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It matters if you’re black or whit­e

Segregated communities are the norm in the US and they seem to be spreading, aggravating social ineq

The consensus at Ian's Bakery, where the scones seem to take their inspiration from the Rocky Mountains framing us, is that the police should have shot back. Footage of the riots in England played for days on the news - a rare penetration of British news that isn't about the royal family into mainstream American consciousness.

A woman in London whose shop had been ran­sacked was shown pleading for police protection. The response was unanimous: give her a gun. "What the hell they doin'?" asked one man. "Shoot 'em." Admittedly this was the Mid­west, where the baker shoots bears in his spare time and hands out the roasted meat free with the breakfast burritos. Still, these people reflected a healthy dose of American opinion that simply would not have put up with what they were watching. They couldn't believe the shop owners were not allowed to defend them­selves, and shook their heads in amazement when I said the police were banned from shooting, too - not even plastic bullets or water cannon.

Another man, a retired army officer studying post-colonial literature - no honky-tonk cowboy - racked his brains to recall disorder of this sort in the US and came up with the Watts riots of 1965. There has been plenty of rioting in the US since then, but it largely occurs around colleges and in poor inner-city areas, so he had not noticed it. The reason why is evident in the suburbs, where I'm writing this: mile upon mile of tasteful clapboard, a low-density sprawl that the writer Eric Schlosser has described as "the architectural equivalent of fast food".

Over the past 20 years, immense subdivisions of small towns have sprung up all over Colorado: "the houses seem not to have been constructed by hand but manufactured by some gigantic machine, cast in the same mould and somehow dropped here fully made. You can easily get lost in these new subdivisions . . . without ever finding anything of significance to differentiate one block from another - except their numbers. Roads end without warning, and sidewalks run straight into the prairie, blocked by tall, wild grasses that have not yet been turned into lawns."

Here is where the white people live, segregated from black America. More than half of America lives in suburban areas; in Europe, two-thirds of us are urban. In tidy houses in neat suburbs, policed by small private armies of security guards and homeowners' committees, white America insulates itself from black.

House rules

With the new suburbs come rules: rules about the size of your trash can, the number of Christmas lights you may display, the colour of your curtains, the weight of the family dog. Professor Setha Low, a former president of the American Anthropological Association, says these rules entrench middle-class values. "Middle-class families imprint their landscapes with 'niceness', reflecting their own landscape aesthetic of orderliness, consistency and control," she observes in Behind the Gates: Life, Security and the Pursuit of Happiness in Fortress America.
This homogeneity in effect excludes ethnic minorities. "Racist fears about the 'threat' of a visible minority, whether it is blacks, Latinos, 'Orientals', or Koreans, are remarkably similar. This is because many neighbourhoods in the US are racially homogeneous. Thus, the physical space of the neighbourhood and its racial composition become synonymous."

You can gate without putting in gates - property prices, residents' associations and just knowing one another's business act as effective barriers to outsiders. "Quiet laws" and indirect economic strategies limiting the minimum lot or house size, cul-de-sacs that allow for easy monitoring of who is where and social regulations complete the separation. In major metropolitan areas of the US, half of all new housing is built and sold as part of a collective regime, with privatised rubbish collection and security, and covenants regulated by governing bodies. One man was fined because his car leaked a spot of oil on the street. A woman was threatened with expulsion for kissing her boyfriend in the driveway. I may not hang out any washing, nor can I leave the rubbish bin out except on Fridays.

The zenith of this "nice, happy" American suburban living is the physically gated community, a "purified" environment where outsiders can be spotted immediately. A third of all new communities in southern California are gated, as is a similar proportion around Phoenix, Arizona, in the suburbs of Washington and parts of Florida. In Tampa, Florida, four out of five home sales valued at $300,000 or more are of prop­erties in gated communities. They come with gates, swipe cards and tight security. And they largely isolate the white middle and upper classes from poorer blacks.

Hurricane Katrina in New Orleans six years ago was an eye-opener for middle-class America. One Midwesterner bemoaned to me the television pictures of all those people "sitting on their fat black asses" and waiting for government help. A more liberal man noted that it was a "wake-up call" to white America, which did not normally see inside the black inner cities.

In the US, as in Asia, Latin America and South Africa, the separation and gating of communities is an accepted symbol of vastly unequal societies in which the winners must be physically protected from the losers. Figures from the US Economic Policy Institute show that, in 2009, the median net worth for white households in America was $97,860 (a fall of 27 per cent in five years); for black households, it was $2,170 (a fall of 84 per cent over the same period).

Black America is finding ways to fight back, with a trend towards flash-mob attacks in upscale department stores and the restaurant districts of cities such as Philadelphia and Chicago. On 29 July, two dozen youths, one as young as 11, beat up and robbed bystanders in central Philadelphia. The city has imposed a weekend curfew of 9pm for minors. In Chicago in June, up to 20 young men violently robbed people in Streeterville, a usually trouble-free area dominated by upmarket shops and skyscrapers. These forays into middle-class white American territory are rare, but becoming less so.

In Europe, we segregate less - and we are less unequal. Median total wealth per household in the UK, according to last year's National Equality Panel report, is £21,000 for black Africans, £76,000 for black Caribbeans and £221,000 for white British. For Bangladeshis, it is £15,000; for Muslims, £42,000; for Indians, £204,000. The figures are not directly comparable with those for the US, but the relative poverty levels are: black America is far poorer relative to white America than black Britain is to white Britain.

Not that we have anything to be smug about. The Equality Panel reported that, by 2008, the UK had the highest level of income inequality since soon after the Second World War. And the average household wealth of the top 10 per cent, at £853,000, was nearly 100 times higher than the wealth of the poorest 10 per cent, at less than £9,000. These figures include property, savings, cars and pension rights.

Geographical segregation, too, is increasing in the UK, not just between north and south, but within regions and local authorities. The north might be far poorer than the south - household wealth in the south-east is 1.7 times that in the north-west - but the variation in wealth is higher in the south and especially stark in London. There is some evidence that the social marginalisation of poorer wards is increasing all over England, with the gap widening between these areas and their locality in terms of health, education, employment and income.

Urban paranoia

The degree of geographical segregation and privatisation of public space in the US will never be matched in England. First, we do not have the space. As John Micklethwait and Adrian Wooldridge point out in The Right Nation, the US has enough land to give every household an acre and still populate only one-twentieth of the continental United States (excluding Alaska). Second, we do not have the same culture of privatisation, even though our security-patrolled shopping centres mirror the trend and gated living is becoming more popular. The research is mixed as to whether it makes people feel more secure; some say their segregated communities make them feel safe, others have become more paranoid about strangers.
So, without segregation and without guns, what is to be Europe's solution to civic unrest in the face of soaring economic inequality? David Cameron has reached for an answer in the shape of Bill Bratton, the former New York City police chief hired to advise the Prime Minister. Bratton is associated with falling crime rates in US cities due to a "zero-tolerance" approach that Cameron has said he will adopt in the UK. He may be disappointed.

The economist Steven Levitt has conducted research suggesting that the decline in New York's crime rate had more to do with rising numbers of (armed) police, a higher prison population and the legalisation of abortion than Bratton's methods. The drop began before Bratton was appointed, Levitt argues, and other cities that did not employ his style of policing experienced similar falls in crime, once police numbers were taken into account.

Bratton may be a good headline, but he is not the solution. That leaves Cameron with the options of spending more on police and prisons
to match incarceration rates in the US, where black people are three times as likely to be jailed as in England and Wales. Or he could tackle inequality: in inherited wealth, in employment, in wages, in opportunity. But that, as Labour can painfully attest, is the hardest headline to win of them all.

This article first appeared in the 22 August 2011 issue of the New Statesman, The answer to the riots?

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