Graveyard shift

The construction of a museum of tolerance in Jerusalem – on the site of an ancient Arab cemetery – h

"You can't build a museum on the bones of our grandfathers and call it the Museum of Tolerance," Mustafa Abu Zahra told me, as we walked round what remains of the largest Arab cemetery in West Jerusalem. Beyond the trees and the stone tombs that cover the southern half of the cemetery, we could see the white metal fence that enclosed the construction site of a project that has aroused fierce opposition in the six years since its inception. Even its name seems a mockery of the spirit of religious co-operation that the city of Jerusalem - so central to the adherents of three related faiths - is supposed to represent: "It's not about tolerance or love between nations,' said Abu Zahra. 'It's about the violation of a sacred site."

I'd met Abu Zahra at his shop in the Musrara quarter. When I arrived, customers were drinking coffee in the front, and Abu Zahra was receiving visitors at a desk in a storeroom piled high with sacks of rice and tinned goods. Yet he is not just a shop owner and businessman: he is also mutawalli, or guardian, of Mamilla Cemetery. When his guests had left, he drove me round the walls of the Old City to his diminishing realm, amid the air-conditioned shopping malls and upmarket hotels of West Jerusalem.

The journey took only five minutes, but it exposed some of the cultural contrasts that inform the debate about Mamilla's future. Abu Zahra's shop sells everything from figs and spices to cornflakes and cleaning fluid, but once we'd left the market stalls and crowded streets around Damascus Gate, we found ourselves in a very different part of the city.

Mamilla used to lie on the edge of the impoverished no-man's-land that divided the Israeli and Jordanian sections of the city, but since Israel conquered and annexed East Jerusalem in the Six Day War of 1967, it has become a prime piece of land. Jerusalem's best-known hotel, the King David, is 200 metres up the hill; the Waldorf Astoria group is investing $100m (£60m) in another luxury hotel on the street that runs along its southern border. The American consulate in West Jerusalem and Mamilla Mall lie within sight of its gates.

It is probably not surprising that Mamilla's paved avenues, dusty paths and open spaces have gradually been eroded. In 1958, ten years after the state of Israel came into being, its western half was appropriated for Independence Park, and in 1964 a multi-storey car park was built on its northern edge. Yet it is the plan to build the Museum of Tolerance where the car park used to stand that has piqued those such as Abu Zahra, who sees it as nothing less than an attempt to erase the history of the Arab presence in Jerusalem.

The Museum of Tolerance is being developed by the Simon Wiesenthal Centre (SWC), an "international Jewish human rights organisation", named after the renowned Austrian Nazi-hunter. It already owns the Museum of Tolerance in Los Angeles and the Tolerance Centre in New York; in 2004, it inaugurated the Museum of Tolerance in Jerusalem at a ceremony attended by Arnold Schwarzenegger, governor of California and the son of an Austrian policeman who joined the Nazi Party in 1938. The celebrity architect Frank Gehry designed a flamboyant building in steel and glass, but the initial phases of ground-breaking and construction unearthed several hundred skeletons.

Religious and civic organisations demanded that the SWC abandon work and seek another site. The waqf, or religious trust, which is responsible for Mamilla, petitioned the high court to stop the building work, as did a human rights organisation representing three Jerusalem families whose ancestors are buried in the cemetery. In February 2006 the court issued an injunction, and work stopped for two years. But on 28 October 2008 the high court ruled that it could resume, and placed the onus on the Muslim authorities to accept the SWC's offers to reinter the remains elsewhere, clean up the modern Muslim cemetery to the south of the site and establish an appropriate monument to those who were buried there.

Rabbi Marvin Hier, the dean and founder of the SWC, claims that "all citizens of Israel" - Jews and non-Jews - would be the "real beneficiaries" of the decision. "Moderation and tolerance have prevailed. The museum . . . will be a great landmark promoting principles of mutual respect and social responsibility," he says. Others point out that the SWC campaigned for 15 years to remove a Carmelite convent from the grounds of Auschwitz, arguing that nothing should be built on the "single largest unmarked human graveyard in history", and say Mamilla should be accorded similar respect.

Rabbi Hier says the comparison is "ludicrous", not least because "the Arabs" did not treat the site as a cemetery when it was a car park. He maintains that the religious leaders of the Muslim community have ruled that the site was mundras, or abandoned, and says that in 1946 there were plans to build a university on the land. But critics say he has misread the nature of such schemes. According to Yehoshua Ben-Arieh, a professor of geography at the Hebrew University of Jerusalem who is one of the leading authorities on the city's recent history, they were "curiosities" that were never likely to be implemented.

Shattered stone

Besides, what the Mufti of Jerusalem might once have sanctioned is not the point, Ben-Arieh says: what matters is the way in which Israel is treating an important Muslim site located within its sovereign territory. Gershon Baskin, an Israeli Jew who runs a joint Palestinian-Israeli public policy organisation called Ipcri, recalls the reaction when Israel captured East Jerusalem in 1967 and discovered that many graves in the cemetery on the Mount of Olives had been damaged or destroyed.

“Imagine the outrage if the Palestinians were building a Museum of Tolerance - or anything else - on what was once a Jewish cemetery," he says. "Would it matter if the cemetery was not active and in use since 1948, or that it was being done legally?

“The Wiesenthal Centre project in Jerusa­lem is a disgrace to the Jewish people, the state of Israel and the city of Jerusalem. Shimon Wiesenthal would be turning in his grave if he knew what is happening in his name."

When construction at Mamilla resumed, several months after the high court verdict, hundreds more skeletons were exhumed and transferred to a mass grave. It wasn't possible to see what was going on behind the high white fence that sealed the perimeter of the site, but the British artist Sarah Beddington filmed from the windows of a nearby building for a video installation that featured in an exhibition called "The Other Shadow of the City".

Abu Zahra estimates that Mamilla is now a tenth of its original size, and the erosion of its borders is still going on. Recently, a section in the south-eastern corner of the cemetery, beyond the deep stone basin called Mamilla Pool, which was often used as a water source for armies besieging the Old City of Jerusalem, has been fenced off as a workman's yard, and the Jerusalem Municipality has begun storing rubbish bins in the south-west corner.

Even the few remaining graves are not safe: many of the headstones have been defaced or destroyed. "They have eliminated every stone here that has the name of the man inside, because they don't want anyone to claim them," says Abu Zahra. He believes that if the museum is built, it will not be long before the rest of Mamilla is appropriated by developers. "They will find a way to take more of the land, and step by step they will destroy the cemetery."

As we walked, he pointed out the shattered headstones of some of the tombs and translated some of the inscriptions on the few that remain intact. There was one commemorating the death of the "deceased martyr Ameen Abdelmo'ti Abu al-Fdel al-Alami, Sheikh and Imam" who died in 1346AH or "after Hejira" (AD1927), a reference to the Prophet Muhammad's journey from Mecca to Medina in AD581, which marks the beginning of the Islamic age.

Some people claim that Mamilla has graves dating to the era of Salah ah-din (or Saladin), who drove the Crusaders out of the Holy Land and recaptured Jerusalem, though archaeologists suggest most of them are no more than 400 years old. What no one disputes is that it contains the graves of sheikhs, imams, scholars, military leaders and members of the city's most important Arab families. "The name means 'a piece of heaven on earth', and it was a great honour to be buried there," says Raed Duzdar, whose ancestor is buried in the south-east corner of the plot, overlooking the site of the Waldorf Astoria hotel.

Ahmad Agha Duzdar was the Ottoman governor of Jerusalem between 1838 and the early 1860s. In 2005 the Turkish consulate helped Raed Duzdar renovate his grave. The tall, white stone, engraved with a red star and crescent and inscriptions in English and Arabic, was destroyed a few weeks later. All that is left of it is a few fragments of shattered stone.

Duzdar does not know who committed the act of vandalism, but he blames the authorities that allowed the SWC to develop the northern part of the site. "The government and the municipality say they're preaching tolerance, but they are allowing this ugly thing to be done to us in Jerusa­lem." He says that the sanctity of the cemetery is eternal. "No religion would accept the destruction of graves. It's very sinful."

Project stalls

Since the high court's verdict, Baskin has come up with various plans to stop the project. He was a signatory to another suit filed at the high court, claiming that the Israel Antiquities Authority, which prepared the site for construction, had misled the court about the number of burials it unearthed. Baskin has tried to persuade the Sephardi chief rabbi, Shlomo Amar, and his predecessor Ovadia Yosef, head of the ultra-Orthodox Shas party, to declare the site "unclean" because of the remains disinterred in the construction process.

Yet Baskin never held out much hope that any of the suits would succeed and began to fear that the museum was a "done deal". Yet last November, it seemed there had been an unexpected reprieve - work on the site appeared to stop, and the announcement that Gehry had left the project seemed to confirm it had begun to falter. The SWC maintains that it has spent the past two months removing pipes from the site. However, it has conceded that it is redesigning the project "to reflect today's world economic realities"; the budget has been cut from $250m to $100m, and the size of the complex has been halved. Rabbi Hier says that the SWC already has half the funds in place, and it will soon be holding a competition to find an Israeli architect to redesign the museum.

Gehry has denied that his decision to quit was prompted by "perceived political sensitivities", and Rabbi Hier refuses to acknowledge the anger over the destruction of Mamilla, saying that SWC members intend to "refocus all of our energies on bringing to Jerusalem, and the people of Israel, a project of crucial significance to its future". Baskin believes it will be a disaster if the rabbi succeeds, and yet, in some ways, the damage has already been done - no matter what happens next, the SWC will not be able to reinter the human remains dug from Mamilla. Nor will it be able to undo the offence it has caused the likes of Abu Zahra with its ill-considered attempts to spread "a message of tolerance between peoples".

Edward Platt is a contributing writer of the NS

This article first appeared in the 25 January 2010 issue of the New Statesman, Afghanistan: Why we cannot win this war

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