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''We've had to let six staff go this Christmas . . . people with families and mortgages''

Families all over Britain are bracing themselves for hard times. For some, they have already started

On first impressions, Rayne Precision Engineering is a neat little company. Tucked into the hills of the southern fringe of the Peak District, it consists of four solid modern sheds, built of a fake stone material that blends in with the local housing. These are arranged around a tidy yard next to a mobile hut that serves as office accommodation. The atmosphere in the yard is pleasantly quiet. There's a faint hum in the air, but none of the clashing or screeching of metal on metal that you might expect.

It quickly becomes apparent that there is a reason for this. The company's founder and managing director, Andrew Simmill, leads me into first one shed and then another to show me an array of laser-cutting and welding machinery, all of it standing idle. The signs of recent activity are all around - a scattering of little metal shavings; a neat pile of ring-shaped components bound for the automotive industry. Today the firm is having a shutdown, Simmill explains.

In the summer of 1997, Rayne Engineering, which is a few miles outside the market town of Leek, had 47 full-time staff, working five days and sometimes nights or Saturday mornings as well, making parts for JCB, GKN and a range of other engineering companies. Simmill bought a people-carrier so that his welders could drive in from Stoke-on-Trent, 20 minutes or so down the road. He had diversified, too, into making shopfitting parts for Waterstone's.

The crash, when it came, came fast. In April this year Simmill took on a salesman to try to boost a flagging order book, but to no avail. Now Rayne Precision is down to 26 staff working four days a week. There have been 12 compulsory redundancies. The remaining staff agreed to their hours being cut from 39 to 31 last week.

"Last week was my worst week," Simmill says. "We had to let six people go. You're looking people in the eye just before Christmas . . . these are people with families and mortgages. And there's nothing I can do - I've got to protect the business."

Simmill is a big, weather-beaten man in blue overalls and a sweatshirt. He looks out of place in the firm's meeting room, under the glossy banners he ordered so they could push for scarce orders at trade fairs. He looks as if he could shoulder quite a burden - and that is exactly what he is having to do now.

"Carol, who does the stores and the planning, came to me last week and said, 'I'll take redundancy, Andrew.' She's over 60. She didn't want a younger person with a family to lose their job. But she's a key part of the business. I don't mind admitting I've had sleepless nights about finding enough work for my men."

This little local heartache is solid evidence of the tectonic shift that has affected businesses across the world in recent months. The plummeting housing market, the struggling construction industry, banks cracking under the weight of bad mortgage debts and overextended credit, all lead here to this little office.

For Simmill it trickled down in part from JCB, which dominates the heavy industry in this area, previously employing 5,000 at its plants in Rocester, Uttoxeter and Cheadle. The digger manufacturer - for whom Simmill has nothing but praise - was forced to cut production by a third and to make nearly 600 staff redundant this autumn as orders, even from previously buoyant markets such as Russia, began to dry up.

In the nearby Potteries, there have been 350 job losses at Wedgwood and Spode has gone into administration, putting a further 150 at risk. The misery goes on, the figures stacking up in tens here, twenties there. On the day of my visit the front page of the Sentinel, Stoke's local paper, carried the news that Hinks Fine China, the UK's last china flower manufacturer, was to close with the loss of another 16 jobs. At Uttoxeter, Dairy Farmers of Britain announced it was closing its Fole Dairy with 250 to go. At Phones4u, another major Staffordshire company, 240 IT jobs were reported to be at risk. Simmill ("I'm 47 but I feel 67," he says, then laughs) has been here before. Twenty years ago he started an engineering business with his father during the tail end of the 1980s boom.

"Nineteen eighty-nine was an extremely good year, but 1990 . . ." he pauses for a moment. "I was financed up to the hilt. I had £70,000 debt on one machine. Then I had 12 months where my father died of cancer and my brother was killed in a road accident at 23.

People are buying cheaper cuts of meat rather than the high-end products on sale

"Everything came at once. I got married, my daughter Carly was born, and two weeks later the company went into receivership. I had finance people chasing me; my house was on the line. I was on the verge of being made bankrupt."

But Simmill doesn't give up easily. For a year he worked for the man who bought his business, then rented his machines. "It was just 12 months after I went down," he says. "The banks and accountants hadn't had any faith in me, and it was almost to prove them wrong. I'm a determined sort of fellow."

He and his wife Clare now have three daughters - Carly, 17, Sheri, 16, and Kate, 13 - and they never stop hearing about the evils of credit. "I was out shopping one time with Sheri when she was only four or five," recalls Simmill. "I ran out of cash and so I thought, 'I'll wait until next week.' She turned to me and said, 'Put it on your card, Dad.' I was really taken aback by that, and I thought about it a lot. What I'm fearful of is my children going through what I went through. There are too many credit cards, too much easily available credit. That's put us in this mess."

About 18 months ago this niggling worry turned into a family crusade. Sitting around the table outside their house one summer evening over a meal, they began drawing out a game on sheets of A4 paper. Then the girls got busy with clip art and a boardgame, Credit 4 Life, was born. Players start with £1,500 and on a throw of the dice they pay bills - mortgage £600; night out £50; credit card 30 per cent debit interest - and, if they are lucky, draw wages. The game, now in a smart box with a laminated board, has been sold to about 20 schools and is being supported by Caudwell Children, a charity funded by John Caudwell, the local Phones4u tycoon.

Simmill says he talks to his children about the problems his business is facing, and after school they often come to see him at work instead of going home. But he has no plans to bring them into the family firm. "I'm not being sexist, but I think manufacturing is a hard game," he says. "If the government doesn't believe in it there won't be any manufacturing here in ten years."

As you drive into Leek along the Ashbourne Road, the signs of economic gloom are easy to spot. A 19th-century mill stands with its glass grimed and a board outside advertises a small business within. Further into town the White Lion and Talbot pubs are both boarded up. The Leek Post and Times has a picture of Gary Clewlow of GJ's Greengrocers holding a sign saying "Closing Down (sorry)", over the headline: "Shoppers urged to stay local as credit crunch bites hard". Clewlow tells the paper he cannot compete with Aldi.

To be fair, the former textile town, which weathered the decline of the silk industry in the late 19th century and the globalisation of synthetic fabrics in the 20th, is not completely down at heel. Its market square is wide and cobbled, and a queue of shoppers is keeping its well-stocked fruit and veg stall busy. There's a half-timbered Marston's pub, the Bird in Hand, flanked by Cancer Research and Oxfam shops.

Businesses such as Simmill's are at the sharp end of the recession, and others in the area are less gloomy about the future. Off the A523 between Simmill's works at Ipstones and the town of Leek, signs point to enterprises with a more rural flavour: Beaver Hall Equestrian Centre, Middle Farm Bed and Breakfast. Down a long track, Janet Phillips runs the Threshing Barn, a small shop selling craft supplies and meat reared on the farm she runs with her husband, Dave.

Phillips says she always has a pot of coffee on the go in her shop, which is packed to the rafters with skeins of brightly coloured wool, Christmas wreaths and knitwear; it helps to make the place feel welcoming, she says. The craft workshops she runs - a launching pad for sales of equipment and materials - had their best October ever, she says. But the meat is doing less well. People are buying cheaper cuts rather than the high-end products they sell here.

"I think long-established businesses will survive, but January and February are going to be grim," says Phillips. "From December, we would usually expect big orders, and they're not coming in. I don't think people are going to go for the big items this year."

On Derby Street, a Butters John Bee estate agent stands with property details in its windows and a To Let sign above its door. At first glance the business seems to be occupied, but a closer look reveals too-neat desks with phones and notepads and nothing else, and a notice on the door confirms, "Please note: This office is now closed. We will continue to provide our services from our Hanley and Congleton offices." Just a few doors along, the Ponden Mill shop also bears a To Let sign and big banners announcing, "Twenty Per Cent Off - Everything Must Go", though an assistant says she doesn't know whether they're going to close.

Round the corner, near the now-defunct GJ's Greengrocers, is Photoprint, founded nearly 30 years ago by Brian Johnson, now the town's mayor and president of its chamber of trade and commerce. His assessment of the situation is relatively upbeat, and he attributes several of the town's business failures to a lack of initiative or staying power. Despite having spent half a million pounds on opening a horse livery last year and carrying a lot of debt ("You don't want to know," he says when I ask how much), he is investing £20,000 in a digital colour printing machine, which would have cost him £34,000 in normal times.

"You'll often hear people saying, 'Leek's always in recession - what difference does it make?'" he says. "People round here have been used to tightening their belts.

"But the new businesses have never had to face this before. They don't make allowances, they don't think ahead far enough. People will have to promote their businesses - they'll have to think positive."

Others in the town are struggling to follow his advice. Looking for the Diva shoe shop which, according to the local paper, is to close after Christmas, I stop to ask directions from a couple huddled against the cold and carrying a plastic bag of meat bones. They cheerfully offer to show me the place and as we walk along together the man, David, tells me he has been out of work for the past six months, after being laid off by a firm that makes parts for car exhausts.

"My old boss closed the doors," he says. "I'd take anything, but if you put on your CV that you were in engineering, they think you don't want a menial job. They think you'll take off as soon as something better comes - and I would as well.

"JCB has a massive effect on this area. Last year employees had a £1,000 Christmas bonus, but this year they'll be lucky if they get anything. I've given up."

He asks if I'm going for a job interview. I tell him no, I'm writing an article about the credit crunch for a magazine. "Well," he says without a trace of rancour, "at least someone's making money out of it."

Fran Abrams is the author of "Below the Breadline: Living on the Minimum Wage", published by Profile Books (£6.99)

This article first appeared in the 22 December 2008 issue of the New Statesman, Christmas and New Year special

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