A US Apache helicopter lands on Salerno air field in Khost province of Afghanistan. Photograph: Getty Images
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Reviewed: Max Boot and Martin A Miller's books about warfare

Political violence, past and present.

Invisible Armies: an Epic History of Guerrilla Warfare from Ancient Times to the Present
Max Boot
WW Norton, 576pp, £25

The Foundations of Modern Terrorism: State, Society and the Dynamics of Political Violence
Martin A Miller
Cambridge University Press, 306pp, £18.99

Calling up an image of pervasive mistrust and violence reminiscent of the totalitarian states of the last century, a celebrated historian records how many people “became informers even on trivial matters, some openly, many secretly. Friends and relatives were as suspected as strangers, old stories as damaging as new. In the main square or at a dinner party, a remark on any subject might mean prosecution. Everyone competed for priority in marking down the victim. Sometimes this was self-defence but mostly it was a sort of contagion.”

This sounds like a description of the frenzied denunciations of Mao’s Cultural Revolution, an impression reinforced when Martin A Miller, who cites the passage, writes: “Denunciations were frequently followed by suicide, to avoid the public spectacle of a humiliating trial in which one’s entire family could be ostracised or exiled.” Yet the great historian was not writing about the 20th century. The passage comes from a chapter on the emperor Tiberius in The Annals of Imperial Rome by Gaius Cornelius Tacitus (c.56-117 AD), who entitled this chapter “The Reign of Terror”.

For Miller, Tacitus’s account illustrates a fundamental truth: political violence is per - ennial and any regime can become a vehicle for terror. We have come to think of terrorism as a type of insurgency in which disaffected groups operating beyond the control of any government use violence to attain their ends. In reality, it is states that have been the chief agents of terror:

 In any historical statistical investigation,  the results clearly show exponentially more victims of state political violence than the number of those wounded, tortured and killed by insurgent movements in all categories. During the 20th century alone, states were responsible, directly or indirectly, for over 179 million deaths, and this does not include the two world wars, the Nazi Holocaust and the atomic bombing casualties in Japan.

Following the 9/11 attacks, terrorism has been seen as an assault on democracy and liberal values. As Miller points out, history tells a different story: “Every kind of government (not every government), whether authoritarian or democratic, has been complicit in terrorising its own citizenry in various ways at some point in its history.”

During any discussion on the subject, someone is bound to say that one person’s terrorist is another’s freedom fighter. With its flip relativism, it is a cliché that does nothing to explain why terrorism remains such a slippery concept. We may agree in thinking of terrorism as a type of political violence but that is where the consensus ends. Tiberius turned the state of Rome into an instrument of terror for a time but he was not a terrorist, if that means someone who practises terror as a method of unconventional warfare.

Yet lumping together every kind of irregular warfare into the category of terrorism, as is often done today, blurs the difference between those who have used terror as a tactic in guerrilla warfare (such as Native American tribes in their resistance to settlers) and networks such as al-Qaeda that have opted for terror as their sole strategy. Then again, there is a difference between states that have practiced terror at some time in their history and states whose very existence is based on terrorising their citizens.

Terror has served many kinds of goals and values, including some that are lauded as thoroughly progressive. As Miller astutely notes, “The watershed moment in which terrorism entered the politics of modern Europe was during the French Revolution when ordinary citizens claimed the right to govern.” When the Jacobin-controlled Committee of Public Safety inaugurated a selfproclaimed “Reign of Terror” in post-revolutionary France, it believed that terror was morally benign. As Robespierre put it: “Terror is merely justice, prompt, severe and inflexible. It is therefore an emanation of virtue and results from the application of democracy to the most pressing needs of the country.” For his comrade-in-arms Saint-Just, terror was not just a defensive reaction against enemies of the revolution. It had to be applied throughout society: “You must punish not only traitors but the apathetic as well; you must punish whoever is passive in the republic . . .”

Punishment in the Reign of Terror was administered by the guillotine, a novel technique of decapitation devised and promoted by the medical reformer Joseph-Ignace Guillotin as being more humane than other methods of execution. Guillotin hoped capital punishment would eventually be abolished but the beheading machine he invented was used to end the lives of some 20,000 people during the year of the Terror (1792- 93). Mass-produced and distributed around the country, the new device was one of several techniques of large-scale killing that, in the years that followed, produced around 200,000 to 300,000 casualties (in a population of about 28 million) in the Vendée and elsewhere in France.

If the Jacobins viewed terror as a benign type of state violence, for a subsequent generation of revolutionaries, terror was a method of resistance against the violence of the state. In The Terrorist Struggle, an influential pamphlet that was introduced as evidence in the trial following the assassination of Tsar Alexander II in 1881, a member of the radical group People’s Will argued that mass revolutionary movements should be replaced by small groups carrying out targeted killings of government officials.

Later, Lenin – who in August 1918 was himself badly injured in an attempted assassination by the Social Revolutionary Fanny Kaplan – argued against this view in favour of the Jacobin idea of state terror, which he implemented when in power. Yet Lenin was at one with his would-be assassin in regarding political violence as a purifying force that could create a society better than any that had hitherto existed.

As Miller explains in his admirably lucid and comprehensive analysis, elements of these two conceptions are blended in Islamist terrorism today. An academic historian specialising in Russian revolutionary movements, he shows how medieval religious defences of tyrannicide evolved into secular justifications of political violence in modern European nationalism, fascism and communism. As he notes, some of these conceptions have resurfaced among Islamists. The cali - phate envisioned by al-Qaeda sounds like a medieval revival but it “would have to involve many governmental institutions carrying out Islamic policies, including the repressive security apparatus so familiar to the modern secular state it was designed to replace”.

It is not just the repressive apparatus of modern western states that Islamists have found themselves emulating. The Egyptian Sayyid Qutb (1906-1966), a widely influential member of the Muslim Brotherhood who was executed by Gamal Abdel Nasser, propagated a vision of the positive role of political violence in creating a new, semi-anarchic and harmonious society that owed more to Bakunin and Lenin than to medieval Islamic theology. Dreaming of returning to theocracy, Islamist ideologues and their followers are more modern and more secular than they – or their western opponents – care to admit.

Like the anti-colonial movements that came before them, Islamist movements are in many ways creations of the modern west that they so adamantly oppose. They have a far larger mass following than anarchist and Bolshevik movements ever did. Yet here, again, the west has been formative. Today’s violent jihadism has complex origins but probably none is as important as the war that followed the Soviet invasion of Afghanistan. Entering the country in 1979 on Christmas Eve, Soviet forces aimed to prop up the communist regime that had seized power a year before and whose modernising policies had alienated much of the population. The effect was to trigger a holy war in which the jihadists had the backing not only of Pakistan and Saudi Arabia but also the US.

As the former editorial writer at the Wall Street Journal Max Boot writes in Invisible Armies, “In the 1980s American aid went to many hard-line Islamists who would one day become America’s enemies . . . This was a particularly notable but hardly unique example of ‘blowback’.” When the Soviets finally admitted defeat and withdrew in 1989, it was only after they had waged a campaign of terror that killed more than a million Afghans, forced five million to flee the country and internally displaced another two million. The eventual result was rule by the Taliban, orphans of war who in 1996 entered Kabul and imposed a fundamentalist regime without precedent in Afghan history.

Nearly all of the world’s wars, Boot notes, are now of the irregular, unconventional kind that defeated the Soviets. He sees Soviet defeat and the long conflict that followed as illustrating “the power of the weak” – the inability of powerful states to defeat guerrilla fighters. Given Boot’s earlier views, this is an interesting judgement. Writing in 2001 in the neoconservative Weekly Standard, he argued, in an essay entitled “The Case for American Empire”, that the only effective response to terrorism was for the US to “embrace its imperial role”. “Ambitious goals such as regime change,” he declared, “are also the most realistic.”

Recognisably hubristic at the time, triumphalism of this kind is absent from the current volume, a cool and balanced account ranging from prehistory through ancient China to the Ku Klux Klan – “one of the largest and most successful terrorist organisations in history”– to Hezbollah, Hamas and Chechnya. Unlike Miller, Boot chooses to exclude state terror from his account, while at times discussing terrorism and guerrilla warfare as if they were one and the same. Both moves are questionable but Boot makes an important point when he notes that irregular warfare was the norm for almost all of human history. A by-product of the modern state, industrial-style conventional war between professional armies of the sort that dominated the first half of the last century has become rare as nuclear weapons have made such wars more dangerous and states have lost their monopoly of violence in many parts of the world.

What Boot fails to do is explore how western policies have fuelled the rise of unconventional warfare. In practice, regime change has resulted in the creation of a succession of ungoverned spaces. First in Iraq and then Libya, western intervention has toppled tyrants only to create a weak or failed state in which Islamist parties and militias are the most powerful forces. The jihadist advance in Mali and Algeria is a knock-on effect of the overthrow of Colonel Gaddafi that he himself predicted. “Free Benghazi” is now unsafe for citizens of the countries that toppled the tyrant. One might think that this would chasten supporters of regime change but the itch to intervene seems irresistible and, in Syria, the problem is not Islamist blowback but the west’s active support for the Islamist insurgents. Almost certainly, the result will be a longer, bloodier war, possibly spreading throughout the region, in which Syria becomes one more failed state or else a hostile fundamentalist regime.

Happily, we hear little these days of the absurd “war on terror”. Policies, however, have changed much less than rhetoric and the delusion still prevails that terrorism is an evil peculiar to anarchic networks and rogue states. Amorphous and continuously shifting shape, it is a permanent but not unmanageable threat to which the most effective response is better intelligence and security. Incessant military intervention only shows how far our leaders are from grasping the intractable realities of human conflict.

John Gray is the New Statesman’s lead book reviewer. His latest book, “The Silence of Animals: on Progress and Other Modern Myths”, is published by Allen Lane (£18.99)

John Gray is the New Statesman’s lead book reviewer. His latest book is The Soul of the Marionette: A Short Enquiry into Human Freedom.

This article first appeared in the 11 February 2013 issue of the New Statesman, Assange Alone

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