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Here come the liberals

For decades American conservatism defined global politics. Now we are about to witness a seismic cha

British politicians, commentators and the public like to believe in their sturdy autonomy. We have arrived at our decisions as freeborn men and women. We debate our ideas furiously in pubs, on radio phone-ins or via letters to the editor. We read the opinion pages. We elect a sovereign parliament that passes the laws and regulations that we mandate.

The truth is more subtle. We dance to another country's tune. It is the United States that makes the political, cultural and intellectual weather. It is the rich American institutes that develop the ideas for XYZ plan or ABC radical reform. Our academics, especially in the social sciences, want to get published in the American journals and ensure they please the editor in question. Our politicians watch closely to see what works in the US. We enjoy their movies and use their technology. The West Wing and Mad Men are part of our culture, as are Sex and the City and Friends. We think we are free; we are painfully and excessively influenced by the US.

Which is why the election of Barack Obama matters so much. In the tidal wave of tears of joy, analysis of county by county results, the "were you awake to hear the speech" conversations, naming the puppy and the critiques of Michelle's wardrobe - and yet another article on the big things in his in-tray - one thing has been underplayed. Obama's success will transform British politics. The centre ground will move significantly to the left.

No account of the rise of Thatcherism or the character of new Labour is possible without acknowledging the force and impact of the 30-year ascendancy of American neoconservatism. They won control of Washington in the late 1970s, creating the Washington consensus. No country - from communist China to the Nordic social democracies - held out. Everybody, to a degree, bought into the market fundamentalist consensus. Tony Blair could have held out more than he did - but the room for manoeuvre was tiny.

It went very deep. Editors of the top US social science journals published articles in this idiom because they had secured their jobs by conforming to it; ambitious British academics soon learned what was accepted and what was not. Young British investment bankers training in New York learned about the value of securitisation. Treasury officials on secondment to Washington bought into the consensus that privatisation and deregulation were the only ways forward. From social policy (remember zero tolerance and broken windows) to " light touch" financial regulation, and from a belief in labour market flexibility to distrust of public service broadcasting, the cultural and intellectual backdrop was conservative.

Obama's election ends that. American conservatism is now in profound disarray. It is not just that Republicanism has been forced back to the south and the mountain states: the intellectual paradigm that it championed led to nowhere but a credit crunch, a bloated and overpaid financial elite and the onset of a deep recession. No accident that Obama's lead jumped in the wake of the Lehman Brothers' bankruptcy and the part nationalisation of the banking system. Conservatism was on the ropes. A change had to come. Yes it did.

Here is a checklist of areas where the discourse is going to move left - intelligently and moderately because that is part of the Obama DNA. Firstly, trade unionism. Barack Obama shares the view of liberal Democrats that the best way to roll back the stagnating real incomes of the squeezed middle of the United States is to strengthen the bargaining power of organised labour. An empowered upper working class across all ethnic groups is the backbone of both the Democrat party and the economy.

This president is the most pro-union since Roosevelt. He wants to help unions organise and get recognition through a simple membership card check system, which workers can use freely and anonymously to signal their readiness to join - fiercely opposed by American business. This June, Obama even wrote to Tesco boss, Sir Terry Leahy, urging him to work with unions in the US (as he already does in the UK). The anti-unionism that led US officials to veto OECD reports that questioned labour market flexibility will be over. Now the US will encourage the OECD to publish evidence.

The BBC and Channel 4 should also be relieved at the victory. Obama is a strong supporter of public service broadcasting and caps on media ownership; he wants to see every American television and radio network commit to neutrality. In the US, one of the live issues is whether the Fairness Doctrine, requiring equal time between different points of view on broadcast media, should be reinstated - it was abolished by Ronald Reagan.

The subsequent avalanche of right-wing shock-jocks, the dumbing down of the American media and the partisanship of Fox News are even more an issue for the left in the US than the power of the right-wing print media is in Britain. For Democrats in the House, and Obama's chief of staff Rahm Emanuel, reinstating the Fairness Doctrine is of iconic importance. Obama may stop short of imposing a legal obligation on broadcasters - but he will go a long way towards it.

So it goes, too, with tax. This is the president who will redistribute income from the top 5 per cent earners above $200,000 to the other 95 per cent. There may not be much cash involved, but as Professor Avner Offer says in The Challenge of Affluence,, the point about higher tax rates is not so much the cash they raise but the signal they send about the dominant values of society. Obama has clear views on that. As he has on tax havens.

His reforms of Wall Street will be far-reaching; he will constrain bank bonuses, introduce tough new regulations and, as Roosevelt did, set up a wave of new banking institutions. He is already committed to a National Infrastructure Bank. When this is set up, financing roads, railways, bridges and dams across the US, the argument that Britain should have one too will become irresistible. Obama will try to deliver universal health provision. He will try to extend college access. He will want to build affordable homes. He will try radically to lower the US's carbon footprint, lower petrol consumption and improve energy efficiency. He will aim to reindustrialise the US.

As for foreign policy, he will be more multilateralist and there will be no Iraqs on his watch. But he is closer to Tony Blair and David Miliband (I think, rightly) as a liberal internationalist than many on the British left might like. Enlightenment values, democracy and human rights are worth asserting as universal rather than western principles. And, at the limit, worth fighting for. Trade is a big question mark. His party remains very protectionist.

For all that, the message is unmistakeable. Barack Obama will change the trajectory of the US.

I have found it odd to have been pro-BBC, pro-multilateralist Europe, pro-moderate trade unions, a City of London sceptic, pro-public service, pro-fairness and pro-redistribution for more years than I can remember. Now the leader of the world's hegemonic power, in control of its political, intellectual and cultural levers, is making this cluster of views the mainstream. The Labour Party and the wider liberal left are being given permission to be moderately and intelligently social democratic again. It may be a hackneyed phrase - but this really is a seminal moment.

Will Hutton is executive vice-chair of The Work Foundation

Obama's inner circle

Rahm Emanuel: chief of staff An Illinois congressman and the fourth-highest-ranking House Democrat. A centrist renowned for his aggressive manner, he is a former ballet dancer and was a volunteer mechanic in Israel's army during the first Gulf War in 1991. After working for the Clinton White House, he made $18m in two years at an investment bank. He is feared for his tactical prowess on Capitol Hill by Republicans and by Democrats who are not on his list of favourites.

Robert Gibbs: press secretary Gibbs has been with Obama since his 2004 Senate campaign, an affable Southerner with a temper. He was despatched on the trail in 2007 after concerns that Obama's message wasn't getting across; no adviser has spent more time at Obama's side. He made waves in a recent on-camera confrontation with Fox News's arch-conservative commentator Sean Hannity. Obama calls him "the guy I want in the foxhole with me during incoming fire".

Robert Gates The secretary of state for defence may hold on to his position in the short term to provide continuity in Iraq and Afghanistan. He has worked as a CIA chief and president of Texas A&M. He shares Obama's vision for emphasising "smart power" over raw military force, and keeping him on could lend a bipartisan aura.

Lawrence Summers Tipped for the position of treasury secretary, a post he held under Clinton, Summers is also a former World Bank chief economist and Harvard president. Intellectually, he is hugely respected, but his occasional tactlessness - notably his comments about women's aptitude for science - has earned him detractors.

Tom Daschle Tipped for a cabinet-level post, possibly secretary of state or health policy tsar, Daschle led the Senate for a decade before being voted out in 2004. His early support for Obama lent the candidate credibility, and his legislative know-how will be of use in driving the agenda.

David Axelrod A likely senior White House adviser, Obama's chief campaign strategist began his career as a reporter for the Chicago Tribune. He will be keeping his eye on Obama's 2012 re-election prospects, though probably with less of a hand in policy than Karl Rove had.

Valerie Jarrett A contender for a cabinet post, Jarrett is more likely to become a White House adviser. Co-chair of Obama's transition team, she is a businesswoman and a close friend of Barack and Michelle Obama.

This article first appeared in the 17 November 2008 issue of the New Statesman, Obamania

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