Culture

Dolly Parton’s 47th studio album, A Holly Dolly Christmas, is a combination of Christmas classics and original songs. The 12-track album perfectly encapsulates what Christmas is about. Yes, it’s about Jesus and family and having compassion for those that have less than you, but it’s also about wine and presents and glitter. As ever, Dolly has read the room and delivered exactly what the world needs right now. A Holly Dolly Christmas is a welcome respite after a turbulent, unpredictable year. One thing that has remained the same in 2020 is that Dolly Parton has continued to be the gift that keeps giving.

I’m thrilled to tell you that my latest novel has been optioned by Netflix. Grand Prix Grandpa is the inspirational story of an ordinary journalist in his mid-fifties who reboots his life by becoming a world motor-racing champion. It’s tough at first driving round racetracks at 230 mph when your eyesight is going and your reflexes aren’t what they were. But with a little practice and a lot of determination, Grand Prix Grandpa — whose name is James, by the way — becomes F1 champion, then triumphs heroically over the resulting problems: semi-naked women hurling themselves at him; having so much money he doesn’t know what to do with it; the loneliness of tax exile in Monaco, etc. No, not really.

The Beatles never had a proper Christmas number one, only seasonal number ones with unseasonal bangers: ‘I Want To Hold Your Hand’, ‘I Feel Fine’, ‘We Can Work It Out’/‘Day Tripper’ (1963-65) and ‘Hello Goodbye’ (1967). Though they never made a traditional Christmas record, the Fabs loved Yule — and you know you should be glad. Between 1963 and 1969, they recorded an album-worth of charming Christmas nonsense. Welcome to the semi-secret hinterland between the legal and bootleg worlds: the Beatles’ Fan Club Christmas flexi discs. The flexis have only had one official release since their private circulation to the ravenous Brit-Beatle fan club.

If there is one thing this cursed year of lockdown has been good for, it’s been video games. The right game — in a way that a box set cannot — will give you a sense of steady progress and achievement, a series of goals; and a world more forgiving and expansive than the four walls of your living room. My kids, for instance, have become very good indeed at Mario Kart Wii and have built vast empires in Minecraft; and I don’t dare look at my own total playing time on World of Warcraft.  With the prospect of the tier system continuing well into the new year, now is a good time to stock up on the best new goodies. The big news in gaming this autumn has been the release of the latest generation of consoles.

Of all the times and places to have been on the wrong side of history, I can’t imagine many worse than to have been a Roman legionnaire in the Battle of the Teutoburg Forest in the year 9 AD. It was the Romans’ Isandlwana — a devastating defeat inflicted by native forces on what was theoretically the world’s most sophisticated, best trained, and almost insuperable military power.Over the years since I first learned about arrogant, tricked, doomed Roman commander Varus and his three legions (about 20,000 men, almost none of whom got out alive), I’ve often mused pityingly on how it must have felt: trapped in the gloomy forest, hemmed in by a bog, waiting to be slaughtered by hammer, ax or javelin by the hairy, painted, blood-crazed Germanic barbarians.

In late spring, when every corporation and nonprofit in America was releasing statements about how racism is bad, the Poetry Foundation joined in the chorus of self-preservation. On June 3, it released a statement announcing that it stands ‘in solidarity with the Black community’ and denounces ‘injustice and systemic racism’.It continued: ‘We believe in the strength and power of poetry to uplift in times of despair, and to empower and amplify the voices of this time, this moment.’ Imagine some poor foundation employee posting that statement to their website and wiping his brow. Crisis averted. It took all of three days for social justice campaigners to respond in a fury.

Halloween wasn’t quite the same this year: no trick-or-treating or bobbing for apples, no packed parties, not even a socially distanced haunted house. As a lover of all things horror, I had to rely on television to put the spooky in the season. Netflix’s new series The Haunting of Bly Manor is the sister show to last year’s wildly popular The Haunting of Hill House, created by Doctor Sleep’s Mike Flanagan. (Flanagan is also behind Hush, one of the smartest horror movies I’ve seen in a few years and definitely worth watching.

In the summer of 1961, Clyfford Still packed his family into a car and began driving south from New York City in search of a new home. In the Forties, Still had shocked audiences with monumental canvases covered in stormy walls of thick, dark, pigment: some of the first totally abstract paintings shown in New York. Subsequently Still had risen with the Abstract Expressionists to unprecedented heights of institutional and commercial success. But despite wielding profound influence as a founding dean of this New York School, torch-bearing wasn’t really Still’s thing.

A deadly viral pandemic, viciously infectious, inflicting rapid death without fear or favor: gosh, where on earth did the makers of To the Lake get that idea? Not from the Chinese coronavirus, obviously. For one thing, this Russian series was made last year, when COVID-19 was still but an evil glint in Anthony Fauci’s eye. And for another, look around: do you see people dropping dead in the streets, as they should be, if this thing were living up to its inflated reputation as our Spanish flu? All that aside, the timing could scarcely be more perfect for this hugely exciting, gripping and involving series about a disparate group of family and friends struggling to survive in lawless, brutal, post-outbreak Russia.

Like Moses descending from the heights of Mount Sinai, former president and current prophet Barack Obama has today delivered his latest tome to the masses. A Promised Land, his fourth book, is a 'riveting, deeply personal account of history in the making — from the president who inspired us to believe in the power of democracy'. Or so his publisher says. Cockburn, old-fashioned fellow that he is, has believed in the power of democracy for longer than 12 years. To mark the book's publication, Obama has summoned one of the spirits of his bygone era: he's tweeted out a playlist. 'Music has always played an important role in my life — and that was especially true during my presidency,' he writes.

Billie Eilish, who recently won five Grammys, is also singing the theme song for the new Bond film. ‘James Bond is the coolest film franchise ever to exist,’ she said. ‘I’m still in shock.’ My husband tells me that the symptoms of shock include pale, clammy skin and bluish fingernails. Since Miss Eilish’s fingernails were painted green at January’s Grammy ceremony, it was not easy to tell. But a life-threatening drop in blood pressure was clearly not present. The phrase in shock is now used where we used to say shocked, or even overjoyed. Perhaps people have been watching too many medical dramas on Netflix. Shock, from the French choque, began as the word for a collision of armies.

One of the more unusual works in the family art collection is a concept drawing of an automobile from 1937. The car, identified by the angular writing on its nose, is the LaSalle. To call this a drawing of just a car does a disservice to the concept behind it. With its shimmering grilles and Futurist forms, the vehicle might as well be an open-cockpit fighter plane about to strafe a runway. Automobile enthusiasts, as I recently learned, consider the drawing to present one of the first known examples of a ‘ripple-disk single-bar flipper hubcap’. Clearly, here is a machine meant to do more than just deliver you from point A to point B.

Paul Signac’s portrait of Félix Fénéon is a striking and historically important painting. But is it a good one? Its subject didn’t think so. Signac profiles Fénéon against a swirl of complementary colors and kaleidoscopic shapes, as if anticipating an acid-trip scene from a Roger Corman movie. This radioactively abstract background was bold stuff for Paris in 1890, when the picture was made, but contemporary critics disapproved, one finding the work ‘cold and dry’, another calling it ‘neither decorative nor comprehensible in terms of feeling’. Fénéon himself was similarly vexed by the final result, though he held onto the portrait throughout his life out of loyalty to his painter friend.

There must be some people somewhere who vaguely know their own spouses — but if so, they don’t tend to appear in domestic-based thrillers. Last Sunday when HBO’s The Undoing began, Jonathan and Grace Fraser (Hugh Grant and Nicole Kidman) seemed to have the happiest of middle-aged marriages. They still laughed at each other’s jokes. They still kept each other fully informed about the kind of day they’d had at work: he as a kindly child oncologist, she as an unfailingly wise therapist. Not only did they still have sex, but when they did, it wasn’t always in bed.True, they weren’t wholly without their problems. Their loving son Henry, for example, sometimes didn’t clean up after making smoothies.

October 31 brings Halloween 2020 but after a year like this, the idea of a single day dedicated to unrelenting horror seems almost quaint. Answering the door to masked strangers isn’t the novelty it used to be, distributing candy apples to more than six trick-or-treaters now carries a five-figure fine, and by participating in this cultural appropriation of the Celtic festival of Samhain you run the risk of getting yourself canceled. This season of the witch it is altogether safer to stay indoors, blow out the jack-o-lantern and confine yourself to strictly cinematic scares. To help you celebrate Hallowquarantine, we have compiled a list of the 10 best movies about or set on All Hallows’ Eve. Halloween (1931) https://www.youtube.com/watch?

There are many things to look forward to as 2020 draws to a close. Cockburn has had quite enough of lockdowns and pandemic politics. In fact, he would be quite open to everybody simply agreeing that 2020 never happened, rolling the clock back one year on New Year’s Day, and having a do-over.More than just about anything, Cockburn has been looking forward to seeing the last of the Lincoln Project, Rick Wilson’s scatology fan club posing as a grassroots anti-Trump organization.But God is distant and His judgment is cruel: the Lincoln Project plans to be with us forever.On Tuesday, Axios revealed that Wilson’s NeverTrump enterprise will not be closing up shop on November 4, even if Donald Trump is defeated. Instead, it aims to become a media empire.'The group...

It certainly raised eyebrows chez Cockburn, that’s for sure. A few weeks ago Peacock announced an original news program: The Mehdi Hasan Show. Peacock is NBC’s new streaming service. And who is Mehdi Hasan? Well that’s where things get really interesting. Like Cockburn, you may have noticed Mr Hasan’s cloudless upwards trajectory through the media firmament in recent years. He moved to DC in 2015, fronting news shows for Al Jazeera English, and from 2018 until earlier this year, a podcast for the Intercept. The precise moment Mehdi’s move to the big-ish leagues became inevitable almost two years ago. Watch: https://twitter.com/mehdirhasan/status/1062706401804455937 Whoa! Who is that guy?

‘I’m sitting here struggling for words and my friend nailed it: “She was our Princess Leia.”’ With those words, Dr Esther Choo, Yale Medical School graduate, holder of an Ivy League English diploma and possessor of 168,000 Twitter followers, memorialized the life of Supreme Court Justice Ruth Bader Ginsburg. A century ago, a citizen of Justice Ginsburg’s stature might have inspired references to the Bible, classical history or the great figures of America’s founding. But in the year 2020, a lifetime of achievement brings no greater honor than to be compared with a Disney-owned property whose action figure you can buy for $10.99.

In the early Thirties, when impoverished Americans were cramming into shanty towns called ‘Hoovervilles’, another Hoover created an industrial building of rare magnificence in west London. Driving into London from Heathrow airport, we see acres of nondescript suburbs. The Hoover Building at Perivale, about five miles from the West End, still astounds. Set back from the road in well-manicured gardens, this art deco masterpiece rises in brilliant white (due to the use of a cement called Snowcrete), its façade laced with angular green trim and sunburst decoration. The Hoover Building was the British factory of the Hoover Company, the Ohio-based vacuum-cleaner manufacturer.

Pop music is tribalist by nature and divisive by desire. It was always the Beatles or the Stones, mods or rockers, burn the Beatles’ records or ‘hang the DJ’ and, most important of all, Bob Marley or Big Youth? (The answer is Big Youth.) Only one man transcended this nonsense: Frederick Nathaniel ‘Toots’ Hibbert. Anyone who has heard Toots but doesn’t dig his mighty soul skank should be cast into the wilderness for 40 days and 40 nights of good, hard thinking. Toots died on September 11 in his native Jamaica. He was 77, allegedly the victim of complications from COVID-19. The man may have gone, but his vibrations will live on as long as mankind has ears to listen and feet to dance.

Two weeks from The Most Important Election Of Our Lifetimes and nearly four years into the Trump Era, you could be forgiven for thinking there was enough genuine outrage in the world. Why on earth would anyone need to confect a controversy? If the current Twitter imbroglio surrounding Hollywood star Chris Pratt is anything to go by, you should think again. It all kicked off on Saturday, when the TV writer Amy Berg floated a question into the Twittersphere. 'One has to go,' she wrote, accompanied by pictures of 'the four Chrises’: Hemsworth, Pratt, Pine and Evans. https://twitter.com/bergopolis/status/1317583965520240640 An innocuous topic of debate, you might assume. You would be wrong.

Almost the best thing about Cobra Kai is the response, somewhere between bemused and appalled, it has generated among woke millennials and Gen Z-ers. One reviewer noted with concern that neither of the two featured karate schools is run by someone of Japanese ethnicity. Another squirmed at two middle-aged men’s almost Trump-level inappropriateness, when while discussing the qualities of a mutual old flame they referred to their inamorata’s ‘tightness’. Yes. It’s one of the reasons we Eighties dinosaurs love it so. Cobra Kai is our safe space. It’s our Helm’s Deep of unreconstructed sexism in an otherwise Orcish horde-overrun Middle Earth of gender fluidity, #MeToo and micro-aggressions.

A kind of gigantism took hold of the European mind in the years before World War One. It shaped everything, from empires to poetry. In the confidence of new technology and new ideas, things could be attempted on a larger scale than ever before. The mental power of the age could be measured in the sheer size of the things it produced. This might be ‘Jacky’ Fisher’s Dreadnought of 1906, which set off a European arms race in huge battleships, or a great construction — the Victoria memorial in front of Buckingham Palace is nothing to the one built in Kolkata.

On March 14, 1847, Eugène Delacroix made a trip to the studio of his colleague and countryman Camille Corot. Later that day, Delacroix recorded in his journal a feeling of newfound appreciation for the painter’s landscapes: ‘Corot is a true artist. One has to see a painter in his own place to get an idea of his worth.’ The Corot paintings that Delacroix had recently viewed at the Paris Salon seemed to hold new meaning after his seeing the site of their creation. As to exactly what had changed, or what he saw that changed it, Delacroix does not — perhaps could not — tell us. Few modern painters can claim as close a kinship to the spirit of Corot as Paul Resika.