One evening last month, I joined a group of anti-Haftar militiamen on the outskirts of Tripoli. On the roof of a ruined villa, lanky young men scanned the front with a night vision scope. The air was heavy with the smell of sweat and rotten fruit. The LNA were three hundred metres away, on the other side of an olive grove hemmed by junipers. To our left, there were flashes of tracer-fire, the growl of heavy machine-guns and the crash of mortars. Hunkered behind a breezeblock wall, the commander on the roof was listening intently to a walkie-talkie he’d stolen from Haftar’s forces.
The British Museum is one of the world’s few encyclopaedic museums: it tells the story of how civilisation was built; it boasts seven million visitors a year and is committed to free entry; it holds a unique place of authority in the nation’s – perhaps the world’s – consciousness. A few days ago I resigned from its Board of Trustees.
My resignation was not in protest at a single issue; it was a cumulative response to the museum’s immovability on issues of critical concern to the people who should be its core constituency: the young and the less privileged.
This summer has for some time been looked forward to as a make-or-break moment for English cricket. With England and Wales hosting the World Cup and an Ashes series starting here in August, it should be the perfect opportunity to make cricket part of the national conversation again; to try and halt the decline in enthusiasm for, and participation in, England’s traditional summer sport.
Jerry Williams Jr released his first album as Swamp Dogg, Total Destruction to Your Mind, in 1970. Before that he worked as a straight-up songwriter and producer – at Atlantic Records, among other places – cutting singles for Wilson Pickett, Patti LaBelle, Gary U.S. Bonds, Gene Pitney, and Inez and Charlie Foxx, as well as himself. He had got his start in 1954, the year that Elvis Presley made his first commercial recordings. Like Presley, Williams was living with his mother back then, though you wouldn’t have guessed it from the song he recorded: ‘Now, I know I take my whiskey/and sometimes get carried away,’ Williams sang. ‘I’m over 21 years old/so you ain’t got a darned thing to say.’
I first met Leon Kossoff at Willesden Junction, down by the railway tracks, in 1995. I was there to take his photograph for the catalogue of his show at the British pavilion in Venice that summer. The following year I took his portrait for his retrospective at the Tate. I photographed him for the last time in 2013, for the catalogue of his show at the Annely Juda gallery. The idea was to meet at Arnold Circus, where Leon had grown up, and take pictures there. Afterwards we had coffee in a café on Calvert Avenue, the street where Leon’s father had run his bakery. I sent the pictures to Leon and he didn’t very much like them.
Sometime in the winter of 1969 a Pakistani colleague told me that the Ford Foundation had created visiting professorships at the University of Islamabad and asked if I would like one. At the time I was always open to travel adventure so I said sure. After I was appointed, the question arose as to how to get there. To me the obvious answer was to drive. I put the proposition to William Shawn, the editor of the New Yorker, who thought it an interesting idea. The magazine put up enough money for me to buy a Land Rover Dormobile. This legendary vehicle, which is no longer manufactured, had sleeping bunks and a stove – perfect for the job. I enlisted my friend the Chamonix guide Claude Jaccoux and his wife Michèle and in early September we set out. It took about three weeks to drive from France through Italy, Yugoslavia, Greece, Turkey, Iran and Afghanistan and then over the Khyber Pass into Pakistan.
This time last summer I knew exactly where my friends would be, each evening showing blind and unwavering affection for football – men’s football. This summer I’ve had to coerce and cajole, offering positive reinforcement to those who bothered to watch games. This is the difference between Russia 2018 and France 2019. It may appear insignificant, but it reflects the difference between the perception of men and women both on and off the pitch. After matches, I’ve spent evenings scrolling social media to relive the excitement and been met with stale comments to the effect that ‘no one cares about women’s football.’ What they mean is they don’t care about women and they don’t care about their strength and their prowess and the way Steph Houghton has become the new poster girl for Steve McQueen-type cool and composure. And they don’t care that generations of girls and women for the first time feel able to be aggressively unapologetic about their talents.