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'Everything is in ruins'

The war with Russia last August has devastated Georgia: work and even food are now scarce. And Georg

A late autumn afternoon in Tbilisi. A group of middle-aged men, neatly dressed in yellowing shirts and fading suits, are playing backgammon under the trees in a square in the Armenian quarter. Several have well-groomed moustaches. The atmosphere is jovial: Alexander, a proud man in his late fifties, dominates the group with his loud laughter. Were it not for the derelict shells of buildings behind them, this could be any Mediterranean capital.

The war with Russia last August did not come near the capital, but this part of Tbilisi looks bombed out all the same. What happened? It's just decay, they say. Much worse than during the Soviet era. "Just look at the state of the buildings," says Alexander. "It was never like that before. No one has work." He used to run a factory that made mechanical parts, but is now one of the long-term unemployed. He is an educated man, proud of his flawless Russian (Georgian is his native language). In Soviet times he con sidered himself middle class. Now he feels poor and humiliated.

Meanwhile, his country has backed itself into a corner. On Tuesday the second round of international talks on security in the Caucasus opened in Geneva; discussions were described as "difficult" and the Tbilisi-Moscow relationship is as tense as ever. But a change of leader in Washington might make a difference: President Saa kashvili will soon have lost his chief ally in the west, George W Bush. A populist and opportunist, Saakashvili is dismissed by many Georgians as too hot-headed, and organised protests are planned against him.

After ousting Eduard Shevardnadze in November 2003, Mikhail Saakashvili, now 40, helped to attract millions in foreign funding. He was perceived as being a pro-western reformer and democrat. The Americans gave $22m during the war in August and promised another $1bn in September. That came on top of $1.6bn in outside investment in 2007, much of it from the US, a 40 per cent increase on the previous year. The foreigners are to blame for this whole mess, Alexander asserts, because they prop up dodgy regimes. "Our government is more corrupt than any other in the world. And the US and the UK support them in their corruption."

The American money has not benefited the likes of Alexander. To reach the capital's Armenian quarter from the international airport there is only one route: straight down President George W Bush Street, the only pothole-free highway in town, festooned with pictures of a waving Bush. But Alexander can't afford to travel abroad and doesn't expect to be able to find the money any time soon, so he has never driven along the route. Local officials have used the foreign money to buy up the best property and evict the poor, he says. His own house is at risk: it belonged to his great-great-grandmother and all his family were born there. Some people he knows survive by stealing, he says - a loaf here, some supermarket food there. He claims to have friends in prison who are desperate to stay because inside they don't go hungry.

“Our government is more corrupt than any other . . . and the US and the UK support them in their corruption”

Nana, 44, a biologist, is strolling through a nearby park opposite the parliament building with her four-year-old son. This is where Saa kashvili's supporters celebrated with fireworks when he forced Shevardnadze's resignation in 2003. "Things feel uncomfortable now," she says. "I'm not frightened at the moment but I feel as if we are not going in the right direction." She worries about her son's future. Eighty per cent of the intelligentsia have lost their jobs, she says, and no one needs scientists in the way they did in the Soviet era. "I am lucky - I still have a job. Most people I know are out of work. I don't think this problem with Russia will be resolved peacefully and I find that very upsetting. Saakashvili was wrong to use violence [against the breakaway provinces of South Ossetia and Abkhazia]. It was not the right way to respond. I feel as if we are not being told the facts. This situation is benefiting someone, but you can't quite work out who. I do agree that we should fight to keep these territories because they are ours and not Russia's. But it should be a diplomatic fight, not a military one. Why kill people over something like this?"

The one hope, she says, is the popular female politician Nino Burjanadze, a 44-year-old pro-democracy campaigner who was briefly acting president before Saakashvili took office. Burjanadze has already aligned herself with the protests against Saakashvili's actions this summer and is calling for elections. The word is that "something" could happen as soon as the end of this month. "No one knows what, though," Nana says, stroking her son's head. The more she talks, the more upset she becomes. "Sorry - I am not articulating myself very well. It's because I'm afraid."

Down the road in an underpass leading to the main street, Rustaveli, four menacing-looking youths are hunched together around a cap thrown on the floor. Suddenly they open their mouths to sing, and a pure Georgian chant reverberates around the walls. Next to them a woman in a housecoat and slippers is selling curtains. Some old men are having a picnic of tomatoes and bread on an upturned cardboard box. Out on the street, stray cats and dogs are everywhere, picking their way through buildings abandoned halfway through reconstruction. You encounter well-dressed, middle-aged people who look as if they are sitting down waiting for someone or something. It is only when you see the outstretched, cupped hand and the expression of shame on each face that you realise they are begging. At a set of traffic lights one man is trying to sell balloons, weaving in and out of six lanes of traffic.

Before the war with Russia in August, Georgia’s economy was expanding rapidly: its reported growth rate for 2007 was 12.4 per cent, according to the New York-based analysts EurasiaNet. There are signs of stability: BP, PricewaterhouseCoopers, Pepsi, Coca-Cola and the legal firms Baker & McKenzie and DLA Piper all have offices here. There is a vigorous cafe culture: a chain of literary cafes has opened in recent months. For young people in their late teens and twenties, especially those who speak several languages (as many do), the outlook is not bad; new Marriott and Hyatt hotels have opened and the service industry is growing. Anyone who can get a job with a western company can hope for a salary of up to $2,000 a month. But this is an option for only a privileged minority. The salaries of state teachers and doctors are a tenth of this. And men like Alexander are completely washed up.

In Tbilisi's most affluent quarter, Shardeni, the mood is more combative. Besarion Darjani, an affable gallery owner in his fifties, says he supports the current regime: without American aid Georgia would be even worse off.

"It's all about money, the oil pipeline and Russia's pretensions to be an empire," he says. "Putin wants someone in some godforsaken Siberian town in the middle of nowhere to turn on his TV news, see the bombing, beat his chest and say, 'Hey, that's our territory!' Saakashvili was obliged to do what he did because he had to defend our territory against the Russians. He was provoked."

His gallery sells the work of 50 local artists, many of whom have up to ten dependants. It is largely foreigners who buy the artwork, he adds, so he is happy to see them and their money. In a courtyard near the gallery, a group of Americans are drinking a bottle of Georgian red wine. Last month the Georgian Chamber of Commerce welcomed a group of a dozen British tour ope rators for a week-long trip. But, with the crisis unresolved - and likely to flare up again at any moment - fewer foreigners have been coming.

If the situation with Russia is not resolved quickly, says Darjani, his business could dissolve: "Russia spits on the world and on any- one who gets in the way of their great empire. The current government has ruined years of friendship between Georgia and Russia. I don't blame ordinary Russians, though. I have a lot of friends living in Moscow and Leningrad. But the people of South Ossetia and Abkhazia are Georgians. Their nationalities have been artificially created by the Russians - they give them passports and money and promise them autonomy. So then of course they want to be Russian. But what about the fact that it is our territory and there are Georgians living there?"

Many of these South Ossetians and Abkha zians have sought refuge in Tbilisi, living in hospitals and schools. Their numbers are estimated at anything between 20,000 and 60,000. (According to the UN, another 20,000 have fled into Russia.) The capital's infrastructure can barely support them.

The authorities host regular entertainment and when several hundred Georgians turn up for a charity performance at the theatre on a Saturday night, they look as if they almost fit in but somehow don't. These are modern refugees: the children are impeccably dressed and taking pictures of each other on their mobile phones.

Some of the other theatregoers are local people. I meet a group of young women outside on the balcony. Dressed in satin blouses and leather trousers, they are not worried about Georgia's future. "You couldn't really notice any difference in Tbilisi in August," one of them says. "It is worrying, of course, but I think that whatever happens the EU and Nato will bail us out, especially if it gets really bad."

But those of the older generation know how conflicts have been resolved in the past. Many of the actors from the theatre died in the last war in the early 1990s in Abkhazia. “These were boys who did not even know how to hold a gun,” says the director Robert Sturua. “I told them, ‘If you go to war, don’t bother coming back, because I don’t want murderers in my theatre.’”

The theatre has a small government subsidy but survives largely through donations from an anonymous businessman, who pays the directors' and actors' salaries. They cannot hope for too much from the state, says Sturua. "We have a government that is making a lot of mistakes. That's normal, though. That's freedom. It's like Jefferson said, 'Freedom is a tree you must water with blood.' It sounds cruel but it's the truth. Georgia has suffered more than any other former Soviet republic. There is a generation of people who have completely lost hope."

Worst of all, the war in the summer eclipsed some of Georgia's greatest cultural achievements this year, he says. The State Ballet of Georgia was acclaimed at this year's Edinburgh Festival, where the much-feted prima ballerina Nina Ananiashvili performed Giselle. Another Georgian dancer, David Makhateli, is a rising star with the Royal Ballet in London.

Sturua argues that life has returned to something approaching normality since the events of August: there is no military presence here at all and already the tourists are returning. Cultural and historical tourism is something many see as Georgia's potential salvation. Sturua is an optimist: he sees no reason to think Georgia won't thrive once the territorial disputes with Russia are resolved.

But this sort of talk will not pacify the likes of Alexander. He just wants a regime change, and doesn't care who becomes president so long as he or she stands on an anti-corruption ticket. "There is no such thing as normal life here," he says. "Everything is in ruins. Even if you work you don't always get paid." But how do people survive, then? "A very good question," he laughs. "Why don't you ask our government how people like me get by? They don't care."

This article first appeared in the 24 November 2008 issue of the New Statesman, How to get us out of this mess

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