Collymore's twitter rant about "football snobbery" was misplaced

The gulf between critic and fan.

When Stan Collymore says something, people tend to listen. More accurately, perhaps, people have no choice but to listen as the former Liverpool striker and enfant terrible has one of the most distinctive styles of any UK based broadcaster.

To be completely fair, such is the vanilla flavour of much of the content available on the airwaves, it is fair to say that Collymore and his talkSPORT radio presence provides good value.

The 42-year-old spent much of 2012 uprooting previously anonymous students and bringing their deluge of racist abuse to light. In many ways, to his vast credit, his one man war has done much to ensure that the casual fan thinks twice before launching into a flow of offensive bile.

In 2013, Stan has a new war, and with it, a different foe. It is increasingly apparent that Collymore’s biggest bugbear is what he perceives as a deep-rooted snobbery from football bloggers masquerading as writers, directed at a wide variety of pundits.

As a relevant, former pro, Collymore has taken upon himself to defend the honour of those pundits who have taken no small amount of stick from the keyboard warriors and blogging snobs; “Whose major selling point is usually a degree of some sort.”

One could argue that perhaps such qualifications are better for a career in sports journalism than ill-fated spells at Fulham, Bradford and Aston Villa but that is neither here nor there.

Collymore has not always been the most self-aware individual. As recently as 2006 he spoke up the prospect of making a return to top-level football requiring, in his mind, only a month of preparation to get back up to Premier League standard.

Nevertheless, despite his dubious track-record for public proclamations, his strangely formatted Twitlonger post, stumbles across a particular sticking point, despite being largely wrong in his conclusions.

He is right to suggest that Twitter provides football fans an unparalleled stage for delivering misinformed, tribalistic and unpleasant comments to an array of public figures, but, having reignited his career on the platform, Collymore is hard pushed to complain when he encounters a bit of non-offensive hostility from his 375,000 followers.

At times, Collymore’s piece is beyond parody- the broadcaster coming across as punch-drunk from the amount of abuse he has endured via social media, to create a paranoid ‘black is white’ argument.

His fierce defence of the football pundit is a perfect illustration of the breakdown between the average fan and any number of bumbling former pros plying their "trade" on TV sofas each weekend.

Are we as consumers and subscribers wrong to expect some sort of quality control from our panellists? Do we not have the right to be a touch embarrassed when Ray Parlour fails to grapple with Guillem Balague over the merits of the Premier League or when David Pleat fails to pronounce the name of a single Juventus player correctly?

Instead of accepting that former players are given a humongous advantage in terms of getting on in the media, Collymore attacks what he perceives as the self-entitlement of the bloggers and writers, many of whom, least we forget, are writing for nothing and to a tiny audience.

“A degree in journalism gives them the belief that their hard University work and study should somehow put them automatically in the front of the line for a plum job in whichever industry they choose. And in football, the number who think this way is increasing.[sic]”

You have to accept his premise that an erudite and expressive footballer with a strong television presence is going to carry more immediate respect from an audience than a journalist without a football background. But what happens when said player erodes that goodwill with season after season of poorly prepared rubbish?

I would like Stan to enter into one of the oft-referenced internships with a site like Goal.com or Football Fancast- websites designed to provide content from football fans and aspiring journalists- the vast majority of whom will never achieve a by-line in a national paper or even attain work experience in a Sky Sports studio.

I know from personal experience that any sense of entitlement evaporates pretty swiftly at 3am on any given Wednesday when you’ve committed to writing three pieces that day and are due at work in less than five hours. If Stan were to complete one of these schemes, all the time watching Jimmy Bullard struggle to string four words together on Soccer Special, he might realign his argument.

Instead, Collymore latches onto Gary Neville as a prime example of a former player turned brilliant pundit, but for every respected former England full back he provides, I could throw Robbie Savage, Don Goodman and Jimmy ‘this is what we in the game call’ Armfield back at him by way of retort.

Despite his merits, had he not been a footballer, Stan Collymore is highly unlikely to have ‘made it’ as a broadcaster- his colourful past and mercurial talents as a footballer remain his unique selling point. That he is outspoken and confrontational is only something he has been allowed to develop once afforded his own platform- obviously something your garden variety graduate is not afforded.

“Well, I've been interested in broadcasting since childhood” proffers Collymore. Well, to be fair, I’ve been interested in cinema since I was a kid- does that entitle me to play Jason Bourne?

Collymore, and others, need to accept that football and journalism are completely independent from one another and to be proficient at the former does not guarantee success in the latter. The ‘entitled’ bloggers know this already- they’re just waiting for Stan to catch up.

Stan Collymore. Photograph: Getty Images

You can follow Cameron on Twitter here.

Calvert 22/Courtesy of the artist, Danila Tkachenko
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Ruin porn: the art world’s awkward obsession with abandoned Soviet architecture

Deserted fairgrounds, disused factories and forgotten military bases may look cool, but are we fetishising the remnants of such a cruel history?

Armenia, where one side of my family is from, was one of the first members of the USSR, annexed by Russia in 1922. A few years ago, when I visited this little country that perches precariously in the south of the Caucasus, I was struck most by its Soviet architecture.

Although its landscape is a hotchpotch of medieval Orthodox churches, a smattering of Persian-era domes, and brutalist concrete, it was the latter that particularly stuck out. From unfelled statues of Stalin to giant tower blocks spelling out the letters “CCCP” from a bird’s-eye view (well, half spelt-out – construction stopped partway through, with the fall of the Soviet Union), I’ve never forgotten it.

Perhaps it was so compelling because such stark physical symbols make recent history all the more tangible. A history still profoundly affecting the country of my ancestors (and all post-Soviet and communist states). But also, it just looked really cool.


Mixed air corps, Mongolia. Photo: Calvert 22/Courtesy of the artist, Eric Losito

It’s a bit passé now to mock the hipster obsession with reclaimed industrial detritus, exposed pipes and bare concrete. An aesthetic – that of a post-industrial wasteland, but a chic one – which has gripped western cities for years, and crept worldwide.

But it could be this tendency to find disused stuff visually intriguing, and a morbid fascination with cruel regimes, which has led to the art world’s obsession with abandoned Soviet architecture. A whole wave of artists and photographers have been poking around the eastern bloc’s architectural graveyard in recent years.

Late last year, we saw the hugely popular disused Soviet bus stop series by photographer Christopher Herwig, echoing photographer Sergey Novikov’s equally absorbing collection of abandoned Soviet cinemas from 2013.

Following Russian filmmaker and photographer Maria Morina’s “Atomic Cities” project four years ago, London-based artist Nadav Kander explored the “aesthetics of destruction” in his exhibition, Dust, in 2014, snapping “radioactive ruins” of secret cities on the border between Kazakhstan and Russia. The same year, Moscow photographers Sasha Mademuaselle and Sergey Kostromin travelled to the disputed region of Abkhazia, capturing fragments of its deserted infrastructure.


Fighter aviation regiment, Mongolia. Photo: Eric Losito
 

And photojournalist Anton Petrus’ now iconic pictures of Chernobyl’s abandoned amusement park have long been an internet favourite, as have numerous haunting images of Pripyet – the city famous for lying deserted following the nuclear disaster.

Jamie Rann, a lecturer in Russian at Oxford University, has written that the quality and technical accomplishment of most of this photography make the style more “ruin erotica” than “ruin porn” (the tag being used by some critics), but argues: “The enormous online popularity of this genre . . . combined with their voyeuristic, almost exploitative feel, certainly has something porny about it.”

The latest exploration of Soviet society’s skeletons can be found at the Power & Architecture season at London’s Calvert 22 Foundation. In an exhibition called Dead Space and Ruins, we see abandoned military bases and formerly mighty monuments, forgotten space ports freezing in the tundra, the ghost of an entire unused, unfinished city in Armenia lying derelict.



The unfinished "ghost city" built in Armenia to house earthquake survivors (water added by artist). Photo: Calvert 22/Courtesy of the artist, Vahram Aghasyan

The works are beautiful, but do they feed in to this zeitgeisty lust for Soviet ruins?

One of its curators, Will Strong, laments this trend. “I was keen that this didn’t become like a kind of ‘ruin lust’, ‘ruin porn’ thing; this slightly buzzwordy term that there is at the moment, this kind of fetishisation of dead space,” he tells me.

“This history is incredibly loaded, and it did not end in 1991. To sort of fetishise it in the very bourgeois western way of, ‘oh yeah, look at all this wonderful Soviet architecture, isn’t it fantastic?’ Obviously a lot of people who lived in that time hated it . . . a lot of people were very miserable under these regimes, so it’s important not to forget that.”


Gym at the Independent Radar Centre of Early Detection, Latvia. Photo: Eric Losito

He adds: “It’s more a point of reflection on how buildings were designed, what their legacy is, what their narrative is, and who the people are who live with that story. This show looks at the aftermaths of when utopia hasn’t been delivered.”

This view is echoed by the Moscow artist, Danila Tkachenko, whose work is featured in the exhibition. “It is rather a metaphor for the future, not the past,” he says. “It represents an image of a possible future. When there is a visualisation of this issue [utopia], it evokes a response in people; they see this utopia in their lives . . . There is disappointment in all utopias.”


The world's largest diesel submarine, in Russia's Samara region. Photo: Calvert 22/Courtesy of the artist, Danila Tkachenko

His Restricted Areas series explores great behemoths of European communism left to lie forgotten in the tundra of remote regions in and around Russia and Kazakhstan: the world’s largest diesel submarine, like a beached whale in the snow; a giant satellite, thatched with antennae, built to communicate with Soviet bases on other planets some day; the deserted flying saucer-like communist headquarters in a region of Bulgaria. The structures hover in blank, white space, making the photos appear black-and-white.


Deserted observatory, Kazakhstan's Almaty region. Photo: Danila Tkachenko
 

Anton Ginzburg is an artist who grew up in St Petersburg in the Eighties as the Soviet Union was disintegrating. He believes studies like his film, Turo, of disused modernist constructions in the post-Soviet bloc, appeal to people’s connection to history. After all, picking through the architectural carcasses of former societies isn’t exactly a new thing:

“Russian culture is still haunted by its Communist past, and constructivist architecture is a decaying shell for its ghosts. It is an active reminder of the recent history,” he reflects. “Perhaps [its appeal] is a mixture of memento mori, with its thrill of beauty and destruction, along with a Romantic tradition of contemplation of Greek and Roman ruins.”

(Anton Ginzburg Turo teaser from Visionaireworld on Vimeo.)

The Power & Architecture season is on at the Calvert 22 Foundation, London, from 10 June-9 October 2016. Entry is free.

Anoosh Chakelian is deputy web editor at the New Statesman.