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The anti-abortion lobby is back on the warpath

With Tory MPs in favour of reducing time limits on terminations, feminist campaigners have a fight o

Anti-abortionists are feeling emboldened and they have adopted a new tactic. In both the United States and Britain, campaigning groups no longer implicitly state that they are against abortion, but claim instead that they are offering women "real choices". They are even beginning to adopt much of the rhetoric of pro-choice feminists. Groups in the UK, such as the Life League and Right to Life, are taking the anti-abortion message to even further extremes, aping American activists by picketing sexual health clinics and intimidating women out of having abortions.

Since 1967, when David Steel's private member's bill became the Abortion Act for England, Scotland and Wales, religious groups have made sustained efforts to restrict access to abortion and lower the time limit. In 1974, a private member's bill, put forward by the Labour MP James White and sponsored by an anti-choice organisation, threatened the act, but it was defeated after a campaign by pro-choice groups. The first real challenge, however, came in 1990 when a section of the Human Fertilisation and Embryology Act lowered the legal time limit for abortions from 28 weeks of pregnancy to 24.

In May 2008, MPs were again asked to vote on cutting the limit for the first time since 1990, resulting in calls for a reduction to between 12 and 22 weeks, but the overwhelming majority voted the proposals down. Today, abortion is allowed up to 24 weeks, although there is no time limit if there is a serious risk to the woman's life or severe foetal abnormalities.

Now, however, the presence of the Tory-led coalition government makes a lower time limit a palpable threat. A survey of Conservative candidates carried out before the 2010 general election found that 85 per cent favoured more restrictive abortion laws. Most Liberal Democrat MPs, on the other hand, support the current time limit. David Cameron, in an interview with the Catholic Herald last April - at the start of the election campaign - said he was in favour of an upper limit of between 20 and 22 weeks.

Life choices

The Tory MP Nadine Dorries is a well-known anti-abortionist. In 2006 she introduced a private member's bill in the Commons calling for the limit to be reduced from 24 to 21 weeks. She also proposed a mandatory ten-day "cooling-off" period for women wishing to have an abortion, during which they would be required to undergo counselling as a condition of consent. Then, in 2008, she tabled an amendment to the Human Fertilisation and Embryology Bill seeking to reduce the upper limit from 24 weeks to 20. It was defeated by 332 votes to 190.

“Please do not describe me as pro-life," Dorries says when we talk. "I am middle-ground, and hold the opinion about abortion that most people in this country agree with." There are, to date, no poll results that substantiate her claims about public attitudes. Her intention is to introduce "fully informed consent" for women seeking abortion, she says, rather than to campaign for a return to illegality. "There are 1,300 couples in this country wanting to adopt, but women are rarely told of that option. They feel railroaded into a cattle-market process and end up in clinic with 60 or so other women every day who are not treated with particular kindness."

What about women or children who have been raped? "Abortion is a double insult to rape victims," Dorries says. "They didn't want to be raped. They may have even had pro-life tendencies beforehand. I think these women should be treated separately from those on the regular conveyor belt in clinics which are full of women having social abortions."

One of the new wave of anti-abortionists is Robert Colquhoun, who leads the UK chapter of the religious, Texas-based 40 Days for Life,
a pressure group that has support and funding from hundreds of American churches and has been picketing outside clinics. He, too, uses the language of "choice" and "consent", and insists that 40 Days takes a "non-judgemental approach" to abortion. "Many women say they feel they were offered no choice but to have an abortion," he argues. "We provide support through prayer, and offer them counselling and love. We also educate people about the ignorance and apathy about abortion."

Like many in his movement, Colquhoun peddles some dangerous myths. In November, 40 Days picketed the Marie Stopes family planning office in central London and handed out leaflets claiming that abortion makes women more susceptible to breast cancer and that permitting rather than preventing abortion jeopardises human rights. "Abortion is the violation of the rights of a human being," he says. "Often it is an easy way out for men who do not wish to take responsibility. There are men who force women to have abortions. That is not about feminism."

It's my body

Feminists, however, do not want others to speak on their behalf, and are rising to the challenge. Cath Elliott, a 45-year-old freelance writer, is one of a growing number of women campaigning on the issue. "I believe that women must have the right to body autonomy and the right to control their own reproduction," she says. "Women's ability to determine when and if they have children is one of the most important factors in the fight for women's equality. Forced pregnancy is a form of violence."

Elliott, who has had an abortion, knows how difficult the system can be for women. "There is no such thing as abortion on demand in this country, no matter what the so-called pro-life brigade tell us. There are doctors who refuse to make known their own anti-abortion feelings, and who place obstacles in the way of women wanting to access abortion services."

Women in Catholic communities find abortion particularly difficult. Abortion Support Network, founded last year, helps women living in the Republic of Ireland and Northern Ireland, where abortion is in effect illegal, to get access to safe and legal services overseas. Women seek terminations for many reasons, such as being unable to afford to keep a child, or having been raped by an abusive partner, says the network's founder, Mara Clarke. "The pessimist in me says we can campaign for abortion rights as hard as we like but it is a long road ahead - and women need help now."
The Labour MP Emily Thornberry supports the pro-choice movement. What does she think should be done to ward off the danger to abortion time limits? "The Tories won't do it themselves but will support one of their members to do a ten-minute-rule bill, or a private member's bill, or even an amendment to a health bill or something. We need to remain vigilant and not let anything get past us."

Thornberry will be helped by the many grass-roots campaigners who are gathering to see off the threat. "We now have massive support from the National Union of Students, various feminist campaigns and loads of individuals," says Darinka Aleksic, of the UK pro-choice campaign Abortion Rights. "The attack on abortion is not going away soon - and neither are we."

Julie Bindel is a writer and feminist campaigner

Return to the Irish question

Ireland is one of the few countries in the EU that limits abortion to instances where the mother's life is at risk. As a result, every year, more than 4,000 women from Ireland come to the UK to have an abortion.

The Irish constitution explicitly limits abortion, guaranteeing "the right to life of the unborn . . . as far as practicable" - essentially until the mother's life is threatened.

The law, however, is murky. What constitutes a threat to the mother's life is a legal minefield. A doctor can face conviction if it turns out that the mother's life was not in danger. Yet there are no clear guidelines about what constitutes a threat to the woman's life - so, many doctors don't take the risk of sanctioning abortions.

Irish women are thus obliged to make the trip to the UK, sometimes even if their life is at risk.

This status quo has been challenged recently. In December, the European Court of Human Rights ruled in favour of an Irish cancer patient who was refused an abortion. It described the current legal position as "chilling".

Despite this, the rule remains popular in Ireland. Polls consistently show support for the country's abortion law among Irish citizens, with about two-thirds in favour of it.

The trickle of desperate women from across the Irish Sea won't cease just yet.

Duncan Robinson

This article first appeared in the 17 January 2011 issue of the New Statesman, War on WikiLeaks

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