Iraq and the apocalypse

Why did a gifted prime minister embark on a course which people far stupider had consistently warned

New Labour being the project it was, we all have memories of special dismay. My own most lowering moment arrived one night in the winter of 2005 when I went to Chatham House in London to listen to a talk by Gordon Brown, given under the patronage of the Guardian in memory of the political journalist Hugo Young. I'd only once seen the Chancellor of the Exchequer in the flesh and I accepted the invitation because I wanted to take a citizen's look at our next prime minister. He raced into the room somewhat late, barely acknowledging the largely friendly audience, and began his speech, which was addressed throughout to the plain surface of the lectern. Repeatedly, in a nervous gesture, he fingered the corners of his apparently unfamiliar typescript, aligning the pages into hospital corners, while motor-mouthing through its words as though he were a solicitor forced to register a particularly arcane codicil. At the end, he refused questions and swept out of the room at the same pace at which he had entered. The subject of his speech had been how to restore public trust in politicians. Never once did he use the word "Iraq".

Next day I was surprised to see the speech reported in the newspapers as though it were a perfectly normal event. Sometimes, you think, the Westminster village is so fascinated with itself that it doesn't even notice when it's being insulted. To an outsider, an infrequent member of the audience at political events, it had been a performance of startling rudeness. But it made its more lasting impression for two quite different reasons.

First, it seemed to represent a sort of desolate milestone beyond which no real honesty was any longer possible in the Labour Party about anything. The speech was intellectually derelict. If you had wanted seriously to address the question of why a gulf had grown up between the electorate and the political establishment in Britain, then the chances are that you would have been obliged at least to mention, if not to address, the widespread impression that your government had altogether abandoned the notion of an independent foreign policy. You would have had to try seriously to speak to the deep divisions created in the country by a bruising Middle Eastern invasion. But beyond that, I left the meeting saddened because Brown's manner - at once neurotic and imperious, like a scratchy clip of Charles Laughton as Claudius - contrasted so sharply with my memory of a night ten years earlier when I had gone to another political lecture for exactly the same reason - to get my first proper look at the previous coming man.

Most gifted politician

The conventional wisdom is to say that Tony Blair "does" sincerity. Like an advocate, it is claimed, he always believes what he says when he's saying it. But this version of Blair as a gifted snake-oil salesman, who happens temporarily to believe in snake oil, sells him way short. On that night in the Queen Elizabeth II Conference Centre, the young Blair gave an admittedly routine address, but in the question-and-answer session afterwards simply dazzled everyone present both by his command of subject matter and by the politeness and directness with which he considered everything that was put to him. Again, the common view is to insist that this degree of eloquence and plausibility is somehow suspect, that fluency must be the mark of someone who is up to no good.

But anyone whose profession is words is committed to believing that thinking and speaking are intimately connected. Writers believe that deftness of expression expresses deftness of mind. In Blair's case, at least in 1995, you were left in no doubt that you were listening to the most gifted politician of the period, someone who, unlike Margaret Thatcher, did not need to resort to childish boasting and bullying in order to make his points.

All administrations become fractious with age. In their hearts, like most of us, they know the case against themselves better than anyone. Again, like most of us, they live with it daily. Margaret Beckett's impatient advice to Ed Stourton to "pack it in", when asked about Britain's complicity in countless unnecessary deaths in the Lebanon and Israel last summer, clearly served, in her mind at least, as a yet more succinct version of her previous injunction on the same subject to Sky News - "Oh for goodness' sake, Adam, leave it alone." But it also offered the most memorable epitaph to carve on the gravestone of this government: "Oh, pack it in." So much has been written, so much speculated in the past 20 years about the contempt the public feels towards politicians, but we hear far less of the reverse - the creeping hatred politicians so plainly nurse for us, the stupid and unseeing voters who seem unable to appreciate the complexity and importance of the paramount issues in a dangerous world.

Lethal miscalculation

For, yes, if we are to say along what fault-line it was that new Labour was destroyed - be it in Iraq, be it in the NHS, be it in the PFIs, be it in the sardine packing of the prisons - then surely all its most egregious mistakes flowed from Tony Blair's conviction that he did not need to take any notice of his own natural supporters - that he was somehow living his life in some far higher atmosphere, at some more mature level of reality where tough judgements had to be made on the basis of largely confidential evidence to which only he, the neo-cons, a couple of dodgy foreign newspaper proprietors and some spies had access. Blair, clearly, had never much liked the Labour Party. He had never thought very highly of those who gave him power. But as time went by, he began to see the popular hostility to his "higher view" as a mark of his virility, a sign that he must be facing up to the "difficult" decisions that we, the lazy and the feckless, spend our lives shirking.

It turned out, of course, to be a delusive analysis, most disastrously in the matter of the Middle East, but it was a strangely alluring one - and a brilliant answer to those of his stupider critics who had set up a straw man by claiming, quite wrongly, that Blair was nothing more profound than a smooth operator obsessed with popularity. How clever of him, then, to prove the opposite - that he gave not a fig for public opinion! Yet in detaching himself from the wisdom of the crowd - the common wisdom, the correct wisdom which could not understand why a mission against al-Qaeda had to be taken into a country where was no trace of al-Qaeda - Blair turned himself into an ungovernable Coriolanus. Here, suddenly, was a man who could not forgive the rest of us for failing so completely to see what he alone sees so clearly. A religious element juiced up the volatile mix of resentment and high stakes. "If I am persecuted I must be right."

This then is the paradox: a man who pronounced at the outset that his only ideology would be "what works" set off on a course which people far stupider and far less gifted than he consistently warned him could not possibly work. They were right. He was wrong. Every day we see the lethal evidence of miscalculation, and while mourning for the innumerable victims, for the Iraqis who today say they cannot walk their children to school without passing dead bodies uncollected in the street, we also mourn a man whose tragedy is far deeper than lazy satirists or commentators allow.

At a moment when the west needed great secular leadership, it was given instead demented religious leadership. A man who arrived in politics as the voice of modernity and reason became, at his own wish, that most ancient and mystic of figures: the prophet unloved in his own country.

There is, in George Bush, his American ally, a shamelessly apocalyptic willingness to admit that judgement on earth means little to him. Bush is happy to tell us he is waiting for judgement in heaven from someone he refers to as his other father. Like many such people in his position, he shows enviably few signs of nerves. The decision of the third umpire does not bother him. In Blair, however, there is still, to his credit, a Catholic nervousness, a haunted quality, a knowledge that the road taken was at least a choice. "I have listened and I have learned," he announced, after a sobering election in 2005, before proceeding wholly to ignore any such lessons in the weeks of the Lebanon war. For us, the spectators, it's been an extraordinary passage of history. Someone of exceptional strengths became caught up in a situation that brought out every one of his exceptional weaknesses. Because it could happen to any of us, the facile dismissiveness of his untested critics seems shallow. But at this time of all others, the west needs democrats as leaders, not martyrs. Pack it in, indeed.

This article first appeared in the 07 May 2007 issue of the New Statesman, Blair: The reckoning

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