John Powers

These days politics and advertising go hand in hand. Mayors stage photo ops. The Bush administration compared the Iraq war to rolling out a new product. And just last year, Barack Obama and Mitt Romney spent nearly a billion dollars running for president. If you're an American, such wall-to-wall marketing has come to seem a natural phenomenon, like Hurricane Sandy or LeBron James.

The Irish novelist John McGahern once remarked that his country stayed a 19th-century society for so long that it nearly missed the 20th century. But in the mid-1990s, Ireland's economy took off, turning the country from a poor backwater into a so-called Celtic Tiger with fancy restaurants, chrome-clad shops and soaring real estate values. The country was transformed — until things came tumbling down during the 2008 financial crisis.

The director Francois Truffaut once remarked that it takes as much time and energy to make a bad movie as to make a good one. He was right, but I would add one thing: It takes extraordinary effort to make a truly memorable flop.

The best example is Heaven's Gate, the hugely expensive 1980 movie by Michael Cimino that is the most famous cinematic disaster of my lifetime. It's part of that film's legend that it not only took down a studio, United Artists, but was the nail in the coffin of Hollywood's auteur filmmaking of the 1970s.

It seems that every time you turn around, you find another anniversary of some big cultural or historical event. I'm weary of the media's habit of playing all these things up, so I'm abashed to admit I'm about to do just that.

But you see, in the same three-day period I recently saw the new James Bond picture, Skyfall, and Crossfire Hurricane, a new HBO documentary about The Rolling Stones. And because the Bond movies and the Stones both turn 50 this year, I began thinking about how they might fit together.

Whenever I hear someone called a "cult writer," my hackles jump toward the ceiling. It's not only that the phrase calls up images of self-congratulatory hipsters, but that writers who become cultish tend to do so because their work is steeped in bizarro sex, graphic violence, trippy weirdness or half-baked philosophy.

In the fall of 1989, I was walking down a London street when someone handed me a flier that asked, "Should Rushdie Die?" The following afternoon, I headed over to the Royal Albert Hall to hear that question answered by a renowned Islamic scholar.