Show Hide image

Slumlands — filthy secret of the modern mega-city

Across the world, slums are home to a billion people. The rich elite want the shanty towns cleared,

There is a long curve of water and, as far as the eye can see, there are shacks, garbage, washing, tin, bits of wood, scraps of cloth, rats and children. The water is grey, but at the edges there's a flotsam of multicoloured plastic rubbish. This is the Estero de San Miguel, the front line in an undeclared war between the rich and poor of Manila. Figures emerge from creaky doors to move along bits of walkway. In the deep distance is the dome of a mosque; beyond that are skyscrapers.

Mena Cinco, a community leader here, volunteers to take me in - but only about 50 yards. After that, she cannot guarantee my safety. At the bottom of a ladder, the central mystery of the Estero de San Miguel is revealed: a long tunnel, four feet wide, dark except for the occasional bare bulb. It's just like an old coal mine, with rickety joists, shafts of light and pools of what I'm hoping is water on the floor. All along the tunnel are doors into the homes of as many as 6,000 people.

We knock on the first one that's ajar. Oliver Baldera comes blinking to it, pulling on his shirt. On the floor behind him are his four kids, eating ice cream. His wife joins him.

The room is eight feet by eight and forms their entire dwelling space. It contains everything they own: a television, four bowls of ice cream, a light bulb, a mattress and the clothes they are wearing. "We've been here more than ten years," he says. "There's no choice. I'm a carpenter in the construction industry. We came from Mindanao."

Why did he move? "Because of poverty. It's easier to get a job here and I can earn 400 pesos a day. I can send the kids to school and they eat three times a day - but it's not enough. I need more space."

“But they're happy," Mena chips in.

Further along, there's a shaft of light and some kids are splashing about in a blow-up pool. Mena makes them sing. One of them comes up to me. "What's it like living here?" I ask. Mena mutters something to him in Filipino. "Happy," he says, and smiles.

This is a place where you cannot stride along without hitting your head or bruising your elbow, so people creep and shuffle. Here, you cannot go to the toilet without standing in a queue. Here, sex between a man and a woman has tohappen within breathing distance of their kids and earshot of 20 other families. This is the classic 21st-century slum. A billion people live in them, one in seven of the world's population. By 2050, according to the United Nations, there could be three billion. The slum is the filthy secret of the modern mega-city, the hidden achievement of 20 years ofuntrammelled market forces, greed, neglect and graft.

Yet Mena, at my elbow, is feeding me an incessant mantra: "We are happy; there is social cohesion here; we are organised; it is clean." The reason is this - the Estero de San Miguel has been condemned. The president of the Philippines, Benigno "Noynoy" Aquino, has decided to clear Manila's slums and send half a million people back to the countryside. That suits the business elite and the political clans that run the country fine. "Many of our people are no longer interested in agriculture, so we need to give them incentives to go back," says Cecilia Alba, head of the national Housing and Urban Development Co-ordinating Council. "If we had to rehouse the slum-dwellers inside Manila in medium-rise housing, it would cost a third of the national budget."

At the top of the list for relocation are the residents of the Estero de San Miguel. They will not go without a fight. "We will barricade and we will revolt if we have to," Mena says. "We will resist slum clearance and we will fight to defend our community. We are happy here."

This is not an idle threat. On 28 April, residents of the Laperal slum a few miles away engaged demolition teams with Molotov cocktails and guns in a riot that injured six policemen and numerous slum-dwellers. An arson attack had wiped out most of the area's dwellings ten days earlier.

Technically, global policy is on the side of the rioters. In 2003, an influential UN report, entitled The Challenge of Slums, signalled a shift away from the old slum-clearance policies and recognised that informal settlements make positive contributions to economic development. They house new migrants; because they are dense, they use land efficiently; they are culturally diverse; and they offer numerous opportunities for ragged-trousered entrepreneurs.

“Ten years ago, we used to dream that cities would become slum-free," says Muhammad Khadim of UN-Habitat. "The approach has changed. People see the positives. The approach now is not to clear them but to improve them gradually [and] regularise land tenure."

Cameron Sinclair, who runs the non-profit design firm Architecture for Humanity, goes further. "A slum is a resilient urban animal. You cannot pry it away," he tells me. "It's like a good parasite. There are some parasites that attack the body and you have to get rid of them but, within the city, the informal settlement is a parasite that acts in harmony with the city, keeps it in check."

Sinclair, whose organisation has upgraded slums in Brazil, Kenya and South Africa, believes that modern city design should not only tolerate slums but learn from them - and even emulate them. "To be honest, what we lack in a place like London is that the lower classes can't live in central London and have to commute for two and a half hours to do the jobs that keep people going."

What has driven the new thinking is ugly economic facts. After the 1970s, there was a sharp slowdown in the provision of social housing. The free-market revolution in the cities has led to the retreat of state provision, the rise of the informal economy and the rapid impoverishment of the rural poor. As a result, we are having to ask ourselves a question that would have made the 19th-century fathers of city planning shudder: do we have to learn to live with slums for ever?

It's a question to which the Filipino political elite have defiantly answered no.

“Should I buy them ice cream?" Regina "Gina" Lopez asks me, tilting her white Stetson as she leads me through what is left of a slum called the Estero de Paco. Teenage boys wearing hip-hop clothes and baseball hats are crowding, shirtless, around Gina. It's one of their birthdays, so should she buy them ice cream? Gina's trouser suit is the colour of ice cream. She is lithe, slinky and 61 years old. Among the 30 people with her are two cops, a media team of six, guys from the local community, her bodyguards, factotums and a man in dark glasses who is carrying her handbag.

Gina is a TV star, philanthropist, boss of the Pasig River Rehabilitation Commission and, most importantly, a member of the Lopez family. Lopez Inc owns much of downtown Manila - the energy company, a TV empire, a phone company - and has interests in all kinds of infrastructure, including water. Who better than Gina, in a country untroubled by worries about conflict of interest, to lead the forcible removal of slum-dwellers from the waterways?

The Estero de Paco used to have slums right down to the water's edge, just like the San Miguel. Now, instead of shacks, there is a neat border of agapanthus and rubber plants. State-of-the-art oxidation units are turning the brown sludge into something chemically close to H2O. Into the space that has been cleared, work gangs are laying a wide-bore sewage pipe.

As Gina approaches, a group of women from the slum falls into line and salutes. The women are middle-aged and poor; their T-shirts bear the words "River Warriors". They stand to attention and Gina, Prada-clad, goes into a drill routine: "River Warriors, atten . . . shun!" Then there are slogans about honour and playing for the team and some more of the drill, before they all fall about laughing. "I ordered them to dive into the water," she giggles.

The idea behind the River Warriors is serious. The clearance of the Estero de Paco was "non-negotiable". The Warriors' job is to make sure that those who have been cleared do not come back. "They will poo here! They will throw garbage," Gina says. "They would come back, if we didn't guard the place. So we work with the ones who are compliant. To make a change like this, you have to work with a chosen few, the vanguard."

The clearance programme works like a giant scalpel. Four metres of land is all that is needed to create the easement for the waste pipe, so a second, deeper layer of slums remains - you can see where something has sheared through walls, windows, dirt, alleyways. This is social engineering on a vast scale. It's what the government has decreed for half a million people. Like the slum-clearers of 19th-century London and New York, Gina has a missionary enthusiasm. "You can't live well if you're faced with the constant smell of faeces, right? You can't live a decent life on top of a sewer. Even if those people want to stay there, [they can't because] it has a wider impact on the city, the environment: we can't clean the water and bring the river back to life if they're there; the crime and sickness have a big impact on the environment."

With Gina out of earshot, two of the River Warrior women quietly tell me that they are secret returnees. They were moved on to a place called Calauan, four hours away by road, but have come back. I demand to see Calauan. "No problem," says Gina, flipping open her mobile phone. "Get me aviation."

The chopper skims low across Manila Bay. It's fringed with slums and, out in the bay, there are homes on stilts. "Even the sea is squatted," Monchet Olives, Gina's chief of staff, tells me. Soon, the skyscraper outline of downtown Manila disappears. We're above rice paddies; in the distance, there are mountains. Calauan comes into view - neat rows of single-storey housing, their tin roofs glinting. The whole complex houses about 6,000 families and there is room for many more.

On the streets, density is not a problem. The public space is deserted. There's a playground; there's a school with the name Oscar Lopez painted on the roof. The problem is - as Monchet concedes - there is no electricity, no running water and no prospect of ever getting any. And no jobs. "When it comes to electricity, we're between a rock and a hard place," he says. "Many of the new residents have never been used to paying bills, and the electricity company, to make the investment, needs an income stream that they just can't provide."

I notice that we're being shadowed by two soldiers, in camouflage and with assault rifles, on motorbikes. "That's because of the New People's Army. Guerrilla activity is what made them abandon this place for ten years."

Deep in the jungle? "No, just up there on the hill." Monchet waves his finger in the general direction of the landscape, which suddenly looks a lot like the treeline in the opening credits of Apocalypse Now.

Ruben Petrache was one of those who moved here from the Estero de Paco. He is in his fifties and has been seriously ill. His home is a spacious terraced hut. It has a tin roof, tinfoil in­sulation to keep the heat down, a pretty garden and a "mezzanine" arrangement that creates two bedrooms, such as you would see in a loft. Ruben's English is not so good, so Monchet translates: "What he's saying is that although the community is disrupted, he thinks it's better here. For him, at least. Once you get here, after a while, you realise that you'd become accustomed to conditions that were insanitary. You learn to move on, live in a new way."

For electricity, he points to the solar panel; for water, to the barrel collecting rainwater on his porch. Are there any downsides?

“It would be better if there was a factory here, because we need more jobs," Monchet summarises. Later, with a translator, I work out what Ruben, hand-picked by the camp's authorities, was trying to say: "What the people need is a job. We need a company nearby so that we don't have to go to Manila. Also, we need electricity. Many residents here know how to fix electric fans, radios, but the problem is, even if they have the skills, they cannot [use] it because there is no electricity here - so they are forced to go to Manila to find work and earn money to buy food.

“We are hard workers. If we don't do anything, we might die of hunger here. That's why many go back to Manila: to look for work and earn money."
In the covered market, the stalls are stocked with meat, rice and vegetables but there are more stallholders than shoppers. Gloria Cruz, a 38-year-old mother, is holding forth on a kara­oke machine to three toddlers, two other mums, the ArmaLite-toting soldiers and me. After a couple of verses, she hits the pause button. "My husband goes to Manila to work," she says. "He comes back at weekends. It's the same for everybody. There's nothing here."

Felino Palafox is an architect who specialises in the construction of vast, space-age projects in the Middle East and Asia - mosques, Buddhist temples, futuristic towers on the Persian Gulf - always for people with money to burn.

Now, however, he wants to save the Estero de San Miguel: to rebuild it, in situ, with new materials. The plan is to clear it bit by bit and put inmodular housing. Each plot will be ten square metres; the ground floor will be reserved for retail and tricycle parking, the floors above extending out above the walkway, just as slum-dwellers build their homes - "stealing the air from the planning authorities", Palafox calls it. "The slum-dwellers," he adds, "are experts at live-work space design. They spontaneously do mixed-use! We just have to learn from them."

From the roof of the tower block in Makati, the central business district, where his practice has its headquarters, he gives me a primer in what has gone wrong. He indicates the neighbouring tower blocks - "monuments to graft" - and the gated compounds downtown where the rich live. To the government, which says his design is too expensive, he says: "OK, the total cost of rehousing slum-dwellers in situ is 30 per cent of GDP [but] I calculate we lose about 30 per cent of the country's wealth through corruption. If we didn't have corruption, we wouldn't need to tolerate slums." He sees the Estero de San Miguel as a test case: if he can make it work there, it's scalable to each of the city's riverside slums. So the stakes are huge.

Father Norberto Carcellar, who has worked for much of his life with Manila's poor, thinks that the elite are engaged in a huge self-deception about the question of slum clearance: "We have to recognise the value of slum-dwellers to the city. These are the ones who drive your car, clean your house and run your store. If these people were cleared from the city, the city would die. Slum-dwellers add social, political and economic value to the city."

That sentiment would have seemed alien to our grandparents' generation: I can still hear mine, brought up in Edwardian poverty in a coal and cotton town in northern England, spitting out the word "slum" with disgust. For them, slums meant a dog-eat-dog, dirty world where solidarity could not flourish and people lived like animals and treated their kids worse. Thirty years of globalisation have produced something which defies that stereotype. With Mena at my side, I'm about to witness it.

As it is Saturday night, there is a full complement of beefy guys with sticks, rice flails and flashlights - the volunteer police force of the Estero de San Miguel. Mena and I turn off into an alleyway opposite a McDonald's. You would hardly know it's there. The passage narrows, jinks around, and suddenly it feels as if I am in a novel by Charles Dickens.

On a bridge that is less than a metre wide, a man is squatting beside a barbecue. Because of the smoke, I don't see that it is a bridge until
I'm on it, or that below us is the canal, which is about two metres wide here. The dwellings are built so close together that the mothers peering out of the upstairs bedrooms, made of wooden boxes, could shake their neighbours' hands. If you'd decided to remake Oliver Twist as an expressionist film and this was the proposed set design, you would probably sack the designer, saying: "It's too much, too grotesque."

We head down into the tunnel, stooping now, because it is less than five feet high. After passing a poker game and a stray chicken, I come to a store that is run by Agnes Cabagauan. It sells the same things as every slum store in the world: sachets of Silvikrin hair product, Cif, Head & Shoulders shampoo, the Filipino version of Marlboro cigarettes, lighters, tampons and chewing gum. "My parents helped me set up [the store] to pay for my education," Agnes tells me.

What are you studying?

“Business admin. I have a degree. I also have a day job in a large corporation - coding in a sales department."

And you live here? "Yes. I was born here." She is 22 years old.

Then we run into Mena's son; he's an engineering student. As we cross another bridge, the unmistakable whizz and pop of something digital come blasting across the stagnant water. It's an internet café. There are nine computers crammed into a plywood hut. A dog yaps and runs around; the light is harsh. Some kids are on Facebook. Others are playing online poker. One young woman is doing her CV, another is engrossed in a game called Audition. She, too, is at college, she tells me, multitasking between her BlackBerry and the game.

Business admin? Yup.

In the space of a hundred yards, I have encountered three graduates, a DIY police force and the social media revolution. As I become used to the smoke, the wail and chatter of children, the chickens and the confined space, I learn what a billion people have had to learn: it's not so bad. "Other places have prostitution. We don't," Mena says. "We get drunks and a bit of drug-taking but it's under control. We look out for each other. We can see everything that happens - it's one big family. The main job for the volunteer police force is to look out for arsonists. Settlements under threat of clearance have a habit of getting burned down." As she discourses on the fine details of social policy in the five-foot-high niche that is her living room and kitchen, I ask the question I should have posed when we first met. How did she become so politically literate?

“I majored in political science at the University of Manila."

What slum-dwellers have produced (and I've seen it not just here but in Cairo, Nairobi, Lima and La Paz) is something the slum clearance tsars of yesteryear would not recognise - the orderly, solidaristic slum, or what the UN calls the "slum of hope".

The debate, at the global level, is no longer about how fast to tear these places down but whether we can meet the rapidly developing aspirations of highly educated people in tin shacks. To those who dream that, as capitalism develops, it will eradicate slums, Sinclair of Architecture for Humanity says dream on. "You can't fight something that has a stronger model than you [do]. It's never going to happen again. The fact of it is that if you tried to do it in some of these informal settlements, they could take out the city . . . march on the central business district, and it's game over."

Paul Mason reports from Manila on Tuesday 16 August in "Slums 101" (Radio 4, 8pm) and on "Newsnight" (BBC2, 10.30pm).

This article first appeared in the 08 August 2011 issue of the New Statesman, Slum rule

MATTHIAS SEIFARTH FOR NEW STATESMAN
Show Hide image

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 IQ 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