In this week's New Statesman: Why can't we be more like Germany?

From politics to football, Britain is losing out...

COVER STORY: WHY CAN’T WE BE MORE LIKE GERMANY?

This week Philip Oltermann, Jonathan Wilson and Maurice Glasman explore why Britain is losing to Germany in so much more than football. First, Oltermann, the author of Keeping Up With the Germans, argues that the cultural cross-pollination between Britain and Germany runs deeper than one would expect:

Germany has always been more anglophile than the British dare to imagine, mainly because the British Isles have played an important role in every single one of Germany’s foundation myths. Goethe and Schiller’s “Germany of the mind”, the nation of thinkers and poets? Every child knows that without Shakespeare, it wouldn’t have happened (“Schakespär”, wrote Herder, was destined to “create us Germans”). Germany the football nation? Hard to imagine without the Fußball-Mutterland. Germany the industrial engine room of Europe? If you look closely enough, you’ll find that each of Germany’s three “economic miracles” carries a discreet British trademark . . .

Next, following the upsurge of talk about Thatcherism, the Labour peer Maurice Glasman analyses the areas in which Germany’s Social and Christian Democrats succeeded and that have implications for his own party. Glasman suggests that the way “incentives to virtue were built into the German system through institutions that renewed knowledge, good practice and intergenerational solidarity” is missing from both neoclassical and Keynesian economic theories. “Nor is there a vision of Europe that involves the strengthening of decentralised institutions, cities, universities, vocational colleges, regional banks and community-owned football clubs.”

Finally, Jonathan Wilson explains how German football, unlike in England, has gone back to basics. In May 1999, after a period of crisis in the national game, “All clubs in the top two [German] divisions were required to build academies, and 121 national centres were established to help ten-to-17-year-olds with technical practice.”

He also argues that the economy helped, ironically, by faltering at the right time:

By 2002, 60 per cent of all players in the Bundesliga were foreign. But then the Kirch TV conglomerate, which had underwritten the Nineties boom, collapsed. Facing ruin, most of the clubs sold off their expensive foreign stars and invested in cheaper local youth. The pioneers were VfB Stuttgart, who finished second in the Bundesliga in 2002-2003 with a team that included the young talents of Timo Hildebrand, Andreas Hinkel and Kevin Kurányi. This season, only 47 per cent of players in the Bundesliga are not qualified for Germany. Now, with Germany’s economy at least stronger than most, if not quite booming, the top German clubs are able to hold on to talent for longer and to be more selective about buying foreign talent.

THATCHER THE GLADSTONIAN: SIMON HEFFER ON WHY MARGARET THATCHER WAS NOT RIGHT-WING

At our recent NS centenary debate on the motion “The left won the 20th century”, the author and Daily Mail columnist Simon Heffer argued that Lady Thatcher was not, in fact, a politician of the right, but rather that she was a “Gladstonian liberal”:

She quite ruthlessly used the Conservative Party as a flag of convenience to participate in a political organisation with some hope of forming a government. Once leader, she engaged in the usual business of taking a party and altering it to suit what she regarded as the needs of electability.

Gladstone and Mrs Thatcher were both radicals, Heffer argues. “Unlike the socialist radicals of the Chartist movement, or the early trade unionists and the founders of the Labour Party, neither of them believed in collectivism, but rather the radical individualism unfettered by the suffocating hand of paternalism.”

THE ANTI-FOX NEWS: OLIVER BULLOUGH ON THE KREMLIN-FUNDED TV STATION RUSSIA TODAY

Oliver Bullough reports on the growing influence of Russia Today (RT), the television station funded by the Russian Federal Agency for Press and Mass Communications and watched by up to 2.5 million people in Britain. Bullough visits the RT offices in Moscow and interviews its editors and reporters, as well as devoted British viewers. He writes:

It has become a televisual home for disaffected viewers in the west, a refuge for the Occupy and hacktivist generation, which believes that its own countries’ TV stations are in the pocket of corporate interests. Margarita Simonyan, RT’s editor-in-chief, is even prepared to call it the “anti-Fox News”.

MEHDI HASAN: IS IT TOO LATE TO STOP SYRIA’S DESCENT INTO HELL?

In his column this week, Mehdi Hasan assesses recent calls for western military intervention in Syria, particularly after recent evidence suggesting the use of chemical weapons:

The clamour for a military intervention in Syria is getting louder – especially following the (as yet unsubstantiated) chemical weapons claims. On the right, there’s the US senator and Republican former presidential candidate John McCain, who, in recent years, hasn’t come across a war he didn’t want to fight.

On the left, there’s the French philosopher Bernard-Henri Lévy, a driving force behind Nato’s 2011 war in Libya, with whom Hasan recently conducted an interview for al-Jazeera:

[Lévy] said “there is no question” that a military intervention in Syria, beginning with a no-fly zone, is “doable”. When I asked him how he could be so confident, he shrugged: “Bashar al-Assad is weak . . . a paper tiger.”

Not everyone agrees.

IVAN LEWIS: LABOUR’S BLUEPRINT FOR PUBLIC SERVICES

Ivan Lewis, the shadow international secretary and Bury MP, sets out a vision of how Labour might govern in an era of austerity. In the clearest and widest-ranging account of the new ideas to emerge from inside the shadow cabinet so far, Lewis accepts the need for “tough choices” on spending and clear budget priorities.

Labour must also be hard-headed because the country will take time to change. Tight financial constraints will require tough choices. As some budgets are increased to reflect our priorities, others will have to be scaled back. These “switch spends” will be a necessity, not an option . . . The road will not be easy, delivering change in an era when there is less money around.

Lewis insists that Labour in government would not flinch from the task of reform. He writes:

Labour believes that an active state is an essential force for good but that it should never be suffocating or overcentralised, or undermine autonomy. We will reduce the role of the state where appropriate and strengthen it where necessary.

In comments likely to be controversial with the left of the party, Lewis reaffirms a role for the private sector and for choice in public services and he calls for greater transparency in public-sector pay.

IN THE CRITICS

David Owen, the former foreign secretary and leader of the Social Democratic Party, reviews Charles Moore’s new and, in Owen’s view, “exceptionally good” biography of Margaret Thatcher. Describing his own memories of encounters with Thatcher, Owen says she was

. . . conscientious to a fault yet insensitive to someone she perceived as a non-achiever. This became ever clearer over the years in her attitudes towards poverty, social problems and the ethos of organisations such as the NHS.

Owen cites the Falklands war as the turning point in her career as prime minister:

The Thatcher premiership was never the same again. She would succumb to hubris and that started with her taking the salute, instead of the Queen, at a victory march-past in the City of London, something that this book mistakenly passes off as of little consequence.

ALSO IN BOOKS:

  • Michael Wood reads Italo Calvino’s letters. Wood points out that Calvino pre-empted Roland Barthes in the idea of “the death of the author”:

Calvino was also inclined to think that a writer’s work is all the biography anyone really requires. In his letters he returns again and again to the need for attention to the actual literary object rather than the imagined author. “For the critic, the author does not exist,” he writes, “only a certain number of writings exist.”

  • Stuart Maconie on Maggie & Me by Damian Barr, a coming-of-age memoir that “manages to deliver and short-change simultaneously”.
  • David Herman reviews Michael Burleigh’s history Small Wars, Faraway Places: the Genesis of the Modern World, 1945-1965.
  • Leo Robson on two books concerned with ballooning – Richard Holmes’s Falling Upwards: How We Took to the Air and Julian Barnes’s multi-genre Levels of Life. Barnes’s essay on the loss of his wife, Robson argues, “combines the weakest elements of his personality and thought”.
  • John Lloyd on Il Grillo canta sempre al tramonto by Beppe Grillo, Dario Fo and Gianroberto Casaleggio. “To understand the Grillo phenomenon,” writes Lloyd of Italy’s emerging Five Star Movement, “is to get some sort of handle on where politics everywhere in the developed world is going.”

ELSEWHERE IN THE CRITICS:

  • Ryan Gilbey watches I’m So Excited!, Pedro Almodóvar’s new “disaster” comedy.
  • Kate Mossman listens to Van Dyke Parks’s new album, Songs Cycled. “ ‘Dreaming of Paris’ is apparently a comment on the US bombing of Baghdad, though it must be the only song on the subject to include a mention of crème brûlée.”
  • Matt Trueman reviews Little Bulb Theatre’s Orpheus at the Battersea Arts Centre and Forest Fringe at the Gate.
  • PLUS: Will Self’s Real Meals takes a detour through the banlieue of Paris for lunch at the Buffalo Grill. And in Left Field, Sophie Elmhirst stands in for Ed Smith.

Read nore in our "In the Critics" blog here.

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John Moore
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The man who created the fake Tube sign explains why he did it

"We need to consider the fact that fake news isn't always fake news at the source," says John Moore.

"I wrote that at 8 o'clock on the evening and before midday the next day it had been read out in the Houses of Parliament."

John Moore, a 44-year-old doctor from Windsor, is describing the whirlwind process by which his social media response to Wednesday's Westminster attack became national news.

Moore used a Tube-sign generator on the evening after the attack to create a sign on a TfL Service Announcement board that read: "All terrorists are politely reminded that THIS IS LONDON and whatever you do to us we will drink tea and jolly well carry on thank you." Within three hours, it had just fifty shares. By the morning, it had accumulated 200. Yet by the afternoon, over 30,000 people had shared Moore's post, which was then read aloud on BBC Radio 4 and called a "wonderful tribute" by prime minister Theresa May, who at the time believed it was a genuine Underground sign. 

"I think you have to be very mindful of how powerful the internet is," says Moore, whose viral post was quickly debunked by social media users and then national newspapers such as the Guardian and the Sun. On Thursday, the online world split into two camps: those spreading the word that the sign was "fake news" and urging people not to share it, and those who said that it didn't matter that it was fake - the sentiment was what was important. 

Moore agrees with the latter camp. "I never claimed it was a real tube sign, I never claimed that at all," he says. "In my opinion the only fake news about that sign is that it has been reported as fake news. It was literally just how I was feeling at the time."

Moore was motivated to create and post the sign when he was struck by the "very British response" to the Westminster attack. "There was no sort of knee-jerk Islamaphobia, there was no dramatisation, it was all pretty much, I thought, very calm reporting," he says. "So my initial thought at the time was just a bit of pride in how London had reacted really." Though he saw other, real Tube signs online, he wanted to create his own in order to create a tribute that specifically epitomised the "very London" response. 

Yet though Moore insists he never claimed the sign was real, his caption on the image - which now has 100,800 shares - is arguably misleading. "Quintessentially British..." Moore wrote on his Facebook post, and agrees now that this was ambiguous. "It was meant to relate to the reaction that I saw in London in that day which I just thought was very calm and measured. What the sign was trying to do was capture the spirit I'd seen, so that's what I was actually talking about."

Not only did Moore not mean to mislead, he is actually shocked that anyone thought the sign was real. 

"I'm reasonably digitally savvy and I was extremely shocked that anyone thought it was real," he says, explaining that he thought everyone would be able to spot a fake after a "You ain't no muslim bruv" sign went viral after the Leytonstone Tube attack in 2015. "I thought this is an internet meme that people know isn't true and it's fine to do because this is a digital thing in a digital world."

Yet despite his intentions, Moore's sign has become the centre of debate about whether "nice" fake news is as problematic as that which was notoriously spread during the 2016 United States Presidential elections. Though Moore can understand this perspective, he ultimately feels as though the sentiment behind the sign makes it acceptable. 

"I use the word fake in inverted commas because I think fake implies the intention to deceive and there wasn't [any]... I think if the sentiment is ok then I think it is ok. I think if you were trying to be divisive and you were trying to stir up controversy or influence people's behaviour then perhaps I wouldn't have chosen that forum but I think when you're only expressing your own emotion, I think it's ok.

"The fact that it became so-called fake news was down to other people's interpretation and not down to the actual intention... So in many interesting ways you can see that fake news doesn't even have to originate from the source of the news."

Though Moore was initially "extremely shocked" at the reponse to his post, he says that on reflection he is "pretty proud". 

"I'm glad that other people, even the powers that be, found it an appropriate phrase to use," he says. "I also think social media is often denigrated as a source of evil and bad things in the world, but on occasion I think it can be used for very positive things. I think the vast majority of people who shared my post and liked my post have actually found the phrase and the sentiment useful to them, so I think we have to give social media a fair judgement at times and respect the fact it can be a source for good."

Amelia Tait is a technology and digital culture writer at the New Statesman.