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Loosening Labour’s golden straitjacket

Economic crisis presents opportunities as well as stark threats for social democracy, writes the Oxf

Like the early Christians, the founding fathers of the Labour Party were sustained by their faith. They believed that a society based on individual self-interest could be transformed into one based on human fellowship.

Bruce Glasier, a contemporary of Keir Hardie, declared that socialism was not about getting but giving. Such utopianism could not survive the harsh realities of government. The Attlee administration, Lab­our’s first majority government in 1945, came to appreciate that, for the foreseeable future, it would have to administer a private-enterprise economy. Labour became, in practice, a social-democratic rather than a socialist party. Yet, because it was unwilling to face up to reality, it remained, from the time of the demise of the Attlee government until the 1990s, directionless, despite being or perhaps because it was able to form governments in the 1960s and 1970s.

Yet social democracy has been the most successful ideology of the 20th century. What, after all, accounts for the great stability of Europe since 1945 and its high rates of economic growth, compared with the turbulence and crises of the interwar years? The basis of the postwar settlement in western Europe, whether administered by Christian Democrats such as Konrad Adenauer in Germany, the Gaullists in France, or Conservatives such as Winston Churchill and Harold Macmillan in Britain, was social democracy, a philosophy which sought to reconcile the competing needs of the people and the market. Yet the success of social democracy was hardly noticed, because its main tenets – a high level of state-provided welfare with taxation to match in an otherwise private-enterprise economy – seemed, for many years, to have been absorbed by all of the mainstream political parties in Europe.

The true hero of postwar politics in Europe is not John Maynard Keynes, and certainly not Friedrich von Hayek, but the forgotten German revisionist Eduard Bernstein. It was Bernstein who formulated modern social democracy, a type of socialism which accepted the market, but insisted that the state had an important role to play in ensuring social justice. Markets where possible, the state where necessary: this has been the slogan of modern social democrats. It was the view that social and economic processes were not spontaneous – but could be controlled by the state – which served to differentiate social democrats from their ideological opponents. In the words of the American political scientist Samuel Huntington, social democracy sought to recreate “through political means the social unity which modernisation has destroyed”.

Over the past 30 years, however, this philo­sophy has been in eclipse. It was replaced by another philosophy, that of neoliberalism. Not only Keynes, but also Bernstein, found himself eclipsed by Hayek and Milton Friedman. In the neoliberal view, any attempt by governments to influence the natural processes of the market would be counterproductive and doomed to failure. Within a basic framework of law and morality, the economy should be left to run itself. People should be allowed to make the most of their capacities and resources, as well as their luck, and should no longer be subject to the overall direction of the state. The social-democratic philosophy of the primacy of the state came to be replaced by the neoliberal philosophy of the primacy of the market.

In Britain, it is possible to pinpoint with some accuracy the moment at which social democracy came to be eclipsed. It happened after the wave of public-sector strikes – the so-called Winter of Discontent – of 1978-79. For these strikes, which kept the dead unburied in Liverpool, sent cancer patients home in Birmingham and left rubbish in the streets in London, could hardly be reconciled with the social and communal solidarity on which the postwar settlement was based.

In 1979, James Callaghan’s Labour government, which had presided helplessly over the Winter of Discontent, seemed to be facing electoral defeat. At one point, however, the polls improved for Labour and it looked as if the party might be in with a chance after all. No, said Callaghan: “There are times, perhaps once every 30 years, when there is a sea change in politics. It then does not matter what you say or do. There is a shift in what the public wants and what it approves of. I suspect there is now such a sea change – and it is for Mrs Thatcher.” And so it proved. Margaret Thatcher was to remain prime minister for more than 11 years; the Conservatives were in power for 18 – the longest period of continuous one-party rule in Britain since the Napoleonic Wars; and Labour was unable to return to power until it had transformed itself into New Labour.

All over the world, social democracy was on the defensive. It was not that social democrats were not in government, but they could only retain power, as in Australia, France and New Zealand, by adapting themselves to the philosophy of the market. Right-wing parties sometimes lost elections, but everywhere they seemed to be winning the argument. “The era of big government is over,” Bill Clinton told Congress in 1996. In 1999 the French president, Jacques Chirac, referred to Tony Blair as “a modern socialist. That means he is five miles to the right of me.” “And I’m proud of it,” responded Blair.

Blair accommodated his party to the market philosophy and to globalisation, which the American commentator Thomas Friedman called a “golden straitjacket” for the left. The success of postwar social democracy seemed to have depended on an equilibrium between production and redistribution, regulated by the state. With globalisation, that equilibrium appeared to have been broken, because capital and production had moved beyond national borders, and so beyond the remit of state redistribution. Pure socialism in one country seemed impossible, as François Mitterrand discovered after 1981.

Critics argued that New Labour accepted too much of Thatcherism. Yet Tony Blair and Gordon Brown succeeded in rejuvenating social democracy while, in a sense, appearing not to do so. From 2001, there was a huge increase in public expenditure, especially on the National Health Service. This led to the first increase in the public-sector share of gross domestic product since the 1970s, the last period of Labour rule. It had been made possible by Brown’s prudential economic policies from 1997 to 2001, which had gained the confidence of the markets, and therefore allowed expansion of the public services to occur safely.

The increase in public expenditure constituted a sharp break with the Thatcher and Major governments, and for a time it even transformed the attitude of the Conservative Party to public services. Until the recession, David Cameron, the Conservative leader, insisted that his party would follow a “prudent” policy in government. By this, he meant it would ensure that the public services were fully protected before embarking on any programme of tax cuts. He now seems to have abandoned this position, accusing Labour of failing to repair the roof while the sun was shining. But he has yet to make clear what public expenditure cuts would be on the agenda for a Conservative government; as recently as last spring, George Osborne, the shadow chancellor, was calling for more financial deregulation and a smaller role for the state.

The recession is forcing the parties to confront stark choices, and it may be that we are facing another sea change in politics: the recession and the credit crunch could well give birth to a new social-democratic moment comparable to that of the early postwar years. For while, in the neoliberal era, governments had to come to terms with markets, they now have to come to terms with the failure of markets. Our economic problems are the product of a long reign of insufficiently regulated markets, of a regime that produced the housing boom and excess lending by banks and other financial institutions. Governments, therefore, can no longer withdraw from markets, but will have to engage with them more closely. Barack Obama, the nearest America has produced to a social democrat, struck a chord with precisely this message. His chief economic adviser, Larry Summers, now declares that the pendulum “should swing towards an enhanced role for government in saving the market system from its excesses and inadequacies”. Bankers today are more dependent on the state than trade unionists ever were.

Yet governments will also have to engage with society more intensely than they did during the years when the market reigned supreme. In times of economic insecurity, people will insist on a firm safety net of social welfare. They will not be prepared to risk all when markets move. The doctrine that we should all help ourselves and rely on the bankers to make us rich has less resonance now than it did during the neoliberal era. We shall return instead to the philosophy of the immediate postwar years: that the doctrine of self-interest needs to be controlled in the interests of society as a whole, and that a country does better when all work together than when it relies on doctrines of competitive individualism.

The fundamental theme of social democracy is that the processes of economic and social change can be controlled by government. The relevance of this philosophy is becoming newly apparent as the recession bites. Combating the recession, therefore, will depend to no small degree on whether the social-democratic leaders of western Europe can breathe life into the dry bones of what seemed, until recently, a dead doctrine.

In Britain, social democrats are hindered because they have been divided since the end of the First World War, when Labour replaced the Liberals as the main party of the left. Social democrats are divided in many European countries as well: but that is a luxury they can afford, under proportional representation. With first past the post the consequences are ruinous.

In Britain, the divisions on the left have helped encourage Conservative hegemony. From 1914 to 1964, there was just one government of the left with a comfortable overall majority, and this even though there probably was a progressive majority in Britain for much of that period, a majority that would have adopted more imaginative policies to deal with unemployment and the threat from dictators. The divisions among social democrats deepened with the breakaway of the Social Democratic Party in 1981, which served to strengthen the political centre at the expense of the Labour Party.

The leading figures who have done most for the Labour Party – Ernest Bevin, Hugh Gaitskell, Tony Blair and Gordon Brown – have done so by forcing it to confront its shibboleths, by telling the party that it cannot afford to retreat to its comfort zone. The same courage is needed today if the recession in Britain is not to inaugurate another long period of Conservative hegemony.

Vernon Bogdanor is professor of government at Oxford University. His book “The New British Constitution” will be published later this year by Allen Lane

This article first appeared in the 23 March 2009 issue of the New Statesman, Campbell guest edit

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