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Mumbai massacre

India has suffered what many are calling its 9/11. Here one of the country's leading journalists int

In the summer of 2005, I moved with my family to live and work in Mumbai, the capital city of Maharashtra State. I came after living for several years in Kolkata, in the east of India, a city that, after decades of genteel dwindling and gradual reconciliation with its diminished sense of itself, was beginning to look up. As I settled down, I found Mumbai to be all the things that Kolkata was not.

If Kolkata was bashfully apologetic and self-deprecating, wry and ironical, Mumbai was brash and self-congratulatory. It was chest-thumpingly aware of its own importance and its position at the heart of India's rapid growth and change. The nation was being transformed by an economic miracle that had implications far beyond the Arabian Sea on whose edge the sprawling city of 19 million people was perched.

We found a flat in Bandra, a western suburb on the seafront. It was once predominantly a Christian locality, with many churches, and dotted with quaint cottages hugged by creepers. This was a neighbourhood in which, as Amit Chaudhuri wrote in his novel Afternoon Raag, the "Portuguese names - Pedro, DiSilva, Gonsalves - twang in the air like plucked, silvery guitar strings".

All that has changed over the past decade. Although it is only ten miles away, Bandra once seemed so far removed from the city's downtown (the area in which terrorists unleashed their audacious, murderous attacks) as to seem a place where you bought a weekend home. But now it is right in the heart of things.

Because outrageous property prices were pushing people ever further outward from the city's southern downtown tip (the business hub and centre of old money and aristocracy), Bandra had become the new midtown: nouveau riche, prohibitively expensive and fashionable in an edgy sort of way. The old cottages were being ripped apart, replaced by often ugly - but always lavish - towers of apartment blocks.

And now the soundtrack to our lives in Bandra, as in so much of Mumbai, is the relentless noise of old buildings being demolished and new ones going up: the clang of the hammer, the whine of the drill, the rumble of the bulldozer. Bandra is an embodiment of what Mumbai is now all about: wealth and social climbing, the need ostentatiously to proclaim that you have arrived.

The main Hindi film studios are not far from this neighbourhood, and most of the stars of the industry have moved out to Bandra, weary of the daily travel from downtown (where they once used to live) to the western suburbs (where they go to work). It isn't merely them. Anyone who wants to be in Bollywood is trying to move into Bandra as well, living far beyond their means in one-roomed flats little bigger than ten square feet. It is as though being in Bandra, close to the stars, takes away some of the sense of remoteness from their aspirations. Here they are, in the city of dreams, still dreaming.

In his novel Sacred Games, Vikram Chandra captured something of this feeling when he portrayed Mumbai as a city of magical possibilities: "It could happen. It did happen, and that's why people kept trying. It did happen. That was the dream, the big dream of Bombay."

Living in Bandra offers a sort of a start. If you can live here - and it is hard - who knows, you might soon find a role in a movie, a role that would put you on the billboards, like the stars you so admire but whose success you also resent. Bandra is Beverly Hills with terrible roads. Everywhere you go in the neighbourhood, there are reminders of the movie stars' presence.

Mumbai is in love with its own self-image and the awe it inspires in others; it has no patience with those in whom it does not inspire a sense of wonder. This is a city that exemplifies the new India: keen to inspire envy, in a hurry to get ahead, revelling in its importance and never shy of parading its not inconsiderable wealth.

Every week in the newspapers, there are reports of how Mumbai pays the most tax in India; how it has more billionaires than any other city; how its rentals and home prices are among the highest in the world; how it is getting richer and richer by the day. The business of making serious money drives Mumbai.

That business never lets up, even in the face of calamity. Mumbai is no stranger to catastrophe. In 1992, there were communal riots that threatened to rip apart for ever the secular fabric of this most cosmopolitan of Indian cities. In 1993, serial blasts tore through Mumbai, an event that has become the material for dozens of Hindi movies. In 2005, a month after I moved here, 934mm of rain fell in a 24-hour per iod, a world record. The deluge unleashed the worst floods in the city's history, killing hundreds and destroying thousands of homes and livelihoods. In 2006, bombs went off on the city's suburban train network, killing more than 200 people.

Mumbai has been repeatedly brought to its knees, and repeatedly it has picked itself up, and got on with life. There is a phrase that has become not so much a commonplace as a vulgar truism, one that people reach for as a shorthand to describe the city's indomitable nature: the spirit of Mumbai.

But something is different now. These latest attacks have truly shaken the spirit of the city.

This is what we know so far. The terrorists came by sea from Karachi, Pakistan. They were armed with enough guns, ammunition and explosives, and were sufficiently ruthless and well trained to be able to hold out for 62 hours against India's elite commandos and army. The terrorists held hostage two luxury hotels, the Taj Mahal and the Oberoi-Trident; the Chhatrapati Shivaji Terminus, the city's main railway station; a cafe called Leopold's, popular with tourists and backpackers; and a five-storey residential building that housed the city headquarters of an ultra-Orthodox Jewish group. All the locations were in south Mumbai.

The strikes were timed to play out on worldwide daytime television. As the story of the attacks began to unfold from the night of 26 November in India, it coincided with Thanksgiving in the US. The terrorists were specifically looking for visitors with British or American passports. And at the end of the three-day killing spree and pitched gun battles, 173 people had been murdered. (That was merely the official count; the actual estimate of those killed is much higher.) Twenty of the dead were foreigners.

This year, many hundreds of people have been killed in terrorist attacks across India, in Jaipur, Hyderabad and Delhi. High-profile terrorism in cities (70 blasts and attacks) has killed 400 people in India over the past seven months alone. But the November assault on Mumbai suggested something not hitherto evident: that India was now firmly on the deadly map drawn up for attack by global jihadists.

After each of the previous attacks on Mumbai, people could begin to guess why they had happened. In this instance, there was obviously shock but there was also profound bewilderment and confusion. How exactly? And why?

India has been quick to insinuate that Pakistan is linked to the strikes. The one terrorist who has been caught and interrogated has told investi gators that he was trained by Lashkar-e-Toiba, a jihadist group based in Pakistan.

For ordinary people, however, there are no clear answers or explanations. No one can tell why this happened or when something similar might happen again. Stumbling and groping, Mumbai has had its sense of security and confidence eroded. Never before has the city so acutely felt its own fragility.

Of the five locations, it was the attack on the Taj Mahal hotel near the Gateway of India that was, in terms of symbolism, the most resonant. Mumbai's monuments are secular, and the 105-year-old Taj, built by a Parsi businessman because he was turned away from a hotel for being Indian, is the picture-postcard emblem of the city. It is to Mumbai what the Empire State Building is to New York and the Eiffel Tower is to Paris. It is Mumbai.

As pictures of the smoking hotel - flames leaping out of windows, panes shattering, crows taking off in the foreground at the sound of gunfire against the plumes of smoke that darkened the afternoon sky - flashed up on live television, and later, as the Taj Mahal closed down for repair on Monday, Mumbai saw the attack on its signature hotel as a violation unlike any other.

On Sunday 30 November, a groundswell of protests against the attacks began in Mumbai. There were candlelit vigils, marches and peaceful demonstrations with eloquent placards. The resentment, for the moment, seems to be directed at the perceived failure of the intelligence services and at politicians. In a nationwide survey conducted by the Hindustan Times, one of the country's best-known and most influential English-language broadsheet dailies, 84 per cent of the respondents felt that the government was not doing enough to fight terrorism.

With general elections due in 2009, the ruling coalition headed by the Congress Party bore the brunt of the anger. Shivraj Patil, India's home minister, stepped down on Sunday. By Monday morning, Maharashtra's home minister, R R Patil, had quit as well. The indications are that Vilasrao Deshmukh, the chief minister of Maharashtra, is on his way out, too.

How India will react to the attacks will shape the events of months and years to come. Already, the peace process with Pakistan is in jeopardy. And with India's dismal history of strife between Hindus and Muslims (in 2002, the main opposition party, the BJP, was accused of the biggest anti-Muslim pogrom in modern Indian history), the country will do well to be particularly vigilant against communal conflict.

Time and again over the past week, commentators have referred to the attacks on Mumbai as "India's 9/11" - a world-historic moment of change after which nothing can be the same again. That is indeed the most convenient analogy to use. But if one were to assume that it is so, that assumption brings its own complexities.

As the novelist Amitav Ghosh wrote in an essay published in the Hindustan Times: "If India can react with dispassionate but determined resolve, then 2008 may yet be remembered as a moment when the tide turned in a long, long battle . . . Defeat or victory is not determined by the success of the strike itself. It is determined by the response."

And what, now, of Mumbai? How will this city withstand these ravages and go about its business? How resilient can the city prove it- self to be?

Mumbai is the glittering exemplar of the new India and the national success story, yet it is also a city of dichotomies. Nowhere in India (perhaps even in the world) is the gulf between the affluent urban elite and those who live beneath the poverty line as pronounced as it is in Mumbai. Nowhere, perhaps, is the urge to cross over from the side of the underprivileged to the other as deeply consuming.

The degree to which these attacks have scarred Mumbai, and the extent of the damage they have inflicted, was symbolically represented on Thursday 27 November when the Bombay Stock Exchange did not open for trading. The business of making money might drive Mumbai, but the shock of being violated had stalled it.

The following Monday morning, still numbed, the city was returning to its frenetic self. Children went back to school. Hotels had been turned into fortresses. Offices were open, and the roads were filling up with the sort of traffic which is usually so dense that you can hear the conversation in the car alongside yours when you stop at traffic lights. Money was being made – and lost – on the stock exchange, as usual. Markets were doing business. And in homes, cremations or burials over, hundreds were beginning the process of grieving and reconciliation.

Mumbai, hurt and angry, was still grappling with how to come to terms with what had happened but it was also beginning to get on with the business of getting along, of going on.

In a way, this is the story of India, the world's largest democracy: learning to carry on after assaults on its pluralist democracy, and being, in the end, able to do so.

In his book India After Gandhi: the History of the World's Largest Democracy, Ramachandra Guha argues persuasively that it is no small triumph that India, as well as its democracy, not merely exists at all but continues to thrive. "India will go on," Guha quotes the novelist R K Nara yan telling V S Naipaul in the 1960s.

In its darkest hour, that is Mumbai's triumph, too. Mumbai will go on. As India will.

Soumya Bhattacharya is the editor of the Hindustan Times in Mumbai and author of the memoir "You Must Like Cricket?", published by Yellow Jersey Press (£12)

This article first appeared in the 08 December 2008 issue of the New Statesman, After the Terror

MATTHIAS SEIFARTH FOR NEW STATESMAN
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Moby: “The average American IQ is around 98”

Moby, the vegan king of chill-out pop, talks wealth, David Bowie’s hat and the average intelligence of his fellow Americans.

In January 2012, two women walking their nine dogs on the hill beneath the Hollywood sign found a man’s severed head wrapped in a plastic bag. His decomposing feet and hands were discovered nearby. First theories pointed to the work of a Mexican drug cartel, or the murderous Canadian porn actor Luka Magnotta. The story piqued the interest of the electronic dance music mogul Moby, who wrote about it in a New Statesman diary in May this year.

Today, the smell of cedar and pine hits you on the canyon path, which is hot, steep and sandy – an immediate wilderness in one of LA’s most exclusive areas. The Griffith Observatory shines like a strange white temple on the hill. Brad Pitt, a local resident, was doorstepped after the head was discovered: he lives near Moby on the streets of Los Feliz, near Griffith Park, where the only sounds are hedge strimmers and workmen’s radios. Moby’s 1920s mansion is all but obscured by Virginia creeper.

As we sit down at his kitchen table, Moby tells me that the body parts were found to belong to a 66-year-old Canadian flight attendant called Hervey Medellin. Shortly before Medellin’s disappearance, his boyfriend, Gabriel Campos-Martinez, had used a computer in the flat they shared to find an article titled, “Butchering of the human carcass for human consumption”. The head, feet and hands showed signs of having been frozen: the rest of the body was never found. He says it was one of those rare times in life where reality was more intriguing than the conspiracy theories.

Moby, of course, eats no meat. Fifteen minutes’ drive away in the hipster neighbourhood of Silver Lake, his vegan bistro, Little Pine, serves a variety of plant-based dishes, proceeds from which go to animal rights organisations including the Humane Society and Peta. His own music is never played there. We are meeting to talk about his new album – but, he says: “It’s 2016 and people neither buy nor listen to albums. And they certainly don’t listen to the 16th album made by a 51-year-old musician. I don’t care if anyone gives me money for this music or for live shows ever again. Once a record’s released, I couldn’t care less what happens with it. I liked making it, but I don’t care.”

He is currently working his way though the stages of grief outlined by the psychiatrist Elisabeth Kübler-Ross. To denial, anger, bargaining, depression and acceptance he has added a new phase: Schadenfreude. On the night of the US election, he left the house at 6pm west coast time to watch the coverage with some friends. He checked his usual round of sites on his phone: CNN, the New York Times, the Washington Post, Nate Silver’s FiveThirtyEight, the Guardian, the Huffington Post, the BBC, politico.com. He was concerned to see that no one was calling any of the early states; with Obama’s election, exit polls suggested the victory by noon. Days earlier, Moby had been predicting humanity’s “wake-up call” in the form of the destruction of Greenland or a zoonotic virus – but not this. He is softly spoken, with a quick laugh and the kind of intelligence that seems to warm him up from the inside when he talks, but today he is angry.

“It is disturbing on so many levels,” he says. “One, that we have elected an inept racist as president. Two, just seeing how dumb and delusional so many Americans are. Because really – in terms of the subsets of people who would vote for Trump – you have to be delusional, or racist, or stupid. I am so confused as to the fact that such a high percentage of Americans are either really stupid or incredibly bigoted.”

The stupidity of Americans is, he says, a matter of “anthropological curiosity” – or simply demographics. “The average American IQ is around 98,” he notes. “So that honestly means – in a vaguely non-pejorative way – that there are a lot of really, really dumb people. The nonsense that people were spouting before the election – that Trump was a good businessman, for example? This phenomenon has been particularly egregious of late: people have an almost adversarial relationship with evidence. Climate-change deniers are another example.”

As a self-described old-timey alcoholic, Richard Melville Hall (nicknamed Moby by his father in honour of his great-great-great-uncle Herman) has a pervasive interest in neurochemistry. He uses it to explain much of the past six months in Western politics. Our failing political systems – the subject, in fact, of the album he doesn’t want to talk about – are underpinned by “a kind of delusional motivation, which is basically to ignore the countless things that are actually going wrong in the world and focus all your attention on things that are arbitrary. In the United States, you have people who have perfectly good jobs in safe communities who are obsessed about Mexico, crime and unemployment. We have these quasi-Orwellian responses to stimuli, and they come from a place of fear and scarcity. Humans are still built to amass as much wealth as possible, and fight off the enemies as quickly as possible, but the only threats are the ones we generate ourselves.”

There’s a dishcloth on the table, a few magazines, a bit of a draught and Moby in a black hoodie pouring two glasses of water.

Fear and scarcity pervade American society, he says, because social policy is an extension of corporate process and “nothing is free from the cadres of professional lobbyists”. Meanwhile the ravenous news consumption that helped drive Trump reflects a human addiction to the “neurochemical jolt” of engaging with the media.

“People have a profound and almost feral attachment to that which makes them feel good in the moment,” he says. “Without thinking of long-term consequences, does their belief give them a shot of dopamine right at this second? If so, they hold on to it. Eating junk food, voting Brexit and voting for Trump.”

 

***

 

Moby is the model of an addictive personality well-practised at controlling itself. He was a fully fledged alcoholic by his early twenties: at ten, he’d been given champagne and made himself the promise, “I always want to feel this good.” Now, he cannot touch a drink, but his modern-day addiction, he says without a beat, is his phone. Every thought is pursued to extremes. He recently released an animated video for a new song, “Are You Lost In the World Like Me?”, showing a procession of grotesque, phone-addicted cartoon characters filming a girl as she throws herself off a skyscraper and hits the ground.

The house is vaguely baronial, airy and open-plan: all dark wood and furniture polish. An Annie Hall poster in the pool house; a coyote postcard on the kitchen wall.

This particular property is a result of serious downsizing: Moby has a habit of buying very big places, doing them up and then moving out. When he was still in New York, he bought a remote mountaintop retreat in Kent Cliffs, 50 miles north of Manhattan. He created a magnificent bedroom of 1,500 square feet with ten skylights – but quickly learned he could only get a decent night’s sleep when he pulled his mattress into the cupboard. He told the New York Times that, living all alone in the big house, he “felt like Orson Welles at the end of Citizen Kane”.

He moved to LA in 2010, swapped vodka for quinoa smoothies and took the keys for another large building – the Wolf’s Lair, the turreted, 1920s Gothic castle in Hollywood once inhabited by Marlon Brando, with the swimming pool historically used for porn movies and the hidden tiki bar. He bought it for $4m and sold it for $12.5m four years later – allegedly to Banksy. He rattled around in that house, too. Right on cue, he tells me: “I felt like Orson Welles at the end of Citizen Kane.”

On the one hand, these were sensible ­investments for the man who’s sold 20 million records; on the other, large impersonal spaces appealed to Moby long before he was in a position to buy them. Raised by his single mother on food stamps and welfare in Darien, Connecticut, he started his adult life squatting an abandoned lock factory, where he could ride his moped around his bedroom, piss into a bottle and read battered Star Trek paperbacks while working on early demo tapes, rather like a ragged, vegan version of the boy in the movie Big.

He was very happy in his penniless state, as he records in his memoir, Porcelain. He’d like to propose something he calls the End of Wealth – but we’ll come back to that.

In the past few years Moby has broken free from the “Beckettian purgatory of touring”. When his biggest-selling album, Play, was released in 1999, his music career was effectively “over”. Before Play, he had changed creative direction, going from progressive house to ambient to thrashy punk – to which he has just returned – and no one knew what to do with him. The only reason he hadn’t been dropped by his UK label, Mute Records, was that its owner, Daniel Miller, was “an old egalitarian socialist”.

Play sampled slave songs of the Deep South – recorded by the ethnomusicologist Alan Lomax in the 1940s – and wove them into a backdrop of cerebral chill-out. The songs of pain and emotion took on an eerie neutrality, and TV shows and ad companies came calling. He was approached by Will and Grace and Grey’s Anatomy. At that point, selling records and touring were still more lucrative than licensing a song to TV – and licensing a song to TV was still considered selling out. But Moby considers himself an ugly duckling: “If someone who was once unattractive suddenly gets asked out on loads of dates, of course they say yes a lot.” He licensed every song on Play and it became the soundtrack of the millennium.

His memoir was unusual because it concentrated on the ten-year period before he got famous. It captured his enthusiasm – and his strangeness – at its source and showed him to have a sense of humour that may have passed people by the first time round. “I’m in London! London!” he wrote. “Benny Hill, Joy Division, Peter O’Toole!” He visited the vegan café in Covent Garden.

The book is filled with money: or with the constant, practical concern of not having it. Navigating poverty is an everyday routine: he is an “alchemist” turning used beer bottles into nickels at the recycler, and thence into soya milk and oranges. In his early twenties he becomes a Christian, partly so that he can repeat the Sermon on the Mount at Bible classes in the households of Greenwich Village and “judge” the rich children.

Book two, which Faber & Faber is waiting for, is more difficult. The period of his fame and fortune in the 2000s is too much of a cliché. “Ten years ago I was entitled, narcissistic, bottoming out, alcoholic, selfish and feral. Robbie Williams has done that story, so has Ozzy and Mötley Crüe. Who wants to read that? It’s tautological.”

Instead, he has decided to write about the first ten years of his life. It will look into his relationship with his mother, who loved him but raised him in various drug dens. He was at her side when she died in 1997, but he missed her funeral, having woken late in the morning to discover that at some point in the night he must have got up and set his alarm clock three hours late. He took a taxi to the wake, worrying about the fare, and for reasons he can’t really explain, turned up cracking jokes.

He has a strange nostalgia for the kinds of friendships you have in early adulthood, when everyone is equal, “before that point when someone starts making money and they think they’ve won: they’re going to have access to a different kind of happiness”.

In 2003, when he turned 38, he was famous, wealthy and miserable. “I’ve been able to see and inhabit almost every stratum on the socioeconomic scale, from extreme poverty and obscurity to wealth and fame, and it gives me an insight into it,” he says. “Because a lot of people who experience wealth are born into it, and a lot of people who experience poverty never leave it. I can safely say that for me there has been no causal effect between increased fame and wealth and increased basic happiness and well-being.”

When Moby talks about himself, he applies many apologetic epithets: clichéd, meditating, yoga-loving, mealy-mouthed. In 2007 he developed mobygratis.com, a large online resource offering independent film-makers and film students a licence to use his music for free. If their films are commercially successful, the revenue from licence fees must go to the Humane Society. He says he wants to propose a more rational, evidence-based approach to wealth.

“We are still attached to the idea of the redistribution of wealth,” he says. “As progressive lefties, we’re all brought up to think that is a good idea. In the old days, it meant the difference between eating and not eating. Nowadays the person on $30,000 consumes twice the calories of the millionaire, and has a bigger TV and works fewer hours.

“There is an underlying assumption that if wealth were distributed more evenly then people would be happier, but there is unfortunately very little anthropological or sociological evidence to support that idea, unless there are institutions to support the basic needs of community, like food and shelter. Confusing materialism with happiness is the essence of our culture.”

While west LA is plastic surgery and gold-plated toilets, he says, his own neighbourhood is “David Lynch wearing an old T-shirt and mowing the lawn”. Among the millionaires of Los Feliz, conspicuous consumption is frowned upon. He knows several who live “incredibly austere lives. I was having tea with Jim Carrey the other day. He’s basically just giving everything away. He just realised that owning three planes was stressing him out . . .”

In his New Statesman diary, Moby said that life in LA offered him miles and miles of lavender-scented name-dropping.

“Coldplay played the Rose Bowl recent­ly,” he says. “And the Rose Bowl holds 75,000 people. It’s a struggle for me to sell 2,000. At first, I winced with a little jealousy. But then I thought, ‘If my career was at that Coldplay level, how would that actually affect my daily existence? Would it make my shoes fit better? Would it make the water pressure in my shower better?’ As long as you’ve satisfied the basic hierarchy of needs – enough to eat, clean air to breathe, bears not eating your legs – happiness is all where and how you put your attention.”

***

He goes to his kitchen cupboard and from among the colanders and measuring jugs he extracts a black velvet fedora – size seven, silk-lined, from a London company established in 1879. In green marker around the inside rim are the words “With love from David – Christmas 2005”. Bowie gave it to him over Christmas dinner that year. “It’s the hat that he wore in The Man Who Fell to Earth,” Moby says. “There’s this amazing picture of him wearing it with John Lennon and it’s clearly when he was doing a lot of cocaine.”

Moby lived on Mott Street in Little Italy and Bowie lived on Mulberry Street. “I had a little roof deck, and he had a beautiful roof terrace, and we could wave at each other.” They were neighbours and friends, worked on music together, went on tour together, had barbecues together. He says the title of Bowie’s last album, Black Star, is a reference to the 1960 Elvis Presley song of the same name “about the end of a life” (“And when a man sees his black star,/He knows his time, his time has come”).

“David had been sick for a long time,” he says. “Or ill, as you say in the UK. So, David had been ill for a long time. I was very pleased that . . . after he died, people were asking me, ‘How do you feel?’ and I’m like, ‘Actually, I’m just kind of happy that he lived as long as he did.’ Because I . . . had thought, yeah, I had thought that he was going to die a little before that. So.”

The Radiohead singer Thom Yorke lives just up the street from him in Los Angeles but Moby has never met him “as far as I know”. Apart from Bowie, he claims not to have musician friends.

“Musicians – and I’m sure you’ve encountered this many times – have a sense of self-importance that is off-putting,” he says. “It is very hard to be friends with someone who thinks that just by showing up, they’re doing something special. At the end of the day, you want to say to them, ‘You know what? You wrote a couple of good songs. Let’s put it in perspective.’”

He was born on 11 September 1965, and on his 36th birthday he watched the twin towers burning from his roof deck. He tells me that when the second plane hit and it became clear the first was no accident, he heard “the cumulative effect of ten thousand rooftops covered with people, and the weirdest scream. A scream of horror but also a scream of understanding.”

Fifteen years on, he talks about this year’s politics as a Manichaean thing. “Half the world are motivated by fear and desire to move backwards, and the other half are motivated by optimism and a desire to move forward rationally. It’s religious tolerance versus fundamentalism; it’s racism versus inclusion. I wonder if there’s a way we can make peace with that whole other half of humanity who are holding on to a non-evidence-based approach to the future. But I don’t know what it is.” He has known Hillary Clinton for two decades, was a vocal supporter of hers during the election run and released a pair of anti-Trump tracks for Dave Eggers’s music project 30 Days, 50 Songs.

He says that many celebrity Clinton backers were cautious to come out for her during the primaries “because Bernie supporters wanted to crucify you. Now Trump has united and inspired Democrats more than anything since the Vietnam War.”

The election result, he says, might just be “the equivalent of a crystal meth addict going on one last bender. Maybe this bender will finally convince Americans to stop voting for Republicans. Because they are terrible. There has always been an understanding that if everyone in America voted, there would be no Republican politicians. The reason Republicans win is that most Americans don’t vote.

“Those of us on the left who were brought up to be tolerant of people who had different opinions from us – well that’s great, ­unless the opinions are bigoted and wrong. If someone is a climate-change denier, they are wrong. If someone voted for Brexit, they are wrong. If someone voted for Trump, they are wrong. There is a lot of ambiguity in the world, but not about these things.”

The clock ticks towards 11.15am and Moby, ever punctual, is done.

“These Systems Are Failing” is out now on Little Idiot/Mute

Kate Mossman is the New Statesman's arts editor and pop critic.

This article first appeared in the 08 December 2016 issue of the New Statesman, Brexit to Trump