Well, some people were certainly underwhelmed, confused - and perhaps even a little miffed - with the Greek episode of Optus Sport's Football Belongs series, which was released the other week. Since I was also underwhelmed, confused, and miffed, I feel it warrants a now rare non-match report spiel from me on South of the Border, if for no other reason than it's better than me posting vaguely that "it just wasn't very good" on Twitter.
For those unfamiliar with the concept: Optus Sport's Football Belongs series focuses on European migrant communities in Australia, and their connections to Australian soccer. The series is made up of short episodes (usually around five minutes), with each episode focusing on a different ethnic group. Originally intended to act as a promotional tie-in for Optus' coverage of the Euro 2020 tournament, with Euro 2020's postponement until 2021, half the episodes were released last year, and the second half are being released now.
Apart from Optus seeking to dip its toe into a variety of Australian soccer history projects - there's a number of video stories they've done on players, as well as John Didulica's Australian soccer history podcast series - it's a project that's been made possible by recent changes to the local soccer cultural landscape. The most important of those changes has been the emergence of the FFA Cup which, even with the patronising tone of the broadcasters and organising body, began dismantling to a certain extent the ethnic boogeyman trope of Australian soccer.
Since then we've also had the dismantling and/or adjustment of the National Club Identity Policy, which means that now we can stop pretending that ethnic clubs aren't ethnic clubs - and that we may even want to celebrate the cultural variety and difference that exists within Australian soccer. Thus Football Belongs is also an attempt at remedying the specific kind of "ethnic club" bashing and erasure of history that Australian soccer took part in for the better part of the last two or three decades.
Within that context, you have the emergence of a series which seeks to celebrate the contribution of migrant European communities to Australian soccer. It's been an interesting diversion of a series, with many issues. There's the near total lack of women players interviewed, with most women interviewed being - at best - ancillary members of the soccer community; the lack of almost anyone from outside the specific ethnic groups covered discussing their place within the specific ethnic club structure they find themselves in; and (in general) the lack of people who had been involved with those ethnic soccer clubs, who ended up moving away from that particular scene for various reasons, without the requisite explanation as to why that happened.
There are also a lot of technical and philosophical obstacles to making a series like this, not least making an all-encompassing series which condenses into very small packets the often decades long experience of migrants to Australia and their soccer lives. Each ethnicity covered also provides its particular quirks and challenges. How do you avoid talking about politics, when the foundation of many of these clubs is overtly political? How do you make a club and culture based on self-evident minorities - when their mere existence upsets a good chunk of Australia that doesn't want ethnic minorities? How do you make a small, self-sufficient, even insular community, not come across as being so insular that they come across as unsympathetic? How do you approach a community whose younger generations have withered away entirely as a distinct Australian soccer ethnic group, or whose sense of self has changed so dramatically due to political developments that their former selves are no longer recognisable to their current selves?
And with particular reference to this episode - how do you condense the experience of an Australian soccer ethnicity which is so large, so diverse, and spread across every state and dozens of clubs? These are questions which are hard to answer, especially in a five minute burst format. It's probably even outside the remit of the project to answer those questions with any sort of depth. And to a degree much of this is understandable - the series is meant to be a short, punchy, quietly celebratory look at communities which have nurtured soccer in Australia in difficult circumstances.
I've found many of the episodes up until this point to be quite enjoyable, with a whole range of caveats (which you can hear about in the last segment of this episode of my history podcast from last year), but the Greek episode was not a good outing. This wasn't just noticed by the Greeks, but also by people from outside the Greek soccer community.
But what the Greeks noticed first up (apart from Nick Giannopoulos; more on that later) was a film that ended up being neither very much about Greek-Australian soccer or about South Melbourne Hellas specifically, even as South featured more prominently than the other clubs featured. There was talk about Lonsdale Street, and Oakleigh's Greek precinct, and an erroneous statement by George Donikian about who was Australia's first minister for immigration.
There was barely any mention of Sydney Olympic, apart from a very quick grab with Peter Katholos. Almost nothing about Heidelberg, apart from footage of them from our round one meeting earlier this year, There was nothing at all on Greek-Australian soccer from Tassie, Western Australia, Queensland, and most unforgivably, nothing about West Adelaide at all. I get that there are budget and time restrictions, and that there are a bajillion Greek backed clubs in Australia, and that the pandemic has made a mess of being able to travel especially for a Melbourne based production crew. But leaving out West Adelaide seems very wrong in this context.
There was some good content in there. There's Ange Postecoglou, no doubt the Greek community's most important soccer product, who makes the kind of comments on this topic you've heard him make before; there's Katholos and Con Boutsianis talking about how difficult it was playing for a Greek backed club, at least in terms of the expectations of the supporters. Unlike other episodes in this series however, there's no current supporters at all; even Football Australia chairman Chris Nikou, who makes an appearance in this film, makes the point that he is a former supporter of South Melbourne. And that's pretty much it.
Oh, except for Nick Giannopoulos. Now I'm not a fan, but I get that people out there were, and still are, especially those generations that grew up with his comedy. And that's fine, because different strokes for different folks and all that. And I'm not here to eviscerate Giannopoulos and his brand of comedy, because that's been done by far more capable people. But here's the problem as far as Giannopoulos' appearance plays out in this episode. A major part of Giannopoulos' schtick is authenticity - his belief that in his comedy, he tells an authentic story to both the demographic he emerged from (second generation migrants, especially Greeks), as well as to those outside that demographic, in this case principally those in Anglo-Australia.
Authenticity is also an important angle for this series. The producers are striving to present real people, real clubs, and real supporters. In contrast to the focus grouped, marketing spin, corporate backed A-League, this series seeks to relate a much more organic Australian soccer story. Authenticity is a tricky thing though. When you play around in generalities, you can get away with a lot more than when you deal with specifics. When dealing in generalities, the broadness of (for example) a comic stereotype is easily recognised by everyone watching. It's easy, it's cheap, but it's also artistically safe.
But when it comes to making specific claims, that's where things get trickier. If your specific claims are laden with errors, the members of the audience from outside your demographic will likely struggle to recognise them. That's not the case though for those members of the audience who are "insiders" to your claims of authenticity, and whose ability to connect to the authenticity of your cultural product is dependent on your being much more precise.
Giannopoulos starts off badly with the claim that the Greek word "passatembo" is the word for "pistachios". It is not. Passatembo (a derivative of the Italian passatempo, meaning "pastime" or "diversion") in Greek refers specifically to pumpkin seeds. Eyes were already rolling at Giannopoulos even being in the film, then he makes that error, and finishes it off with his "compensaysho" bit. One of the stylistic challenges for a series like Football Belongs is to avoid having your subject - in this case Australian ethnic soccer communities - come across as fossils. And yet here we are in this episode, with a fossil comedian front and centre, dredging up gags that weren't that funny when he made his name with them thirty-five years ago.
But away from whatever specific details Giannopoulos gets wrong, or how tired his shtick is, the most dumbfounding thing for many current South fans watching this episode is that he was even asked to appear at all in a documentary about Greek-Australian soccer. Social media was awash with people trying to remember the last time Giannopoulos was anywhere near a South game; not only that, people were trying to remember Giannopoulos even attending South matches during the NSL.
More evidence, if you needed it, that Giannopoulos has little to no interest in local soccer, is the almost complete absence of soccer references in his social media presence. He seemed to be a Victory fan about six years ago, but has barely posted about them since. That's about as much soccer content as you get out of him online. References to South Melbourne? None. References to the Essendon Football Club? Plenty, especially if you want to dig in to Giannopoulos being a Hird Truther.
To be fair, it's probably the case that the producers just didn't know any better. They made an error in judgement in thinking that Giannopoulos would have something worthwhile and relevant to say on the topic of Greek-Australians and soccer, and so they approached him to appear on this thing. Having made that mistake, the onus should then be on Giannopoulos to say "sorry fellas, I'm flattered that you've asked me to be in this film, but I have nothing to do with soccer in Australia, let alone any local Greek clubs, and haven't for a long time - best to find someone closer to the scene".
Instead, over a quarter of the very short running running time - which all up, is just four minutes - is taken up with Giannopoulos, with a good portion of that consisting of his "ethnic" minstrelsy. That's time that could've been used to talk with a lifelong volunteer or supporter of any Greek-Australian club, or a player (like Boutsi or Kat) who understood what it meant to play for a Greek backed club, or to feature something on Heidelberg or West Adelaide.
The whole thing felt like a fundamental misreading of Greek-Australians and soccer. The joke was even made on the South forum that the only way it could've been worse, was if George Calombaris made an appearance as well; and perhaps the only thing preventing that from happening is the fact that for the time being at least, Calombaris remains a social pariah. Unlike other episodes, there was little about specific about any clubs. The references were so dated, that the film inadvertently raised the question of whether we are living clubs and a living culture, or just a memory of one.
