Hawking in 1991. Photo: Rex/Tom Pilston/The Independent
Show Hide image

Stephen Hawking’s life is a triumph of intellect over adversity

Stephen Hawking received his "death sentence" more than 50 years ago. The Astronomer Royal pays tribute to him.

Soon after I enrolled as a graduate student at the University of Cambridge in 1964, I encountered a fellow student, two years ahead of me in his studies; he was unsteady on his feet and spoke with great difficulty. This was Stephen Hawking. I learned that he had a degenerative disease – amyotrophic lateral sclerosis – and might not live long enough even to finish his PhD degree. But, amazingly, he has lived on for 50 years longer. Mere survival would have been a medical marvel, but of course he hasn’t merely survived. He has become the most famous scientist in the world – acclaimed for his brilliant researches, for his bestselling books about space, time and the cosmos and, above all, for his astonishing triumph over adversity.

The Theory of Everything, the film currently in cinemas, portrays the human story behind this struggle. And it surpasses most biopics in representing the main characters so well that they themselves are happy with the portrayal.

Astronomers are used to large numbers. But few numbers could be as large as the odds I’d have given back in 1963, when Stephen received his “death sentence”, against ever celebrating this uniquely inspiring crescendo of achievement, sustained now for more than 50 years.

Stephen went to school in St Albans and then to university at Oxford. He was, by all accounts, a “laid-back” undergraduate, but his brilliance nonetheless earned him a first-class degree, and an “entry ticket” to a research career in Cambridge. Within a few years of the onset of his disease he was wheelchair-bound and his speech became an indistinct croak that only those who knew him could interpret. But in other respects fortune had favoured him. He married a college friend, Jane Wilde, who provided a supportive home life for him and their three children.

His scientific work went from strength to strength: he quickly came up with a succession of insights into the nature of black holes (then a very new idea) and how our universe began. In 1974 he was elected to the Royal Society, Britain’s main scientific academy, at the exceptionally early age of 32.

He was by then so frail that most of us suspected he could scale no further heights. But, for Stephen, this was still just the beginning. He worked in the same building as I did. I would often push his wheelchair into his office, and he would ask me to open an abstruse book on quantum theory – the science of atoms, not a subject that had hitherto much interested him. He would sit hunched motionless for hours; he couldn’t even turn the pages without help. I wondered what was going through his mind, and if his powers were failing. But within a year he came up with his best ever idea, encapsulated in an equation that he says he wants on his gravestone.

The great advances in science generally involve discovering a link between phenomena that seemed hitherto conceptually unconnected: for instance, Isaac Newton realised that the force making an apple fall was the same as the force that held the moon and planets in their orbits. Stephen’s “eureka moment” revealed a profound and unexpected link between gravity and quantum theory which predicted that black holes would not be completely black, but would radiate in a characteristic way. This radiation is significant only for black holes much less massive than stars – and none of these has been found. However, “Hawking radiation” became a hugely influential concept in mathematical physics; indeed, one of the main achievements of string theory has been to firm up and build on his idea. It is remarkable that it is still the focus of theoretical interest, a topic of debate and controversy even 40 years after discovery. He has not been awarded the Nobel Prize because his idea is not confirmed by experiment. But in 2012 he was one of the first winners of the Milner Prize, worth $3m, intended to recognise theoretical work.

Cambridge has been Stephen’s base throughout his career and he became a familiar figure in the city, navigating his wheelchair around the streets. By the end of the 1970s he had advanced to one of the most distinguished posts at the university – the Lucasian Professorship of Mathematics, once held by Newton. Stephen held the chair with distinction for 30 years but reached the retiring age in 2009, and since then has held a special research professorship. He has continued to seek new links between the very large (the cosmos) and the very small (atoms and quantum theory) and to gain deeper insights into the very beginning of our universe, addressing such questions as: “Was our Big Bang the only one?” He always had an amazing ability to figure things out in his head but generally he worked with colleagues who would write a formula on a blackboard; he would stare at it, and say what should come next.

In 1987 Stephen contracted pneumonia. He had to undergo a tracheotomy, which removed even the limited powers of speech he then possessed. It had been more than ten years since he could write, or use a keyboard. Without speech, the only way he could communicate was by directing his eye towards one of the letters of the alphabet on a big board in front of him.

But he was saved by technology. He still had the use of one hand; and a computer, controlled by a single lever, allowed him to spell out sentences. These were then declaimed by a speech synthesiser with the androidal American accent that has since become his trademark. His lectures were, of course, pre-prepared, but conversation remained a struggle. Each word involved several presses of the lever, so a single sentence took several minutes. He has learned to economise with words. His comments are aphoristic or oracular, but often infused with wit. In recent years he has become too weak to control this machine effectively, even with facial muscles or eye movements, and his communication – to his immense frustration – has become still slower. Let’s hope that his new Intel predictive software speeds things up, though he will not modify his “trademark” voice.

At the time of his tracheotomy operation, he had a rough draft of a book that he hoped would describe his ideas to a wide readership and earn something for his two eldest children, Robert and Lucy, who were then of college age. On recovering from pneumonia, he resumed work with the help of an editor. When the US edition of A Brief History of Time appeared, the printers had made errors (one picture was upside down), and the publishers tried to recall the stock. To their amazement, all copies had already been sold. It was the first inkling that the book was destined to have huge success – four years on bestseller lists around the world.

Stephen became an international celebrity. His later ideas appear, beautifully illustrated, in other books such as The Universe in a Nutshell and The Grand Design. These were not bought by quite as many people as his first book, but they are more clearly written, and probably more people got to the end of them. He has featured in numerous television programmes; his lectures have filled the Royal Albert Hall in London, and similar venues in the United States and Japan. (In principle, machine translation could now give him an advantage over the rest of us by converting his speech into Japanese, Korean, or other languages.) He lectured at Bill Clinton’s White House; he was back there again more recently when President Obama presented him with the Presidential Medal of Freedom, a very rare honour for any foreigner. He has featured in Star Trek and The Simpsons, as well as in numerous TV advertisements. Even before the present film, his life and work had featured in movies. In an excellent TV docudrama, he was played by Benedict Cumberbatch. (And in 2012 Cumberbatch spoke his words in a three-part documentary, The Grand Design, made for the Discovery Channel.)

The Theory of Everything conveys with sensitivity how the pressure of his celebrity, and the need for round-the-clock care by a team of nurses, strained his marriage to breaking point. Jane’s book on which the film is based chronicles the 25 years during which, with amazing dedication, she underpinned his family life and his career.

This is where the film ends. But it leaves us only halfway through Stephen’s adult life. After the split with Jane, he married Elaine Mason, who had been one of his nurses, and whose former husband had designed his speech synthesiser. However, this partnership broke up after a few years. He has been sustained, then and thereafter, by a team of helpers and personal assistants, as well as his family. His daughter, Lucy, has written books for children with her father listed as co-author.

His 60th-birthday celebrations in January 2002 were a memorable occasion for all of us. Hundreds of leading scientists came from all over the world to honour and celebrate Stephen’s discoveries, and to spend a week discussing the latest theories on space, time and the cosmos. But the celebrations weren’t just scientific – that wouldn’t have been Stephen’s style. There were parties and dinners each evening. He was surrounded by his children and grandchildren. A Marilyn Monroe lookalike cut a huge birthday cake; a troupe of cancan dancers performed; there was music and singing. And when the week’s events were all over, he celebrated with a trip in a hot-air balloon.

Stephen continued, even in his sixties, to write technical papers and to speak at premier international conferences – doubly remarkable in a subject such as maths, where even most healthy researchers peak at an early age. He reminded us that he was not another Einstein; nonetheless few, if any, have done more to deepen our knowledge of gravity, space and time.

He remains an inveterate traveller despite attempts to curb this as his respiration weakens. All his trips involve an entourage of assistants and nurses. His fame, and the allure of his public appearances, have given him the resources for nursing care, even private jets, and protected him against the “Does he take sugar?” type of indignity that the disabled often suffer.

Why has he become such a “cult figure”? The notion of an imprisoned mind roaming the cosmos plainly grabbed people’s imagination. If he had achieved equal distinction in (say) genetics, rather than cosmology, his triumph of intellect against adversity probably would not have had the same resonance with a worldwide public.

It was amazing enough that Stephen reached the age of 60; few of us then thought that he would survive to another milestone – his 70th birthday. But he did, and this was again marked by an international gathering of scientists, and also with some razzmatazz: Richard Branson, Daniel Craig and other celebrities attended. Yet plainly he was then weakening; he had to watch most of the events by video while in hospital on a respirator.

But once again he recovered, and was soon back at work. Within three months he was off on another transatlantic trip. This was not just to lecture: he was determined to visit an underground laboratory in Canada where landmark and delicate experiments had been done. He was undeterred by having to descend two miles down a mineshaft. On a later trip only a last-minute health setback prevented him from travelling onwards to the Galapagos. In April 2013, he gave lectures to huge audiences in California. And just four months ago he was the “star” attraction (along with Brian May) at Starmus, a “cosmos and music” festival in the Canary Islands.

Stephen is far from being the archetypal unworldly or nerdish scientist – his personality has remained remarkably unwarped by his frustrations and handicaps. As well as his inveterate scientific travels, he enjoys trips to the theatre or the opera. He has robust common sense, and forceful political opinions that he is ready to express. However, a downside of his celebrity is that his comments attract exaggerated attention even when he speaks about topics in which he has no special expertise – philosophy, for instance, or the dangers posed by aliens or intelligent machines.

Despite the pressures and difficulties, he is a determined campaigner for the disabled. He has also always been, at a personal level, sensitive to the misfortunes of others. He records that, in hospital soon after his illness was first diagnosed, he felt his depression lift when he compared his lot with that of a boy in the next bed who was dying of leukaemia. In later life, he went to great efforts to visit a terminally ill colleague. And he has been happy to align himself with other campaigns and causes. When he visited Israel, he insisted on going also to the West Bank. Newspapers in 2006 showed remarkable pictures of him in his wheelchair, surrounded by fascinated and curious crowds in Ramallah. And in 2013 he accepted the advice of Palestinian colleagues to decline an invitation to a major conference in Israel. But by the time the ensuing (and entirely predictable) controversy broke, he was in intensive care with a collapsed lung. Last month he hit headlines again with his claims that computers may become so powerful that it will be the end for humanity.

Even more astonishing are the photographs of him “floating” in the Nasa aircraft (the “Vomit Comet”) that allows passengers to experience weightlessness. He was manifestly overjoyed at escaping, albeit briefly, the clutches of the gravitational force he has studied for decades and that has so cruelly imprisoned his body. He says he would still like to be a “space tourist”. In London in the summer of 2012, he reached perhaps his largest ever audience when he played a star role in the opening ceremony for the Paralympics. He is probably, at least since the death of the actor Christopher Reeve, the best-known disabled person in the world – and, unlike Reeve, he achieved his fame while already disabled.

Tragedy struck Stephen Hawking when he was only 21. He was diagnosed with a deadly disease and his expectations dropped to zero. He has said that everything that has happened since then is a bonus. And what a triumph his life has been. His name will live in the annals of science; millions have had their cosmic horizons widened by his bestselling books; and even more, around the world, have been inspired by a unique example of achievement against all the odds – a manifestation of astonishing willpower and determination.

It is a great thing that some phases and facets of Stephen’s life have been so well portrayed in The Theory of Everything. Let’s hope that some time there will be another film that depicts his later life, and his scientific achievements.

This article is an updated and expanded version of a tribute to Stephen Hawking published in 2007

Martin Rees is a fellow of Trinity College and Emeritus Professor of Cosmology and Astrophysics at the University of Cambridge

This article first appeared in the 16 January 2015 issue of the New Statesman, The Jihadis Among Us

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 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