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Football’s silence over Argentina’s racist chanting is deafening and damning

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Football’s silence over Argentina’s racist chanting is deafening and damning

The telling bit in the video of Enzo Fernandez and other Argentinian players singing a racist song about France following their victory in the Copa America final is the voice you can hear just at the end.

“Corta (el) vivo,” someone says — “stop the live stream.”

They know. They know what they’re saying. They know that what they’re saying is profoundly offensive, and they know what will happen if the outside world hears it.

This isn’t one of those things that can be equivocated. It’s not something that can be denied. The words are clear, and we know the words because it’s a song that has been around for a couple of years.

The words to the chant were: “They play for France, but their parents are from Angola. Their mother is from Cameroon, while their father is from Nigeria. But their passport says French.”

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The song in question came from a group of Argentina fans before the 2022 World Cup final, which was flagged at the time by French anti-racist protestors as an “expression of a far-right ideology”.

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French Federation filing complaint over ‘unacceptable racist’ chants by Argentina players

Frankly it’s bad enough that Argentina, presumably insulated from a PR perspective by their victory at the World Cup, didn’t seek to distance themselves more from the song, but the fact the players seem to have incorporated it into their celebrations is so much worse. If nothing else, it speaks to an unpleasant collective mentality and pervading culture that a group of players, at a moment of triumph, would choose this song as part of their celebrations.

It’s also worth noting, without wishing to detract from the blatant racism, the transphobia that is at play here too. The full lyrics of the song make reference to French players being “cometravas, like Mbappe.” “Cometravas” is a slang term that essentially translates as “someone who has sex with transgender people”.

Football in general has made positive steps to make the game more welcoming for LGBTQ+ people. Players who actively choose not to participate in anti-homophobia campaigns are thankfully few and far between, and those that do are often punished — like Monaco midfielder Mohamed Camara who, after covering up an anti-homophobia message on his shirt last season, was suspended for four games.

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Things like this song, however, do not help and in fact actively harm the effort to make football a more inclusive place.

But if the song itself and the gleeful willingness of the players involved to sing it was not depressing enough, the aftermath has been almost as bad.

Fernandez himself issued an apology of sorts, claiming that he got “caught up in the euphoria of our Copa America celebrations” and the song did not “reflect my character or beliefs”. He also said, rather laughably, that “I stand against discrimination in all forms”. Let’s just say that when he is inevitably forced to participate in some sort of anti-racism campaign in the weeks or months to come, his words will ring hollow.

Chelsea themselves reacted in fairly responsible fashion, putting out a statement that set out their own position and values, saying they will use this as “an opportunity to educate” and that they have started an internal disciplinary procedure.

It will be interesting to see what comes of that process, given that if Fernandez was a fan and was caught singing that song in the stands at Stamford Bridge, he would be looking at the ugly end of a fairly lengthy stadium ban.

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Beyond that though, things have been very quiet.

Wesley Fofana, the French Chelsea defender, called it “uninhibited racism”. David Datro Fofana, the club’s Ivory Coast striker, put a statement on Instagram saying that “racism in all its forms should be condemned in the strongest possible terms” and that the fight against racism “needs to be taken seriously by everyone involved in the sport”.


David Datro Fofana has also condemned the incident (Craig Mercer/MB Media/Getty Images)

It’s the last bit that feels the most pertinent. Because aside from those two responses, plus a picture posted by Nicolas Jackson of Fernandez hugging a black child, the meaning of which is open to interpretation, there’s not been much else.

Only black players have acknowledged the incident publicly so far. No white players have condemned the song. Perhaps some of Fofana’s white team-mates have offered private support, but as things stand there has been nothing beyond that.

As will be depressingly familiar, it is the black players that have been left to do the emotional work, to carry the mental baggage of having to deal with a racist incident. It enforces the idea that racism is a problem only for black people, when it’s a blight that shames us all. It isolates the black players, suggesting that it’s not something that anyone else has to worry about.

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Imagine the power that would come from a white player standing up, unprompted, and condemning the song. It would provide a valuable symbol, but it would be more than just a surface-level thing. It would have genuine import.

The clubs of the other players in the video have, at the time of writing, decided not to comment. It is, in fairness, a little tricky to definitively identify exactly who is singing in the video, but everyone seems to be trying their best to ignore the issue entirely.

Perhaps we could give them the benefit of the doubt and say that, in time, they will speak to their Argentinian players and remind them of their responsibilities — not as footballers or representatives of a club, but as human beings. But at the moment it would seem that they are just hoping the whole thing goes away.

Even if it is tough to identify the individuals doing the singing, anyone who sat in silence while such a racist song was being sung probably could do with at least a talking-to. Surely the least we can expect from the clubs is for them to acknowledge the incident, that they will investigate and if it is found that any of their players were involved, they would face the appropriate punishment.

Chelsea are the only club to have said anything so far, not that we should necessarily be handing out extra credit for that: after all, they couldn’t possibly have avoided it.

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Elsewhere though, crickets. For all the glossy campaigns and well-intentioned initiatives and solemnly shot ‘No to racism’ UEFA videos, when so much of the game is silent at moments like this, the idea that football is serious about combating racism is very hard to take seriously.

(Header photo: Peter Joneleit/Icon Sportswire via Getty Images)

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Finding Wisdom in a Poem by Wendy Cope

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Finding Wisdom in a Poem by Wendy Cope

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Where do you turn when you need advice? A chatbot? A life coach? A wise and trusted friend?

How about a poet? Poets may not be famous for making the best life choices, but because they subject the mess of human existence to the discipline of language, they can be as helpful as any therapist or mentor.

Good poets know the rules and when to break them, which is something they can teach the rest of us.

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To wit:

Giving advice is a peculiar literary undertaking. It flourishes in certain popular genres — graduation speeches, newspaper columns, country and western songs and poems like this one — but what, in these contexts, is it really for?

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I’m thinking of situations when you don’t urgently need help but nonetheless enjoy reading answers to questions you may not have thought to ask. What interests you isn’t the content of the advice — you could get all the life hacks you want from A.I. — so much as the voice of the person dispensing it.

Wendy Cope is an English poet, born in 1945, who has been a fixture of her country’s literary scene since the 1980s. More recently, her short, buoyant poem “The Orange” has been widely memed online, bringing her to the attention of new readers beyond Britain.

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Cope favors rhyme, meter, brisk jokes and tart aperçus. She addresses romance, friendship and the petty absurdities of modern life with disarming good humor. The last line of “The Orange” is “I love you. I’m glad I exist.” Somehow she makes it the opposite of cringe.

This isn’t the kind of poetry you would describe as “confessional.” And yet …

Want to learn this poem by heart? We’ll help.

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Fill in the missing words below. You can always refer to the reading by A.O. Scott and full
text above.

Question 1/7

Let’s start with the first stanza.

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Stop, if the car is going clunk 

Or if the sun has made you blind. 

Dont answer emails when youre drunk. 

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Tap a word above to fill in the highlighted blank.

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Can You Match the Places These Authors Lived With Settings in Their Books?

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Can You Match the Places These Authors Lived With Settings in Their Books?

A strong sense of place can deeply influence a story, and in some cases, the setting can even feel like a character itself. This week’s literary geography quiz highlights places where authors were born (or lived) that later became locations in their books. To play, just make your selection in the multiple-choice list and the correct answer will be revealed. At the end of the quiz, you’ll find links to the works if you’d like to do further reading.

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Book Review: ‘America, U.S.A.,’ by Eddie S. Glaude Jr.

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Book Review: ‘America, U.S.A.,’ by Eddie S. Glaude Jr.

AMERICA, U.S.A.: How Race Shadows the Nation’s Anniversaries, by Eddie S. Glaude Jr.


For those of us in the national memory-keeping business, anniversaries hold near-totemic power. Satisfyingly round units of time, ideally bearing fancy, Latin-derived names, serve as the overburdened pegs on which to hang think pieces and museum exhibits, revisionist documentaries and maudlin public ceremonies. The arbitrary nature of such occasions is precisely what gives them their charge, inviting us to set aside complacency and submit to a comprehensive check-in.

In his new book, “America, U.S.A.,” Eddie S. Glaude Jr. presents an intriguing variation on the genre, seeing the country’s 250th birthday as an anniversary of anniversaries: 50 years since the malaise-ridden, schlock-heavy Bicentennial. A century since the subdued Prohibition-era Sesquicentennial. A century and a half since telegraphed reports of George Armstrong Custer’s defeat by the Lakota and Cheyenne at Little Bighorn rudely interrupted the Gilded Age Republic’s 100th birthday party.

If an anniversary offers a snapshot of a moment, the core of Glaude’s book is an old-timey photo album, a collection of notable episodes from earlier national reckonings, long-ago glances in the mirror. An estimable scholar of Black history, politics and religion at Princeton — best known for “Begin Again,” his 2020 meditation on James Baldwin’s relevance for our times — Glaude focuses, as his subtitle puts it, on “how race shadows the nation’s anniversaries.”

Such celebrations, he contends, have never really been the moments for honest self-reflection they are often advertised to be. Instead, the nation usually shatters the mirror, refusing to accept what it prefers not to see. “American anniversaries are often moments to turn a blind eye to the evils of the past and the present,” Glaude writes, “to suppress the fact of America’s divided soul.”

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It’s a clever concept, and, needless to say, perfectly timed. Last year, Glaude notes, the Trump administration executed a hostile takeover of the government’s studiously bipartisan 250th anniversary planning. It is now preparing a program that is certain to conceal more than it reveals about the country ostensibly being celebrated.

Glaude, in no mood for celebration, argues that such omissions and evasions also defined commemorations in the past. In 1875, Frederick Douglass predicted “one grand Centennial hosannah of peace and good will to all the white race of this country.” He was right: The nation reached 100 years old at a crucial moment in the post-Civil War fight over racial equality, with white Northerners ready to give up on Southern Reconstruction. The occasion would help the once-warring sections to reunite around a shared commitment to white supremacy. On May 10, 1876, at the opening of the Centennial Exposition in Philadelphia, the police tried to bar Douglass from the grandstand, until a white politician vouched for him.

The 150th anniversary came soon after a resurgent Ku Klux Klan successfully pushed for a restrictive immigration law aimed at keeping America a “Nordic” nation. At the lavishly funded, lightly attended celebrations in Philadelphia, Black veterans of World War I were excluded from marching in the opening parade. A writer with The Associated Negro Press wondered “what was in the breast of those black men who fought to make America safe for Democracy and on Monday stood on the sidelines, forgotten, as the Nordic strode by in all his vain pride.”

By 1976, when the nation marked its Bicentennial, the violence of the ’60s had destroyed any semblance of consensus. Vietnam and Watergate had eroded trust in the government. The commission initially tasked with organizing the anniversary was disbanded amid reports of corruption. Corporations filled the vacuum, Glaude explains, with “star-spangled whoopee cushions; patriotic toilet seats; Liberty hamburgers; red, white and blue beer cans.” The author, around 8 years old at the time, dimly remembers donning a pair of tricolor trousers.

A half-century later, Glaude is refreshingly honest about the depths of his despair. “I do not love America, and never have, especially now,” he writes in one of the more startling opening sentences I’ve read in some time. He dismisses this year’s Semiquincentennial as reaching back “to a storybook America that requires either the banishment of Black people from view or the reduction of our role in the country’s history, so as to affirm America’s ongoing quest to be a more perfect union.”

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Undoubtedly true. But Trump doesn’t own the country, at least not yet, nor the 250th anniversary of one of the most radically liberatory and confusingly contradictory events in world history — an inspiration, as Glaude shows, even to critical observers of the American experiment, like Douglass. Far from the revanchist MAGA-palooza in Washington, I suspect this summer’s unasked-for invitation to national soul-searching may surprise us yet.

Despite his despair, Glaude concludes that “the past still offers resources for us to freedom-dream.” So, too, does this book.


AMERICA, U.S.A.: How Race Shadows the Nation’s Anniversaries | By Eddie S. Glaude Jr. | Crown | 270 pp. | $31

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