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John Pilger on the Dagan Plan and Gaza under fire

Every war Israel has waged since 1948 has had the same objective: expulsion of the native people. 

"When the truth is replaced by silence," the Soviet dissident Yevgeny Yevtushenko said, "the silence is a lie." It may appear that the silence on Gaza is broken. The small cocoons of murdered children, wrapped in green, together with boxes containing their dismembered parents, and the cries of grief and rage of everyone in that death camp by the sea can be witnessed on al-Jazeera and YouTube, even glimpsed on the BBC. But Russia's incorrigible poet was not referring to the ephemera we call news; he was asking why those who knew the why never spoke it, and so denied it. Among the Anglo-American intelligentsia, this is especially striking. It is they who hold the keys to the great storehouses of knowledge: the historiographies and archives that lead us to the why.

They know that the horror now raining on Gaza has little to do with Hamas or, absurdly, "Israel's right to exist". They know the opposite to be true: that Palestine's right to exist was cancelled 61 years ago and that the expulsion and, if necessary, extinction of the indigenous people was planned and executed by the founders of Israel. They know, for example, that the infamous "Plan D" of 1947-48 resulted in the murderous depopulation of 369 Palestinian towns and villages by the Haganah (Israeli army) and that massacre upon massacre of Palestinian civilians in such places as Deir Yassin, al-Dawayima, Eilaboun, Jish, Ramle and Lydda are referred to in official records as "ethnic cleansing". Arriving at a scene of this carnage, David Ben-Gurion, Israel's first prime minister, was asked by a general, Yigal Allon: "What shall we do with the Arabs?" Ben-Gurion, reported the Israeli historian Benny Morris, "made a dismissive, energetic gesture with his hand and said, 'Expel them'".

The order to expel an entire population "without attention to age" was signed by Yitzhak Rabin, a future prime minister promoted by the world's most efficient propaganda as a peacemaker. The terrible irony of this was addressed only in passing, such as when the Mapam party co-leader Meir Ya'ari noted "how easily" Israel's leaders spoke of how it was "possible and permissible to take women, children and old men and to fill the road with them because such is the imperative of strategy. And this we say . . . who remember who used this means against our people during the [Second World] War . . . I am appalled."

Every subsequent "war" Israel has waged has had the same objective: the expulsion of the native people and the theft of more and more land. The lie of David and Goliath, of perennial victim, reached its apogee in 1967 when the propaganda became a righteous fury that claimed the Arab states had struck first against Israel. Since then, mostly Jewish truth-tellers such as Avi Shlaim, Noam Chomsky, Tanya Reinhart, Neve Gordon, Tom Segev, Uri Avnery, Ilan Pappé and Norman Finkelstein have undermined this and other myths and revealed a state shorn of the humane traditions of Judaism, whose unrelenting militarism is the sum of an expansionist, lawless and racist ideology called Zionism. "It seems," wrote the Israeli historian Pappé on 2 January, "that even the most horrendous crimes, such as the genocide in Gaza, are treated as discrete events, unconnected to anything that happened in the past and not associated with any ideology or system . . . Very much as the apartheid ideology explained the oppressive policies of the South African government, this ideology - in its most consensual and simplistic variety - allowed all the Israeli governments in the past and the present to dehumanise the Palestinians wherever they are and strive to destroy them. The means altered from period to period, from location to location, as did the narrative covering up these atrocities. But there is a clear pattern [of genocide]."

In Gaza, the enforced starvation and denial of humanitarian aid, the piracy of life-giving resources such as fuel and water, the denial of medicines, the systematic destruction of infrastructure and killing and maiming of the civilian population, 50 per cent of whom are children, fall within the international standard of the Genocide Convention. "Is it an irresponsible overstatement," asked Richard Falk, UN special rapporteur for human rights in the occupied Palestinian territories and international law authority at Princeton University, "to associate the treatment of Palestinians with this criminalised Nazi record of collective atrocity? I think not."

In describing a “holocaust-in-the making”, Falk was alluding to the Nazis’ establishment of Jewish ghettos in Poland. For one month in 1943, the captive Polish Jews, led by Mordechaj Anielewicz, fought off the German army and the SS, but their resistance was finally crushed and the Nazis exacted their final revenge. Falk is also a Jew. Today’s holocaust-in-the-making, which began with Ben-Gurion’s Plan D, is in its final stages. The difference today is that it is a joint US-Israeli project. The F-16 jet fighters, the 250lb “smart” GBU-39 bombs supplied on the eve of the attack on Gaza, having been approved by a Congress dominated by the Democratic Party, plus the annual $2.4bn in warmaking “aid”, give Washington de facto control. It beggars belief that President-elect Obama was not informed. Outspoken about Russia’s war in Georgia and the terrorism in Mumbai, Obama has maintained a silence on Palestine that marks his approval, which is to be expected, given his obsequiousness to the Tel Aviv regime and its lobbyists during the presidential campaign and his appointment of Zionists as his secretary of state and principal Middle East advisers. When Aretha Franklin sings “Think”, her wonderful 1960s anthem to freedom, at Obama’s inauguration on 20 January, I trust someone with the brave heart of Muntader al-Zaidi, the shoe-thrower, will shout: “Gaza!”

The asymmetry of conquest and terror is clear. Plan D is now "Operation Cast Lead", which is the unfinished "Operation Justified Vengeance". This was launched by Prime Minister Ariel Sharon in 2001 when, with George W Bush's approval, he used F-16s against Palestinian towns and villages for the first time.

 

Why are the academics and teachers silent? Are British universities now no more than “intellectual Tescos”?

 

In that same year, the authoritative Jane's Foreign Report disclosed that the Blair government had given Israel the "green light" to attack the West Bank after it was shown Israel's secret designs for a bloodbath. It was typical of new Labour's enduring complicity in Palestine's agony. However, the Israeli plan, reported Jane's, needed the "trigger" of a suicide bombing which would cause "numerous deaths and injuries [because] the 'revenge' factor is crucial". This would "motivate Israeli soldiers to demolish the Palestinians". What alarmed Sharon and the author of the plan, General Shaul Mofaz, then Israeli chief of staff, was a secret agreement between Yasser Arafat and Hamas to ban suicide attacks. On 23 November 2001 Israeli agents assassinated the Hamas leader Mahmoud Abu Hanoud and got their "trigger": the suicide attacks resumed in response to his killing.

Something uncannily similar happened on 4 November last year when Israeli special forces attacked Gaza, killing six people. Once again, they got their propaganda "trigger": a ceasefire sustained by the Hamas government - which had imprisoned its violators - was shattered as a result of the Israeli attacks, and home-made rockets were fired into what used to be called Palestine before its Arab occupants were "cleansed". On 23 December, Hamas offered to renew the ceasefire, but Israel's charade was such that its all-out assault on Gaza had been planned six months earlier, according to the Israeli daily Haaretz.

Behind this sordid game is the "Dagan Plan", named after General Meir Dagan, who served with Sharon during his bloody invasion of Leba non in 1982. Now head of Mossad, the Israeli intelligence organisation, Dagan is the author of a "solution" that has brought about the imprisonment of Palestinians behind a ghetto wall snaking across the West Bank and in Gaza, now effectively a concentration camp. The establishment of a quisling government in Ramallah, under Mahmoud Abbas, is Dagan's achievement, together with a hasbara (propaganda) campaign, relayed through mostly supine, if intimidated western media, notably in the US, which say Hamas is a terrorist organisation devoted to Israel's destruction and is to "blame" for the massacres and siege of its own people over two generations, since long before its creation. "We have never had it so good," said the Israeli foreign ministry spokesman Gideon Meir in 2006. "The hasbara effort is a well-oiled machine."

In fact, Hamas's real threat is its example as the Arab world's only democratically elected government, drawing its popularity from its resistance to the Palestinians' oppressor and tormentor. This was demonstrated when Hamas foiled a CIA coup in 2007, an event ordained in the western media as "Hamas's seizure of power". Likewise, Hamas is never described as a government, let alone democratic. Neither is its proposal of a ten-year truce reported as a historic recognition of the "reality" of Israel and support for a two-state solution with just one condition: that the Israelis obey international law and end their illegal occupation beyond the 1967 borders. As every annual vote in the UN General Assembly demonstrates, most states agree. On 4 January, the president of the General Assembly, Miguel d'Escoto, described the Israeli attack on Gaza as a "monstrosity".

When the monstrosity is done and the people of Gaza are even more stricken, the Dagan Plan foresees what Sharon called a "1948-style solution" - the destruction of all Palestinian leadership and authority, followed by mass expulsions into smaller and smaller "cantonments", and perhaps, finally, into Jordan. This demolition of institutional and educational life in Gaza is designed to produce, wrote Karma Nabulsi, a Palestinian exile in Britain, "a Hobbesian vision of an anarchic society: truncated, violent, powerless, destroyed, cowed . . . Look to the Iraq of today: that is what [Sharon] had in store for us, and he has nearly achieved it."

Dr Dahlia Wasfi is an American writer on Iraq and Palestine. She has a Jewish mother and an Iraqi Muslim father. "Holocaust denial is anti-Semitic," she wrote on 31 December. "But I'm not talking about the World War II, Mahmoud Ahmadinejad [the president of Iran] or Ashkenazi Jews. What I'm referring to is the holocaust we are all witnessing and responsible for in Gaza today and in Palestine over the past 60 years . . . Since Arabs are Semites, US-Israeli policy doesn't get more anti-Semitic than this." She quoted Rachel Corrie, the young American who went to Palestine to defend Palestinians and was crushed by an Israeli bulldozer. "I am in the midst of a genocide," wrote Corrie, "which I am also indirectly supporting, and for which my government is largely responsible."

Reading the words of both, I am struck by the use of "responsibility". Breaking the lie of silence is not an esoteric abstraction, but an urgent responsibility that falls to those with the privilege of a platform. With the BBC cowed, so too is much of journalism, merely allowing vigorous debate within unmovable, invisible boundaries, ever fearful of the smear of anti-Semitism. The unreported news, meanwhile, is that the death toll in Gaza is the equivalent of 18,000 dead in Britain. Imagine, if you can.

Then there are the academics, the deans and teachers and researchers. Why are they silent as they watch a university bombed and hear the Association of University Teachers in Gaza plead for help? Are British universities now, as Terry Eagleton believes, no more than “intellectual Tescos, churning out a commodity known as graduates rather than greengroceries”?

Then there are the writers. In the dark year of 1939, the Third American Writers' Congress was held at Carnegie Hall in New York and the likes of Thomas Mann and Albert Einstein sent messages and spoke up to ensure that the lie of silence was broken. By one account, 2,500 jammed the auditorium. Today, this mighty voice of realism and morality is said to be obsolete; the literary review pages affect an ironic hauteur of irrelevance; false symbolism is all. As for the readers, their moral and political imagination is to be pacified, not primed. The anti-Muslim Martin Amis expressed this well in Visiting Mrs Nabo kov: "The dominance of the self is not a flaw, it is an evolutionary characteristic; it is just how things are."

If that is how things are, we are diminished as a civilised people. For what happens in Gaza is the defining moment of our time, which either grants war criminals impunity and immunity through our silence, while we contort our own intellect and morality, or it gives us the power to speak out. For the moment I prefer my own memory of Gaza: of the people's courage and resistance and their "luminous humanity", as Karma Nabulsi put it. On my last trip there, I was rewarded with a spectacle of Palestinian flags fluttering in unlikely places. It was dusk and children had done this. No one had told them to do it. They made flagpoles out of sticks tied together, and a few of them climbed on to a wall and held the flag between them, some silently, others crying out. They do this every day when they know foreigners are leaving, in the belief that the world will not forget them.

John Pilger, renowned investigative journalist and documentary film-maker, is one of only two to have twice won British journalism's top award; his documentaries have won academy awards in both the UK and the US. In a New Statesman survey of the 50 heroes of our time, Pilger came fourth behind Aung San Suu Kyi and Nelson Mandela. "John Pilger," wrote Harold Pinter, "unearths, with steely attention facts, the filthy truth. I salute him."

This article first appeared in the 12 January 2009 issue of the New Statesman, The destruction of Gaza

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