…those who would attempt to regulate hooliganism and the everyday violence of British football grounds have little or no interest in seeing them as symptoms of subcultural resistance, or even of class ressentiment , but are rather more invested in thinking of them simply as criminal or pathological activities to be dealt with by the repressive state apparatuses.
All in all this is probably the least likely official football theme song ever recorded: denying its own status as a football song, introducing elements of subcultural love lyrics, and becoming a gay club hit, but also assuming the burden of combatting football’s major peripheral problem, hooliganism, the song is ultimately unheimlich , even despite its closing chorus that speaks of “playing for england; playing this song.” It does not quite work as a pseudo-national anthem, and yet it effectively draws together several strands of British subcultural life and merges them into a peculiar cultural product where their elements of resistance leave few traces. The song’s gesture of cancelling the resistant elements of its own context — the football and rock subcultures — was not sufficient to make it acceptable to the mainstream media.
And yet the band’s song, in its abortive attempt to represent a certain kind of populist nationalism, and in its annulment of the resistant energies of its own cultural context (football culture’s violent antagonism, and neo-psychedelic subculture’s alienation), can be understood as a symptom, or even as a symbol, of the ease with which subcultural forms and energies can be made to contribute to and participate in what we used to call the military-industrial complex, but which I think we really need to call the military-industrial-sports complex.
Masha Kirikova, Greenhouse
Jonathan Meades :: Victoria Died in 1901 (1/7) (by MeadesShrine)
The Tale of the Three Brothers (HD) (by TheIllustrationArt)
The Whitechapel Gallery presents the first major UK survey of photographer and film-maker Zarina Bhimji. The exhibition traces the development of her work over the last 30 years and premieres her new film, Yellow Patch (2011), an ambitious narrative inspired by the journey of countless people from India to East Africa. Previously unseen photographic series, early installations and storyboards are also on display.
Wes Anderson Week
The Royal Tenenbaums, 2001
Cinematography: Robert D. Yeoman
ALISON ELIZABETH TAYLOR