What's driving the BNP?

The rapid growth in support at the ballot box for a nationalist party of the right has gone hand in

On a sunny day in Stanmore, north London, a motley crew of people gathers at the Tube station. An elderly man leans on a walking stick, a faded blue, white and red tattoo saying "Proud to be British" just about visible on his forearm. The tattoo might be older than I am. Bert, a sixty-something retired heavy-machine worker, is inappropriately dressed in a woollen jumper and beige overcoat. He lets out a yelp of approval when a truck with a Union Jack on its side - carrying "British Meat" - hurtles by.

Housewives in jeans and short-sleeved tops talk animatedly about the beautiful weather. Charlotte Lewis, a 35-year-old unemployed woman from Croydon, is wearing a loud gold lamé jacket and black jeans. She speaks with a south London twang: "Sometimes I get on a bus and I'm the only white person on there," she complains. "It's a bit distressing."

A white van swerves into view, beeping at the group of 15 men and women to move out of the way. Out steps Richard Barnbrook, dressed in a khaki suit and with a roll-up between his fingers. He has the look and swagger of an old colonialist. I can picture him leaping out of a jeep in white-ruled Rhodesia in the same manner he leaps out of his white van in multi-ethnic Stanmore. His two helpers, big men in T-shirts, unload boxes of leaflets headlined "The Changing Face of London". They show a group of smiling white women at a street party in the 1940s (the good old days) next to a picture of three women wearing burqas, one of whom is giving a two-fingered salute to the camera (the bad new days).

This is the London wing of the British National Party. Five days before the local and London mayoral elections, it has come to Stanmore and Edgware in north London - which have large Indian and Jewish communities - for some last-minute electioneering. Its members are confident, even cocky, about their chances of a seat on the London Assembly. "We'll definitely get one, maybe two," says Barnbrook, who is the BNP's mayoral candidate.

Barnbrook is a graduate of the Royal College of Art, who worked with the gay film-maker Derek Jarman in the 1980s ("Me and Derek and Tilda [Swinton] hung out together, and there was never a problem," he says). His fiancée is Simone Clarke, former prima ballerina of the English National Ballet and a fellow BNP member, who has a mixed-race child. "How can I be racist when I adore that child?" he says, when I ask if the BNP is anything more than a Johnny Foreigner-baiting party. Barnbrook, who leads the BNP's 12 councillors in the London Borough of Barking and Dagenham, insists the BNP is "concerned about lots of things".

"If I had to put our concerns in order of importance, I would say: housing, transport, health, education, the environment and law and order." So immigration isn't a concern at all? "Well, immigration impacts on all of those things," he says. "It causes overcrowding in housing, strain on the transport system, more pollution in the environment and it disrupts law and order."

I see. Behind Barnbrook's "respectable issues" there lurks the odious far-right idea that immigrants are the root cause of every social ill.

Cocky leafleteers

Barnbrook and his eager leafleteers have reason to be cocky. At the time of writing, many predict that the BNP will make important gains in the local and London mayoral elections. In London, parties must win 5 per cent of the vote in order to get a seat on the 25-member Assembly. That threshold was introduced by the government to allow minor parties such as the Greens to be represented, while keeping out the far right. In the last London elections in 2004, the BNP won 4.7 per cent of the vote - only 6,000 votes short of the threshold for gaining a seat. This time it is expected to win bigger, especially since the UK Independence Party (which won 8 per cent in 2004) is in disarray.

Around the country, the BNP has grown in local electoral strength over the past ten years. Under its founder, John Tyndall, the party was a racist menace but electorally insignificant, only ever winning handfuls of votes. That began to change with the election of the slick Nick Griffin as party chairman in 1999. He set about trying to improve the BNP's image. The party had won its first-ever council seat in the east London borough of Tower Hamlets in 1993. After the local elections of May 2006, it had over 50 council seats: 12 in Barking and Dagenham, and a smattering of seats in the north of England: mainly in Stoke-on-Trent, Burnley and West Yorkshire.

"The BNP has tended to prosper in segregated poor, white communities in the north, and in parts of the south-east where there have been unexpected infusions of new immigrants," says Tony Travers, an expert in local government at the London School of Economics. The party's vote has grown exponentially at general elections, too. In 1992, it won 7,005 votes; in 1997 it won 35,832; in 2001 it won 47,129; in 2005 it won 192,746. What is behind the growth of the BNP? How has it managed to gain a toehold in local politics?

Many would argue that the party's recent success represents the re-emergence of flick-knife racism, even that "neo-fascism" is on the march. In fact, the expansion of the BNP can be seen as a product of mainstream political failure. The party - a ragbag of ageing skinheads, slick wannabe politicians and ditzy women with chips on their shoulders - thrives on disillusionment with the three main parties.

"There is research evidence that a lot of people who vote for the BNP are not aggressive neo-fascists, but rather are cheesed off with mainstream politics," says Travers. "The rise of the BNP can be seen as a grim indicator of the failure of the Labour and Conservative parties. If the parties functioned properly, then probably the BNP could be contained. Its supporters would be tempted away by old-fashioned Labour values or by the legitimate, centre-right nationalism of the Tories."

But today, Travers says, there is a "clustering in the centre" in mainstream politics, and a "collapse of the ability of the mainstream parties to win new members and supporters". The effect has been to allow the BNP to proliferate.

"If the other parties were doing their job properly, we wouldn't be here having this conversation right now," says Barnbrook. "I know we win votes because people are angry with the other parties."

Far from being a clear-headed neo-fascist party, the BNP comes across as a mess of contradictions opportunistically trying to pick up the votes of the disillusioned. For example, Barnbrook tells me the BNP has "no problem with black people". Someone clearly forgot to brief Bert, an older member of the BNP, who says "mixed marriages are just wrong because both races become denigrated". Bert has "no comment" on the question of whether six million Jews were exterminated in the Holocaust, yet Charlotte from Croydon tells me she was "really, really moved" when she visited Anne Frank's house in Amsterdam a few years ago. Barnbrook says the BNP has "nothing in common with the thugs of the NF"; Bert tells me the NF "are decent blokes". Most strikingly, where Barnbrook tried to convince me that "millions of Britons empathise and support our message", Charlotte reveals that a party stalwart advised her to walk to the top of a cul-de-sac and leaflet outwards. "It's safer that way," she says. "You can run away if people get angry."

With them for a day, I noticed two things about the BNP: its reliance on mainstream fear about immigration and its opportunistic exploitation of people's disdain for Labour, Tories and Lib Dems. BNP doorsteppers talk about Britain being "overcrowded" and claim immigrants are polluting our environment; they argue that Poles lower British wages. These are thoroughly mainstream ideas. They tell voters, in the words of Bert: "If you're pissed off with the rest, vote for the best!"

All parties should be concerned that the growth of the BNP over the past 15 years - from 7,005 votes in the 1992 general election to 192,746 in 2005 - has coincided with political malaise and cynicism across the UK.

Perhaps the best way to smash the BNP is to challenge the mainstream fear of immigration that it feasts upon and give voters something inspiring to vote for in its place.

This article first appeared in the 05 May 2008 issue of the New Statesman, High-street robbery

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 IQ 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