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The return of big history: the long past is the antidote to short-termism

Historians Jo Guldi and David Armitage have created a powerful, ambitious rebuttal to "the spectre of the short term".

Photo Op (2006) by Peter Kennard and Cat Phillipps

“There never has been a time when . . . except in the most general sense, a study of history provides so little instruction for our present day,” Prime Minister Tony Blair declared in a speech to the US Congress in July 2003. Nowadays Blair is not exactly deemed a voice of authority, but the opinions he expressed are still widely shared. In an era when technology has revolutionised our daily existence – even the nature of life itself – understanding the past may seem irrelevant when planning the future. But history does matter. And many academics are anxious to explain why.

A striking contribution comes from the historians Jo Guldi and David Armitage. At a mere 165 pages, their book The History Manifesto is modest in scale but not in ambition: its first sentence mimics the opening of the Communist Manifesto: “A spectre is haunting our time: the spectre of the short term.” Guldi, who teaches at Brown, and Armitage, a British-born professor at Harvard, point to politicians trapped in the electoral cycle, business leaders fixated on profit returns and bureaucrats obsessed by performance targets. Academics, one might add, have also been sucked into the vortex, with the rigid six-year cycle of the Research Excellence Framework deterring big historical projects that take time to mature.

Yet Guldi and Armitage insist that historical writing can provide the answer to short-termism, if properly conceived and delivered. In the last quarter of the 20th century, they argue, most historians produced scholarly monographs or doctoral dissertations about narrow periods and specific topics, or they indulged in microhistories of “exceptionally normal” episodes from everyday life, such as Robert Darnton’s investigation of a bizarre cat massacre in 18th-century Paris. There seemed little appetite to explore the longue durée, a term popularised in the 1950s by Fernand Braudel and other scholars associated with the French journal Annales.

This obsession with the miniature reflected the increasing professionalisation of historical writing. In contrast to earlier centuries, when the historian’s craft had been the preserve of amateurs such as Gibbon and Macaulay, the 20th century was the era when history professionals emerged – men and women who earned their living from teaching and writing history as employees of universities. Like other professionals, they sought advancement by becoming unquestioned masters of a small terrain, fenced off by their command of specialist archives. The explosion since the 1970s of new subdisciplines – including social history, women’s history and cultural history – encouraged further balkanisation of the subject. Academic historians seemed to be saying more and more about less and less.

In consequence, Guldi and Armitage lament, the big debates of our day lack the benefit of historical perspective. They spotlight a trio of vital contemporary questions – climate change, international governance and socio-economic inequality – that have been addressed mostly by economists and other social scientists, often using data and assumptions that are rooted in the short term. Yet these subjects cry out for a longue durée approach. And Guldi and Armitage show how historians have started to respond over the past decade, exploiting the mass of information that can now be marshalled thanks to the digitisation of archives and other databases, combined with the ubiquity of keyword searching. In the age of IT, social problems on a scale previously beyond the grasp of a large research group are feasible for a lone, but digitally smart, scholar. And so, The History Manifesto proclaims, big history is once again possible, thanks to big data.

Guldi and Armitage write with brio and passion and their ambition should be applauded. Yet their supposedly universal panacea is in many ways very American. The Manifesto offers a reworking for historians of a tradition of “big” thinking that has characterised American intellectual life since the Second World War. “Big science” led the way (in projects such as the Bomb, mainframe computers and the transistor), followed by big social science (through foundations such as the Ford and Rockefeller and the RAND Corporation) – all closely harnessed to the needs of the federal government. Big history, now much in fashion in leading US history departments such as Harvard’s, is another facet of that academic-governmental nexus: the cover of the Manifesto proclaims a desire to “speak truth to power”.

And yet, like many programmatic writings, The History Manifesto seems strangely indifferent to practicalities. It does not make clear how these big historical projects would grab the attention of people in power. Simply addressing topical issues such as climate change is not enough: as Guldi and Armitage acknowledge, politicians are creatures of the short term who prefer to ignore big problems that cannot be solved, or at least visibly ameliorated, within an electoral cycle. They are also busy people who do not have time for lengthy reading and reflection. All this shows that big historical truths must be served up in politically digestible, bite-sized chunks.

A more user-centred approach is exemplified by the work of Richard Neustadt and Ernest May – Harvard academics, now sadly deceased – who for many years taught a course on the uses of history to American politicians, officials and senior military. The book that grew out of it, Thinking in Time, was published way back in 1986, and The History Manifesto makes no reference to it. Yet Neustadt and May offer an instructive alternative response to the curse of short-termism in high places.

Their main injunction derives from Avram Goldberg, the chief executive of a New England grocery chain. Whenever a manager came to him in a flap, he wouldn’t ask, “What’s the problem?” but say, “Tell me the story.” That way, Goldberg said, “I find out what the problem really is.” His maxim became the premise of the book by Neustadt and May. Rather than focus on the crisis at hand (while already straining for a quick-fix solution), one should stand back and ask, “How did we get into this mess?” That is the first step to seeing a way out.

Telling the story requires identifying critical events and turning points, asking what happened when. This basic chronology then has to be fleshed out by addressing “who” and “why” questions about personalities and motivations: what Neustadt and May call “journalists’ questions”. Digging out this kind of human detail is as much a historical activity as constructing a chronology. It requires probing into the past of a person or a country, just the sort of thing that Blair, Bush and their aides did not do properly before the invasion of Iraq.

Asking “What’s the story?” may seem a strange way to define the practice of history. Our normal definition is content-based – the names-and-dates regime that destroyed any feel for the subject among millions of schoolchildren and that still features in the UK citizenship test. Nor does “What’s the story?” chime with the idea that history provides a stock of useful analogies, such as the “lessons of appeasement” that have seduced many political leaders, from Anthony Eden in 1956 to Blair and Bush in 2003. Instead of history as a body of facts or a toolkit of lessons, Neustadt and May presented it as a way of thinking: thinking in the stream of time.

Actually, that is not such an alien idea: it’s what we do every evening, constructing a narrative of what has happened during the day by highlighting some events and downplaying others within an arc of what seems, with hindsight, to be significant. Thinking in Time essentially urged policymakers to apply the same narrative mode of thinking more systematically when making decisions that relate to government.

Neustadt and May’s prescriptions still seem to me apt and perceptive. They are rooted in the recognition that human beings fundamentally are historical animals and they provide simple, practical advice about how people in power can be their own historians. But the Achilles heel of Thinking in Time in 1986 was how would-be practitioners could speedily obtain the essential historical information to put flesh on the bare bones of their narrative timelines. Neustadt and May suggested a range of useful books, articles and bibliographies, but it seemed implausible that most busy policymakers, or even their aides, would have time to do the necessary research.

Nearly 30 years on, however, the IT-age tools that Guldi and Armitage identify can also help the policymaker who wants to become historically literate. There is now a profusion of information out there, available at a few clicks of a mouse. The new problem is quality control: identifying the information that is reliable and that rises above mere WikiHistory.

One answer comes from History & Policy, a web-based think tank run jointly from Cambridge and King’s College London. This posts short papers of 2,500 to 3,000 words, each offering a historically informed view on issues of current concern. To date, nearly 200 papers have appeared, covering a wide range of issues; recent topics include power-sharing in Northern Ireland, the London airport debate, treatment of the mentally ill and the Ukraine crisis. The organisation also runs specialist seminars targeted at specific interests, with the aim of providing the busy politician, civil servant or business person with a broader perspective but in succinct, manageable form. Although each paper suggests further reading, it is assumed that most users won’t have the time for a long academic tutorial. The aim here is not big history but applied history, useful at the point of decision-making.

For some traditionalist scholars, this search for relevance threatens a core value of professional history – the recognition of the past as a foreign country. But, as John Tosh has insisted in his book Why History Matters (2008), what we need is “a critical applied history”, one that is attentive to both continuity and difference. Neustadt and May developed the same point: “the future has nowhere to come from but the past”, yet “what matters for the future in the present is departures from the past” – hence the predictive capacity and also the potential pitfalls of historical analysis. Those departures may be slight and subtle but recognising them is essential when trying to anticipate the future.

Public awareness of the interconnection of past, present and future has been particularly keen at moments of dramatic rupture or transition. The end of the Second World War, with the total collapse of Hitler’s European empire and the horrific exposure of his “Final Solution”, constituted one such moment; another was the end of the cold war in 1989-91, when the “Iron Curtain” disintegrated and the Soviet Union fell apart. Such evidently “historic” moments have kindled an interest in “contemporary history”, or Zeitgeschichte, as the Germans call it. In this area, too, historical awareness has relevance for political debate, by helping us to locate our contemporary problems in the longer sweep of events.

Definitions of the appropriate time span for “contemporary history” lack precision: surveying various writers, Kristina Spohr of the London School of Economics suggests that the term has generally been employed to signify the history of “one’s own time”. She quotes Geoffrey Barraclough, an exponent in the 1960s: “Contemporary history begins when the problems which are actual in the world today first take visible shape.” When exactly that was will vary from case to case and is a matter of judgement for individual historians, requiring them to construct narratives on the Neustadt-May model but over the longue durée.

To Eric Hobsbawm, a lifelong Marxist, his own time was naturally defined by the rise and fall of the Soviet state and he framed his Age of Extremes around the dates 1914 and 1991. Hobsbawm’s book has become a classic, but in the 20 years since it first appeared our sense of the “contemporary” has moved on from the cold war. In an era preoccupied by globalisation, historians, when trying to discern how today’s problems took visible shape, have looked back to moments and markers that differ from Hobsbawm’s.

One significant trend is the vogue for “transnational” history, transcending the conventional western focus on the evolution of nation states: what the Harvard scholar Charles Maier calls the principle of “territoriality”. One of these new frameworks for understanding contemporary history is the cultural “clash of civilisations”, attractive to many American conservatives preoccupied with Islamic fundamentalism and the rise of China. Another framework is the emergence of supranational structures such as the European Union, intended to break out of the cycle of ruinous nationalist wars between France and Germany and to escape the perpetual “bloodlands” of eastern Europe. If European integration is indeed the trajectory of our own time, it implies a very different way of telling modern history from the conventional narratives about territorial nation states.

This approach is, of course, unlikely to have much appeal in our dis-United Kingdom. A political class trapped between the erosion of a once-solid state based on shared Britishness and a Continental behemoth depicted as the embodiment of alien “European” values does not seem in any mood to venture beyond territoriality. However, for those who are inclined to escape the bunker of Britishness, asking “What’s the story?” has utility in this larger sense. It invites us to interrogate the grand narratives we tell ourselves as a country about where we have come from and where we might be going.

Big history, thinking in time, applied history, alternative narratives: these are just a few ways that those who study the past are engaging with the present. That pioneer of “contemporary history”, Thucydides, writing 24 centuries ago, presented his account of the Peloponnesian wars as a warning for future decision-makers – for those who, as he put it, “want to understand clearly the events which happened in the past and (human nature being what it is) will at some time or other and in much the same ways be repeated in the future”.

He described how an ill-conceived foreign adventure – the disastrous attack on Syracuse – triggered the climactic phase of a long power struggle that not only destroyed Athenian democracy but also sapped the power of the Greek city states, laying the peninsula open to foreign domination. In our own day, after a year of national mourning for the men who marched away in 1914, we might raise our eyes to take in the bigger historical picture and the haunting parallels with the lost grandeur of Greece: an international conflict that exploded out of the blue in 37 days, which was sustained for four blood-soaked years by the intransigence of national leaders and from whose suicidal destruction Europe never recovered. We may not share Thucydides’s idea of a universal “human nature”, but his proclamation that history matters still has resonance today.

David Reynolds is Professor of International History at Cambridge. His latest book is “The Long Shadow: the Great War and the 20th Century” (Simon & Schuster)

This article first appeared in the 23 January 2015 issue of the New Statesman, Christianity in the Middle East

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