

It was, in retrospect, the only option available to him. Football, for a moment, touched the arts – not only beautiful, but also complete. Nothing could have been added or taken away.

I once tried to compare the perfect cricket shot to Robert Frost’s celebrated description of writing a poem: “It begins in delight, it inclines to the impulse, it assumes direction with the first line laid down, it runs a course of lucky events, and ends in a clarification . . . Like a piece of ice on a hot stove the poem must ride on its own melting.”

A great goal, however, fits that poetic model better than a cricket shot. Cricket shots come in many aesthetic grades, but they are all intended as shots. A goal, on the other hand, is more than just a very good pass, only better. There is an act of transformation within the event.

Frost’s acknowledgment of luck (distinct here from fluke) neatly defuses the accusation. Saying that a great goal involved luck does not to diminish it. Many unearned factors must interact with the skill.

“But did he mean it?” some people have wondered about Giroud’s goal. That isn’t the point, either. There wasn’t time. Giroud had solved the problem – to make contact with the ball, however possible, directing it towards the goal – before he was fully conscious of it. That doesn’t make it an accident. The expertise of a striker, like that of a writer, is opportunistic. He puts himself in positions where his skills can become productive. It is a honed ability to be instinctive. “If I’d thought about it, I never would have done it,” as Bob Dylan sings on “Up to Me”, an out-take from Blood on the Tracks.

Pseudo-intellectual? Quite the reverse. There is nothing pretentious about recognising and protecting creativity in sport. Over-literal decoding is the greater threat: instinctive performance needs to be saved from team meetings, not from intellectuals.

Having described a creative goal as unplanned – indeed, impossible to plan – what can coaches do to help? They can get out of the way, that’s a good start. It is no coincidence that the teams of Arsène Wenger, who is sometimes criticised for being insufficiently prescriptive, score more than their fair share of wonder goals.

The opposite arrangement is bleak. A friend of mine, a fly-half in professional rugby union, retired from the game when his coaches told him exactly which decisions to make in the first six phases of every attacking move. In effect, they banned him from playing creatively; they wanted rugby by numbers.

Not everything can be rehearsed. One useful book for coaches scarcely mentions sport – Inside Conducting, by the conductor Christopher Seaman. “I’ve never had much sympathy for conductors who ‘program’ an orchestra at rehearsal,” Seaman writes, “and then just run the program during the performance. There is much more
to it than that.”

Dan Vettori, the rising star among cricket’s Twenty20 coaches, is rare for having the bravery to echo Seaman’s theory. He believes that cricketers are more likely to play well when they feel slightly underprepared. It’s a risk and a fine balance – but worth it.

As I explored here last month in the context of Daniel Kahneman and Amos Tversky, there is a danger of slotting players into false stereotypes and classifications. Giroud, for example, is slow. Slow yet athletic. That’s an unusual combination and partly explains why he is underrated.

We often think of pace as the central and definitive aspect of athleticism. But speed is just one component of total athletic ability (leave to one side footballing skill). Giroud has an outstanding vertical jump, power and great balance. Because he is big and slow, those athletic gifts are harder to spot.

Management systems overestimate both labels and top-down tactics. A braver policy, pragmatic as well as aesthetic, is to be less controlling: allow opportunity to collide with skill, directed by an open, expert and uncluttered mind. l

Ed Smith is a journalist and author, most recently of Luck. He is a former professional cricketer and played for both Middlesex and England.

This article first appeared in the 12 January 2017 issue of the New Statesman, Putin's revenge