Power v poverty

Privatisation, free trade and market forces . . . the rich world insists poor states play by our rul

The global food price crisis is exposing frightening levels of vulnerability in poor nations around the world. Yet these are countries into which the rich world, for half a century or more, has diverted hundreds of billions of dollars of humanitarian aid in pursuit of the high ideal of ending poverty. It is a good moment to take stock and ask what went wrong.

Compare two of the most vulnerable economies, Haiti and Botswana. In Haiti, spiralling food prices have in recent months prompted widespread rioting, claiming the lives of six people and forcing the resignation of the prime minister. This unrest has set back the search for political stability in an archetypal "fragile state". No such riots have occurred in the Southern African nation of Botswana. In a country that imports 90 per cent of its food, soaring prices have undoubtedly hurt the poor, but the state has the money and capacity to help them cope.

Why does Haiti sink while Botswana swims? A landlocked state with a small population and an arid landscape, Botswana has a high dependence on diamonds - the very "curse of wealth" that has destabilised many other African countries. At independence in 1966, it had just two secondary schools and 12km of paved road, and relied on the UK for half of government revenues. Botswana ought to be a basket case.

But Botswana has become Africa's most enduring success story. Its GDP per capita has risen a hundredfold since independence. Over the past three decades it has been the world's fastest-growing economy. It negotiated hard-fought deals for its diamonds with De Beers and used the royalties well. It has throughout remained one of sub-Saharan Africa's few non-racial democracies, despite being bordered (and occasionally invaded) by racist regimes in South Africa and Rhodesia.

The secret of Botswana's success lies in politics. The country's elite come from a single dominant ethnic group (the Batswana) whose governance systems, emphasising broad consultation and consensus-building, emerged largely unscathed from colonialism. Botswana's leading human rights activist calls it "gentle authoritarianism". The government broke every rule in the so-called Washington consensus, setting up state-owned companies, nationalising mineral rights and steering the economy via six-year national development plans. "We are a free-market economy that does everything by planning," one local academic told me, laughing.

In the second half of the 20th century, dozens of developing countries emulated Botswana's success and achieved similar growth rates. "Getting the politics right" was key for them all. These countries have built effective states that guarantee the rule of law, ensure a healthy and educated population, control their national territories and create a positive environment for investment, growth and trade. For many, the growth spurt began with the redistribution of land and other assets.

This story bears little relation to the cruder theories of development advanced by rich-country governments or, for that matter, some NGOs. Yet, getting the politics right really can "make poverty history". Aid alone cannot.

In many countries the state remains a work in progress and the rosy picture is not without flaws. Power battles and shifting alliances mean reverses are frequent. Raw power and gangsterism prevail in states that are more master than servant to their citizens. In his novel Nineteen Eighty-Four, written at the onset of the Cold War, George Orwell portrayed a totalitarian state built around the cult of Big Brother: "If you want a picture of the future, imagine a boot stamping on a human face - for ever." In the 20th century, some 170 million people were killed by their own governments, four times the number killed in wars between nations. But the worse deprivation and suffering now are not Orwellian in nature. They exist where states are weak: half of all children who die before the age of five live in states defined as "fragile".

Fixing this is not easy, but it can be done. Some states once branded as "failing" provide evidence. Malaysia went within a few decades from a post-independence meltdown of ethnic rioting to an industrial powerhouse. The economist Ha-Joon Chang points to his own country, South Korea, from where, in the 1960s, government officials were sent by the World Bank to Pakistan and the Philippines to "learn about good governance". The pupil swiftly outstripped the master.

If you define development merely as rising GDP per capita, then the story almost ends there - effective states create the basis for rapid growth. But development, parti cularly tackling poverty, is about far more than that. When the World Bank, in an unprecedented exercise, asked 64,000 poor people around the world about their lives, what emerged was a complex and human account of poverty, encompassing issues that are often ignored in the academic literature: the importance of being able to give one's children a good start in life, the mental anguish that poverty brings. The overall conclusion was that, "again and again, powerlessness seems to be at the core of the bad life".

Tackling such powerlessness is not just about election campaigns and government. Building "power within" - for example, women's assertiveness to insist on their right not to be beaten in the home - and "power with" - in the form of collective organisation - is essential to achieving the wider empowerment that transforms politics and societies.

In 1900, New Zealand was the only country with a government elected by all its adult citizens. By the end of the century, despite severe reversals, including fascism and communism, and succeeding waves of military coups against elected governments, there were ostensibly 120 electoral democracies in place. Democracies are often flawed and, as we have seen in several African countries, progress is reversible, but the overall trend remains positive.

Successful transformations

Effective states in east Asia and elsewhere have typically taken off under autocracies. In Latin America, active social movements and political organisations have rarely been accompanied by effective states. Does this mean active citizenship and efficient governments are mutually exclusive? Happily, the evidence suggests that the "Asian values" argument for benign dictatorship, once espoused by leaders in Singapore and Mal aysia, is wrong. A recent survey by the Harvard economist Dani Rodrik found that democracies produce more predictable long-run growth rates, greater short-term stability and more equality, and are better able to handle economic shocks.

Many of the countries that have had active citizens and been run efficiently have already ceased to be poor and disappeared off the development radar. Some of the most successful transformations in the past century, such as those of Sweden and Finland, have been triggered by social pacts within a democracy, showing what the combination of activism and good government can achieve.

Yet, though this combination is at the heart of development, it is seldom acknowledged in debates about the "development industry", typified by international institutions such as the World Bank and the IMF. Here, economic policy is king, and politics is often seen as an irritating process through which unworthy individuals use their power to unravel the plans of wise economists. "Getting the prices right" requires the state to get out of economic management, freeing the stage for the true heroes of development: the entrepreneurs.

It hasn't worked. The retreat of the state in Latin America, once a faithful devotee of Washington consensus prescriptions, failed to lead to lasting progress. Meanwhile, countries such as China and Vietnam, which maintained a central role for the state, prospered.

The importance of politics in development will only grow. The world is entering a new age of scarcity, in which food, water and carbon are rationed, either explicitly, through regulation, or implicitly, by price. In this environment, conflicts over access to basic resources are bound to intensify. Politics and power will decide who gets what.

All this poses challenges to the $100bn global development industry. Official donors such as the UK's Department for International Development are trying to reassess their thinking to understand better the role of politics in development. But they face a dilemma: any outside body, especially a government institution, interferes with domestic politics in developing countries at its peril. To get round this, there is always a temptation to turn political issues into technical ones - for example, by focusing on "governance" or "institution-building". But, by failing to confront issues of power, such approaches often give rise to the same frustrations as those that focus on economic policy: why won't these countries do what's good for them?

From grass roots to government

International organisations such as Oxfam have long been criticised by some developing-country partner organisations for preferring policy to politics. But they face real limits. Charity law, mission and bitter experience should dissuade them from becoming mere support groups for any political party in a given developing country. Instead, they have to promote empowerment without becoming politicised. It is a fine line to tread, but it is eminently feasible.

In Bolivia, for example, 20 years of support for the Chiquitano Indians helped them move from semi-slavery to becoming a political force, with the founding of indigenous people's organisations, such as that led by José Bailaba, and the election of Chiquitano mayors and senators. Following the election of South America's first indigenous president, Evo Morales, a land reform bill gave the Chiquitanos rights to a million hectares of traditional lands.

Even though the alchemy of development takes place primarily in the crucible of effective states with active citizens, global institutions such as aid donors, the UN and transnational corporations play a significant role.

Nation states will not wither away, even if their actions are constrained by an ever-growing web of global and regional trade agreements, bilateral investment treaties and the proliferating "soft law" of international conventions and codes of conduct on everything from financial services to human rights. Rich-country governments and their citizens need to ensure that this system of global government supports national development efforts based on the state and its people working together. They must also deter powerful countries and corporations from doing harm, whether through paying bribes or imposing policies that hurt the poor.

The fight against poverty, inequality and environmental collapse will define the 21st century, as the fight against slavery or for universal suffrage defined earlier eras. It is hard to imagine a more worthwhile cause.

Duncan Green is the author of From Poverty to Power
published by Oxfam on 23 June

This article first appeared in the 23 June 2008 issue of the New Statesman, Truly, madly, politically

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