The power to save Britain

How our island could be supplying Europe with green electricity. Plus Peter

It may not feel like it on a gusty grey day in Rhyl, but this country is blessed. Take a boat out into the choppy waters off the North Wales coast, and you can see why. Thirty bright white turbines spin continuously just five miles off the coast, producing enough electrical power to supply 40,000 homes with clean, green energy. The wind and waves seem limitless and powerful - and they are. If the UK had been more aggressive and far-sighted in developing renewable energy, we would already be exporting green electricity and wind turbines to Europe and further afield.

In renewable energy terms, we would be the Saudi Arabia of Europe. A full 40 per cent of the continent's wind blows across British shores, enough to meet all our energy needs and more. But instead of leading the world in renewable energy and at the same time cutting carbon emissions, the UK languishes close to the bottom of the European clean energy league. Just 2 per cent of our energy comes from renewable sources and the rest from dirty, climate-changing fossil fuels. This is the legacy of years of contradictory policies, conflicting priorities, ideological pig-headedness and government incompetence.

It's a story that shames Britain.

A good place to start is the government's Low Carbon Buildings Programme (LCBP). This was launched in 2006 to provide grants to householders wanting to instal renewable generation technologies - from solar panels to small hydro schemes - on their properties. Ministers acknowledge that micro-generation could play a big part in our clean energy future, and that turning homes into mini power stations is good for energy security, household income and the environment. But what actually happened? Instead of kick-starting a whole new market sector, the government starved it of funds. A measly £12.7m was allocated, with a monthly cap. On the first day of each month all the available grants were snapped up within hours.

This stop-start approach led to frustrated householders and cash-strapped solar installation companies, many of which began to go bust. The number of grants given for solar hot water systems fell by half last year, and the number for micro wind turbines by two-thirds. For ground-source heat pumps, while 100 grants were made in the last three months of 2006, the equivalent number for 2007 was zero. For electricity, we managed to put only 270 solar panels on British roofs last year, while Germany installed 130,000.

Gordon Brown, first as chancellor, and now as Prime Minister, has successfully ensured that it makes no financial sense whatsoever for householders to invest in generating their own energy renewably. If you put up a solar photovoltaic panel in this country, you do it for altruistic reasons only: at present, you are guaranteed to lose money hand over fist.

Germany's renewables sector has rocketed, thanks to a system that guarantees long-term paybacks at above-market rates for cleanly generated power. This is called the "feed-in tariff", which has also successfully catapulted Spain and Portugal to the top of the European clean energy league. Portugal gets 39 per cent of its electricity from renewables and is aiming for 60 per cent by 2020. In stark contrast, the UK government continues to rule out feed-in tariffs, insisting instead on retaining its outdated Renewables Obligation system, a support mechanism which is so complicated and cumbersome that only the biggest players can make any money from it (or, indeed, even understand it).

The RO system reveals another classic new Labour problem: an obsession with the market. Instead of simply guaranteeing a good return for solar or wind electricity over a long enough time period to make this an attractive investment, the government insists on making the Renewable Obligation Certificates tradable. If a company doesn't meet its obligation to generate power renewably, it must buy certificates from another company that has produced a surplus. The result is long-term price uncertainty, which makes investment much more costly, due to the "risk premium" that must be added to any lending. The ROC system has been fiddled with so many times that the British Wind Energy Association (BWEA) now opposes a feed-in tariff system, on the grounds that yet more policy uncertainty might scare off potential investors for good.

Lost business

This catalogue of failure has not only been bad for the climate, it has been bad for business. Britain might once have led the world in wind turbine development. But with no domestic market, production moved elsewhere, and today most turbines installed in this country are imported from Denmark. The leader in solar power is not Britain but Germany, which has pioneered a lucrative export industry in solar photovoltaic cells. In China, too, solar manufacturing is big business: the country's second-richest man leads a solar energy company. This is an energy sector which saw growth last year of roughly 40 per cent, and has attracted tens of billions in venture capital. None of that came to Britain. Instead of creating a brand new industry and thousands of jobs, British-based renewables companies have been going out of business.

Wind should already be our biggest single power source. The BWEA estimates that wind could generate 27 per cent of our electricity by 2020, which, combined with other renewables, could easily meet our EU-assigned target of 15 per cent renewable energy by 2020. Instead, wind accounts for just 1.5 per cent of UK electricity generation today (the equivalent figure in far less windy Denmark is 20 per cent, for Spain 8 per cent and Germany 5 per cent). That 1.5 per cent could be ramped up very quickly if the planning system worked in favour of renewables. According to the BWEA, 220 windpower projects are currently stuck in planning. If all received immediate consent, they could generate 9.3 gigawatts of electricity, enough for an estimated 5.25 million households. If the 39 projects that were refused planning permission last year had instead been allowed it, they could have provided power for 750,000 households, and prevented the emission of three million tonnes of CO2. (Anti-wind campaigners need to recognise their moral liability for these climate-changing emissions.)

While 39 projects were refused planning permission, just 26 projects went ahead. This year, we are level-pegging: seven wind applications have been approved and six refused. It can now take ten years for a windfarm project to get approved and built, and another five for it to get a grid connection (unlike in other countries, renewable generators here have to pay for their own grid connections). This does not look like a country on the fast track to a clean energy future. Indeed, power companies such as E.ON are pro posing to invest billions in hugely polluting coal power plants instead.

The government has proposed to reform the planning system to make it easier for windfarms to get the go-ahead. Environmentalists and conservationists are opposed to the reform, however, for the good reason that it would also make it easier for new motorways, power stations and airports to gain approval, and stifle local democracy in the process.

A greener government might have focused on reforming the planning system for renewable energy projects, gaining support from greens and electricity generators alike. Instead, in its enthusiasm for aviation and nuclear power, the government has bundled windfarms into a planning policy package that will be opposed by almost all. A missed opportunity.

There is some good news. The 1000MW London Array - which will generate enough power from wind for a quarter of London's households - has been given the go-ahead. Several other major projects are under way, and this year the UK will overtake Denmark as the largest offshore generator in the world. The UK also still leads in marine renewables (wave and tidal stream power). With 30 marine technology developers headquartered here, compared to only 15 in the rest of Europe, the UK is able to put its offshore operational skills learned from North Sea oil - now in long-term decline - to good use. At the end of last month the world's largest conference on wave and tidal stream energy, Marine 08, was held in Edinburgh. Tidal power would address the intermittency question: what to do when the wind doesn't blow and the sun doesn't shine. Tidal power is predictable. Wave power is also more dependable. The more sources of energy we can call on, the less vulnerable we will be to losing power in any one sector.

Yet in marine renewables, too, the government has risked Britain losing its competitive edge. The world's first commercial-scale wave-generating array, while built by a UK-based company, is being launched off the Portuguese, not the British, coast. And, mirroring the disaster of the Low Carbon Buildings Programme, the Marine Renewables Deployment Fund - supposed to support the fledgling sector with capital grants and other financial aid - has a tiny budget and a cap per project of £9m, far too little for any British design to make it past the prototype stage into commercial production. Once again, we are wasting a historic advantage.

With the right policy levers pulled, we could in the not-too-distant future be generating 20 per cent of all our electricity out at sea using wave and tidal power, and far more from onshore and offshore wind. We could lead the world in a new manufacturing sector and generate thousands of new jobs. We could have a zero-carbon electricity grid as early as 2030. We could also lead the world in reducing greenhouse-gas emissions.

But, for this to happen, the government will need to admit that its policies have been a cala mitous failure and put clean energy at the top of its long-term agenda, before it is too late.

Mark Lynas has is an environmental activist and a climate change specialist. His books on the subject include High Tide: News from a warming world and Six Degree: Our future on a hotter planet.

This article first appeared in the 10 March 2008 issue of the New Statesman, How Hillary did it

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