Column
Culture
Football
Sport
4 min read

FA Cup magic: the cliches that belie football’s real focus

Selfish interests are a symptom of a wider social tendency.
in a dressing room, celebrating footballer crowd together for a photograph.
Plymouth's players celebrate.
Plymouth Argyle FC

I learned about a concept called ‘thought-terminating clichés’ recently. They’re throw-away phrases often used in cults and cult-like social phenomena as a way of shutting down debate. So, for example, if you’re chatting with, say, an anti-vaxxer, they might say “you need to go and do your research” as way to shut down the debate.  

Once you notice this, you see it everywhere. And there was one ‘thought-terminating cliché’ I heard a lot this weekend. “The magic of the cup.” 

Can I be honest with you? I don’t like the FA Cup. This weekend saw the latest round of cup fixtures and all it did was remind me why. Okay yes, I’m still a bit miffed about Plymouth knocking Liverpool out. But that’s not it, I promise.  

Every single time these weekends come around it inevitably ends up with lots of tedious discussion about ‘The magic of the cup’ as people get starry-eyed and nostalgic about ‘giant-killings’ and the tragic loss of FA Cup replays. 

For example, in the last round of cup fixtures, National League team Tamworth took Premier League club Tottenham Hotspur to extra time. They ultimately lost 3-0 but, in previous years, they would have ‘earned’ a reply at the Tottenham Hotspur Stadium and, as a result would have gained more money in gate receipts than the club normally generates in a whole year.  

For some, it was proof that scrapping FA Cup replays was damaging grassroots and lower league football. Nobody seemed to care about the fact that Tamworth only scraped through the previous round on penalties, precisely because there were no replays in the cup this year. In other words, they were only playing Spurs because the replays were scraped in the first place.  

Discussions like this can be – should be – a good opportunity for the footballing community to have honest conversations about what the sport ought to look like. Who is football for? What is the point of football? How should the sport’s resources be distributed across the football pyramid? 

But of course, as is so often the case in contemporary society, we are simply unable to have an open, transparent, and well-intentioned conversation about these fundamental issues. In particular, one discussion caught my eye over the weekend.  

Debate around VAR shows how deeply ingrained tribalism is within football: I would rather my team won unjustly rather than lost fairly. 

A lot has been said about VAR since its introduction to the premier league in 2019. Many have lamented its impact. No longer is it possible to simply celebrate a goal. Now there’s always the VAR, always threatening to take away that last minute winner for some small infraction that occurred 5 minutes before the goal was actually scored. All VAR has done, so say the critics, is give greater power to the incompetent referees and their mates.  

And the damage of VAR was only proved this weekend in the FA Cup, as this was the last round of fixtures not to have VAR before its introduction in the fifth round.  

Fans were able to celebrate goals without worrying that the Grinch With A Whistle was going to take it away. No longer would we have to sit twiddling our thumbs while three men in Stockley Park used a magnifying glass and a series of made-up lines to work out if someone’s little toe was offside. Let joy be unconfined! 

And yet, there were loads of officiating errors over the weekend. Blackburn had a goal ruled out against Wolves for offside; Dominic Hyam looked on. Brighton beat Chelsea; Tariq Lamptey looked to have handled the ball. Manchester United scored a dramatic last-minute winner against Leicester City; scorer Harry Maguire almost certainly looked offside. There were multiple other incidents we could reference; you get the point.  

But this is all just a small price to pay; it’s The Magic of the Cup after all. And this is where football needs to decide what it’s fundamentally all about. Is it a sport, a competition? Or is it entertainment? 

It can, of course, be both – and most of the time it is. But if we decide that football is to remain fundamentally a sport and not completely concede the point that it is now entirely a TV product, then VAR has to be here to stay. My minor inconvenience when I prematurely celebrate a disallowed goal, or sit in a freezing stadium not knowing what VAR is doing, all this is the price we pay for ensuring competitive rigour.  

Debate around VAR shows how deeply ingrained tribalism is within football: I would rather my team won unjustly rather than lost fairly. As in so many aspects of life, loyalty to ‘my team’ blinds me from what is best for those around me. Football’s inability to ‘solve’ the perennial problem of the FA Cup, what it’s fundamentally for, and how VAR is best implemented into it, is just a symptom of a wider social tendency towards self-interest over equity and justice.  

Sometimes, winning as a collective involves losing as an individual. Sometimes the best thing for football is seeing that last-minute winner rightly ruled off, embarrassing though it may be. The Magic of the Cup indeed.

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Review
Belief
Culture
Music
Race
5 min read

Annie Caldwell: “My family is my band”

A force of nature voice that comes from the soul.

Jonathan is Team Rector for Wickford and Runwell. He is co-author of The Secret Chord, and writes on the arts.

A family group stand and sit for a photo.
Family album.
The Caldwells.

They say that good things come to those who wait. Annie Caldwell is someone who has experienced the truth of that proverb.  

The album she and her siblings (known as the Staples Jr. Singers) made and paid for themselves in 1975 sold only a few hundred copies but, when reissued in 2022, was received as a stone-cold classic and led to the recording of a second album 49 years after the first. Now, her other group, Annie and the Caldwells, have released their major label debut to rave reviews, 30 years after they first began performing. 

Annie Brown was 11 when the Staples Jr. Singers was formed in honour of Pops and Mavis Staples of the famed Chicago soul-gospel group, The Staples Singers. The siblings gained popularity at churches and functions throughout the American South and Midwest, being mentored by Mississippi greats like Lee Williams and Spiritual QCs. 

Back then, the South was desegregated on paper but not always in practice. Their parents found refuge and support in the church against the backdrop of an unwelcoming town (and nation), while the children found refuge and a greater purpose in life in the music. They were influenced by what they saw - the backlash after desegregation, Civil Rights - and wrote music with messages of community and social justice. “All the songs we were singing about,” said Annie’s brother Edward Brown, “We were going through it.” 

The Staples Jr. Singers got to make a single record together, one which, because of its rarity, became coveted by gospel soul collectors: When Do We Get Paid. They paid for the record themselves and pressed a few hundred copies, selling most of them on their front lawn to their neighbours. On its re-release in 2022, The Guardian called their socially conscious gospel album “Powerful,” and UNCUT said that it was “music that deserves your attention.” 

As a result, the Staples Jr. Singers finally had their time in the sun, including multiple European tours. Annie spoke then about being able to “do many things that we didn’t get the chance to do in the beginning of life … Because the time and money wasn’t there. It all came late, being in our sixties now—but it looks like it’s just beginning, you know? Life is just beginning for us.” She concluded that: “God has blessed us and opened up doors that we couldn’t even see,” and said that, “If I can help just one person, I know that I’m not singing in vain.” 

They play a powerful disco soul and delivering energetic and moving musical testimonies that blend the fiery sounds of gospel with the slow groove of soul. 

One warm evening in October 2023, the family gathered in a single-room church in West Point, Mississippi, called The Message Center to record their second album Searching. There, across the street from Annie’s house, they played songs they had written nearly fifty years before and did so together with four generations of their musical family. The original three Staples Jr. Singers, Edward, R.C., and Annie, were joined by some of the new vanguard: Edward’s son Troy on backing vocals, R.C.’s son Gary on bass, and R.C.’s grandson Jaylin on drums. “It was good to be able to go back,” said Annie, “and look back over our life. Some of the same songs that we had sung, those songs have a new meaning to me.” 

“The process was very easy,” said producer Ahmed Gallab, who performs as the artist Sinkane. “There’s nothing like a family bond/band. It was so special to watch how locked into each other everyone was. You can hear and feel that on this record.” He concluded: “I feel like I was able to witness part of this family’s continued story and legacy in real time. That was a very special thing to witness.” 

Annie and the Caldwells is also a family band, being led by Annie and her husband of the last fifty years Willie Joe Caldwell, Sr. (who plays guitar). Annie says, “My family is my band”: she is backed by their daughters Deborah Caldwell Moore and Anjessica Caldwell and goddaughter Toni Rivers; their eldest son Willie Jr. Caldwell is on the bass and youngest son Abel Aquirius Caldwell is on the drums. 

Annie traces the genesis of the band back to the moment she heard her daughters sing at a talent show: “They were really good. I said, ‘Let me get those girls before the devil gets them!’ Because I was raised up in gospel, so I think you should use what the Lord gave you for good. I decided to raise them with the values my father taught me – singing for the Lord.” 

They generally play on weekends, so for their day jobs Willie Jr. drives a forklift, Abel Aquirius drives hospital patients, Anjessica works in customer care for an insurance company, Toni is an elementary school teacher, and Deborah does hair. Annie runs a clothing store on Main Street called Caldwell Fashions, which has been a beloved staple for women dressing for COGIC (Church Of God In Christ ) convocations and anniversaries since the 1980s.  

Prior to the latest album, they released two albums under Ecko, a renowned soul and gospel label from Memphis. Influenced by The Gap Band, Chaka Kahn, and Bootsy Collins, they play a powerful disco soul and delivering energetic and moving musical testimonies that blend the fiery sounds of gospel with the slow groove of soul. Their music embodies the full power of gospel – the very kind The Message Center, where the family regularly performs, experiences on a weekly basis. The Message Center is also where Joe plays guitar every other Sunday, and where his father used to be a deacon.  

Like Searching, Can’t Lose My (Soul) was also recorded at The Message Center and produced by Gallab. He has said of the recording session: “Hearing Annie’s voice for the first time was like witnessing something rare. Like you’re in the presence of a force of nature that’s been here long before you. It’s visceral, almost like it’s coming from her soul. You can feel every part of her life, every little piece of her journey, in each note she hits. It’s pure talent: no effort, no pretense, just real and raw.” 

In his five-star review of the album for The Guardian, Alexis Petridis wrote: “These are great, powerful, moving songs, made all the more potent by the fact that they’re recorded live, without an audience, in a church …  their message is ultimately one of hope. You don’t need to share the Caldwells’ faith to find something powerful and inspiring in that, particularly given the current climate, which can easily incline you towards hopelessness …”