{"id":64819,"date":"2025-02-13T09:47:53","date_gmt":"2025-02-13T14:47:53","guid":{"rendered":"https:\/\/www.artsjournal.com\/herman\/?p=64819"},"modified":"2025-02-15T11:40:50","modified_gmt":"2025-02-15T16:40:50","slug":"more-resonant-than-ever-heathcote-williamss-the-united-states-of-porn","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/herman\/2025\/02\/more-resonant-than-ever-heathcote-williamss-the-united-states-of-porn.html","title":{"rendered":"<font size = \"+1\"><em>More Resonant Than Ever<\/em> <strong><\/font> <br><font size = \"+3\"><strong>Heathcote Williams&#8217;s &#8216;The United States of Porn&#8217;<\/strong><\/font>"},"content":{"rendered":"<div class=\"wp-block-image\">\n<figure class=\"alignright size-full is-resized\"><a href=\"https:\/\/www.artsjournal.com\/herman\/wp\/wp-content\/uploads\/2015\/06\/heathcote-williams-photo-280.jpg\"><img loading=\"lazy\" decoding=\"async\" width=\"280\" height=\"280\" data-attachment-id=\"16212\" data-permalink=\"https:\/\/www.artsjournal.com\/herman\/2015\/06\/of-poetry-and-fakery-cultural-theft-and-stolen-identity.html\/heathcote-williams-photo-280\" data-orig-file=\"https:\/\/www.artsjournal.com\/herman\/wp\/wp-content\/uploads\/2015\/06\/heathcote-williams-photo-280.jpg\" data-orig-size=\"280,280\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;1&quot;}\" data-image-title=\"heathcote williams- photo (280)\" data-image-description=\"\" data-image-caption=\"&lt;p&gt;Heathcote Williams&lt;\/p&gt;\n\" data-large-file=\"https:\/\/www.artsjournal.com\/herman\/wp\/wp-content\/uploads\/2015\/06\/heathcote-williams-photo-280.jpg\" src=\"https:\/\/www.artsjournal.com\/herman\/wp\/wp-content\/uploads\/2015\/06\/heathcote-williams-photo-280.jpg\" alt=\"\" class=\"wp-image-16212\" style=\"width:162px;height:auto\" title=\"Heathcote Williams [photo: JH]\" srcset=\"https:\/\/www.artsjournal.com\/herman\/wp\/wp-content\/uploads\/2015\/06\/heathcote-williams-photo-280.jpg 280w, https:\/\/www.artsjournal.com\/herman\/wp\/wp-content\/uploads\/2015\/06\/heathcote-williams-photo-280-150x150.jpg 150w, https:\/\/www.artsjournal.com\/herman\/wp\/wp-content\/uploads\/2015\/06\/heathcote-williams-photo-280-100x100.jpg 100w, https:\/\/www.artsjournal.com\/herman\/wp\/wp-content\/uploads\/2015\/06\/heathcote-williams-photo-280-200x200.jpg 200w\" sizes=\"auto, (max-width: 280px) 100vw, 280px\" \/><\/a><figcaption class=\"wp-element-caption\"><em>Heathcote Williams<\/em><br><\/figcaption><\/figure>\n<\/div>\n\n\n<pre class=\"wp-block-verse\"><strong>Heathcote was always<a href=\"https:\/\/en.wikipedia.org\/wiki\/Heathcote_Williams\"><em> prescient<\/em><\/a>. But it is still astonishing to realize how relevant \u2014 and resonant \u2014 his dissident voice remains more than a dozen years after he recorded \"The United States of Porn.\" <\/strong><\/pre>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<span class=\"embed-youtube\" style=\"text-align:center; display: block;\"><iframe loading=\"lazy\" class=\"youtube-player\" width=\"640\" height=\"360\" src=\"https:\/\/www.youtube.com\/embed\/HoTylpjJkuA?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=en-US&#038;autohide=2&#038;wmode=transparent\" allowfullscreen=\"true\" style=\"border:0;\" sandbox=\"allow-scripts allow-same-origin allow-popups allow-presentation allow-popups-to-escape-sandbox\"><\/iframe><\/span>\n<\/div><\/figure>\n\n\n\n<pre class=\"wp-block-verse\"><strong>It is unnerving to hear the poem\u2019s grim swaggering refrain \u2014 \"WE ARE AMERICANS, YOU ARE NOTHING\u201d \u2014 prophetically summoning up the Trumpian tone of our time<\/strong>. <strong>But the impact of the poem is much larger than that.<\/strong> <strong>My trusty little tape recorder<\/strong> caught every word and breath of it <strong>in the tiny kitchen of his home in Oxford, England.<\/strong>  <\/pre>\n\n\n\n<p><\/p>\n\n\n\n<p><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Heathcote was always prescient. But it is still astonishing to realize how relevant \u2014 and resonant \u2014 his dissident voice remains more than a dozen years after he recorded &#8220;The United States of Porn.&#8221; <\/p>\n","protected":false},"author":3,"featured_media":16212,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[26,18,4,20,23,17],"tags":[],"class_list":{"0":"post-64819","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-books","8":"category-literature","9":"category-main","10":"category-media","11":"category-news","12":"category-political-culture","13":"entry"},"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/www.artsjournal.com\/herman\/wp\/wp-content\/uploads\/2015\/06\/heathcote-williams-photo-280.jpg","jetpack_shortlink":"https:\/\/wp.me\/pbvgEs-gRt","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/64819","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/comments?post=64819"}],"version-history":[{"count":5,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/64819\/revisions"}],"predecessor-version":[{"id":64951,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/posts\/64819\/revisions\/64951"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/media\/16212"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/media?parent=64819"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/categories?post=64819"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/herman\/wp-json\/wp\/v2\/tags?post=64819"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}