Lions Watch: Who should make England's final squad?

Gareth Southgate’s provisional squad is out! So, who would we drop for the final 26? Marcus and Luke discuss that on today’s Lions Watch.


Plus, a listener asks perhaps the biggest question heading into the tournament: how can England get the best out of Phil Foden? Marcus explains why playing Foden and Bellingham together isn’t another Frank Lampard-Steven Gerrard problem. And do we find ourselves agreeing with Paul Merson?!


We're back on stage and tickets are out NOW! Join us at London Palladium on Friday September 20th 2024 for 'Football Ramble: Time Tunnel', a journey through football history like no other. Expect loads of laughs, all your Ramble favourites, and absolutely everything on Pete's USB stick. Get your tickets at footballramblelive.com!


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Old Friends

From Cletus Johnson’s Details from “Winter,” a portfolio published in issue no. 68 of The Paris Review (Winter 1978).

Marga was still living where she’d been at the time I’d left New Orleans, in a house shared with friends. On the first floor were Marga and her roommates, who I knew a little, though she continued to introduce us to one another. On the second floor lived more friends, and a piano, which one of them played sometimes, and which Marga and I could hear when we lay in her bed. It was February, I was visiting, and the city smelled of sweet olive, damp soil, and sometimes sweat. At sunset the light was as obscene as Id remembered it, fluorescent oranges and pinks that someone once told me were so bright because of the chemical pollution. I had spent the week going on walks through the tall grass of the old golf course with people I hadn’t seen since Id lived there, a span of a few years in which I had felt sometimes elated, often unhappy. I wasn’t unhappy anymore, which made things look and feel different, and made me wonder what it would be to come back more permanently, and who I could be then: if she would be a better version, or at least a version more able to appreciate her time.

It was a work trip. I spent my first night with Marga, as planned, but then I moved to a hotel for a few days following a COVID exposure. My negative test on Friday allowed me back into Margas in time for the Shabbat dinner she wanted to host while I was in town, which was going to include us, Marga’s roommates, and a couple I’d asked Marga to invite, plus their dog. When the couple walked in, one half sat down and said to me, It must feel so good to come back here and have a family waiting for you.” I was surprised, because I hadnt really felt like that was true, but hearing her say it made me wonder if it was true: if I had left something behind that I hadnt really realized Id had, or if somehow in my absence it had thickened into something more real than what I had lived.

Along with the people I knew was one person I didn’t, whom one roommate was dating. He brought a wooden knife that he had made. We all said “Wow,” but it couldn’t even cut the chicken Marga had made, which was very soft; the chicken was not the problem. Marga was proud of what she served us, the chicken but also potatoes, chopped herbs, and a sauce—mostly I remember that it was salty, and that Marga’s pride was both obvious and deserved. I was happy to see her glowing over candles, bragging about food that was good. We talked about a lot of things, and drank wine, and lost ends of conversations that someone else later picked up: their gardens, my work, family, family elsewhere. Talking was easier than I had remembered. Between us, the night felt quiet and warm, with laughter and overlap, small circles of conversation that grew and shrank, and the sense that people were comfortable, glad to be there, and used to it. I felt that maybe this was mundane for them, though it was special for me, and this was its own sweetness, too—that here they all lived with something special, even if it was routine. The fact that it was common didnt mean that they valued it any less.

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Come home José

José Mourinho, Erik ten Hag and Frank Lampard... they’re just some of the names that Marcus, Luke, Jim and Andy want for the Chelsea job now Mauricio Pochettino has left. But Chelsea also have another HUGE decision to make: do they keep the lemons?


Elsewhere, there is the small matter of England’s provisional squad for Euro 2024. Plus, the Ramblers bring you news of Scott Carson getting in a fight and a Dutch referee who has been banned for the best reason ever! 


We're back on stage and tickets are out NOW! Join us at London Palladium on Friday September 20th 2024 for 'Football Ramble: Time Tunnel', a journey through football history like no other. Expect loads of laughs, all your Ramble favourites, and absolutely everything on Pete's USB stick. Get your tickets at footballramblelive.com!


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The Jack’s Encyclopaedia title decider!

It all comes down to this. This year's top three – Luke, Marcus and Vish – lock horns to become undisputed champion of Jack’s Encyclopaedia 2023/24 and take the season-ending belt. Let the chaos commence!


We're back on stage and tickets are out NOW! Join us at London Palladium on Friday September 20th 2024 for 'Football Ramble: Time Tunnel', a journey through football history like no other. Expect loads of laughs, all your Ramble favourites, and absolutely everything on Pete's USB stick. Get your tickets at footballramblelive.com!


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Wild Desire

Abstract 2 from Awash by Will Steacy, a portfolio published in issue no. 177 of The Paris Review (Summer 2006).

“Pedro Lemebel, one of the most important queer writers of twentieth-century Latin America,” writes Gwendolyn Harper, his translator, was “a protean figure: a performance artist, radio host, and newspaper columnist, a tireless activist whose life spanned some of Chile’s most dramatic decades. But above all he was known for his furious, dazzling crónicas—short prose pieces that blend loose reportage with fictional and essayistic mode. … Many of them depict Chile’s AIDS crisis, which in 1984 began to spread through Santiago’s sexual underground, overlapping with the final years of the Pinochet dictatorship.” The Review has published several of these crónicas, newly translated by Harper, as part of a brief series in recent weeks. You can read the first installment, “Anacondas in the Park,” here, and the second installment, “Hot Pants at the Sodomy Disco,” here.

 

Fording gender’s binaries, giving the old sepia family photograph the slip, and above all picking the pockets of scrutinizing discourse—exploiting its intervals and silences—halfway and half-assed, recycling oral detritus like excreted alchemy: wiping, with a gossip rag, the pink smudge of a sphincteral kiss. I abide the unpleasant aroma to appear before you with my difference. I say in my minoritarian way that some groove or marrow etches itself into this constrained micropolitics. Cramping from camp, disassemblable in stripteased faggofication, reassemblable in straight obliques, politicizing toward sissy self-knowledge.

I expel these excess materials from a doughy imaginary, dolling up political desire in oppression. I become a beetle that weaves a blackened honey, I become a woman like every other minority. I yoke myself to its outraged womb, make alliances with the Indo-Latina mother, and “learn the language of patriarchy in order to curse it.”

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Televised Music Is a Pointless Rigmarole

Herbert von Karajan directing Verdi’s Messa da Requiem in Milan’s La Scala theater. Aired in West Germany on November 26, 1967.


From an interview in Der Spiegel (February 26, 1968).

 

DER SPIEGEL

Professor Adorno, you once dismissed radio concerts as empty strumming and chirping. Does this characterization likewise apply to the performances of baroque concertos, classical symphonies, masses, and operas that are ever more frequently available for hearing and viewing on the first and second television channels? Is it possible to present an adequate performance of music on television?

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The 1605 Oxford City Charter

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This photo depicts the 1605 Oxford city charter in which ‘for the first time the constituents and powers of the council were defined, and its election procedures described’.[1] As a result of this charter, Oxford became a corporate, free city, and as such, Oxford city  corporation had the power to make by-laws, punish breaches by fine or imprisonment, sue and be sued in the corporate title, and be able to hold or dispose of property under a common seal.[2] This charter served as the foundation of civic governance in Oxford until 1835.

Oxford City Charter granted by James I, 1605. Reproduced by permission of Oxford History Centre. Photo taken by the author.

The 1605 charter is adorned with decorative borders that highlight the strong connection between the city corporation and the crown. Upon closer inspection, this charter does not just assert the authority of the crown but also appears to have been used as a heraldic device by the corporation to assert the authority and power of civic government.  While the borders feature various symbols that promote the corporation’s ties to the crown, such as the harp, the city’s coat of arms is equally prominent. The coat of arms depicts a shield with a red ox, which symbolises courage and valour, especially in public office. Therefore, the symbolism within the coat of arms may have been a way for the corporation to assert its authority to the public. Further examination highlights that the charter is decorated extensively with what are called heraldic colours, including red, black, and yellow which were used not necessarily to reinforce the power of the crown but rather the civic virtues of the city government as in the case of black which often symbolised constancy and which it can be argued that the corporation expected the townspeople to emulate.

During the early seventeenth century, this document was employed by the corporation to strengthen its authority against objections from the university. By the 1630s, this document had become particularly significant as it enabled the corporation to challenge both the power of the university and the crown. It also helped establish the corporation’s authority over the townspeople, at least the freemen. This was a crucial objective for the corporation since the civic authorities were responsible for ensuring that the city was free from public disorder and unrest.

An example of how the charter was used to support the corporation’s authority can be found in the corporation minutes of 1636. At this time, the corporation refused to pay the full costs of accommodating the crown’s officers during the royal visit. The corporation’s minutes record that if this decision was challenged, they would display the charter in parliament and use it to support the mayor’s decision.[3]This refusal may have been due to the changing relationship with the crown in the 1630s, in which the corporation saw the gradual erosion of the liberties that had been granted in 1605 and was fighting to restore many of them.

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The Most Popular Book Riot Stories of the Week

The Most Popular Book Riot Stories of the Week

Grab your coffee, kick up your feet, and dive into our best stuff from another eventful week in the world of books and reading.

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Emma Stone stars in 'wacky' and 'dark' comedy

Emma Stone stars in 'wacky' and 'dark' comedy

Yorgos Lanthimos's Kinds of Kindness is 'almost unbearably' cruel

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Book Riot’s YA Book Deals of the Day: May 18, 2024

Book Riot’s YA Book Deals of the Day: May 18, 2024

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