Thursday 2nd October 2025
Blog Page 303

OUBbC: The end of a beginning

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Oxford 86-71 Nottingham 2s; Lincoln 39-79 Oxford

When Georgi Pramatarov goes down the stairs, his hands move unconsciously. His knees bend and straighten back up as he completes the motion for a shot at the basket. Though there is no basket, and though there is no ball, he does this ten times, before continuing down to the bottom of the stairs. He doesn’t just take these imaginary shots on the stairs. Throughout his day, every day, he’ll randomly perform this movement, and won’t think twice about it.

It is unfortunate that he has not had the chance to make these shots with a real ball on a real court very much this season. He is injured and has been for a while. A few days before Varsity last year, he went for an offensive rebound in late-game garbage time in a friendly against Oxford’s freshmen team. He fell on someone’s leg and landed himself with a grade two ankle injury. Assigning injuries ‘grades’ seems to add some gravitas, and indeed this was not a small deal. Georgi has played a bit this term, but his minutes have had to be managed, and the last game I watched against Nottingham he had to sit out.

That game itself was distinctly indistinct. It could never live up to the theatrics of the previous Brookes game. And that is the way my term with the Blues ended — not with a bang but a whimper. In a cold gym late at night, they started slow and eventually showed their quality. This is not a new arc. It’s the story of most games this term, because the Blues are better conditioned than other teams, and are just better. As the scrappy first quarters fade from memory, the other teams tire, and the sample size of minutes grows for superior quality to show itself amid the natural randomness.

Against Nottingham, the Blues took their usual lead and the game leaked away like a broken tap. Jamie, the coach, took the opportunity to give some less-favoured players some minutes as the time wound down. With six minutes to go, it was 84-52. In the remaining time, Oxford scored two and Nottingham scored nineteen. It was a reminder of the difference the starting players make, as they sat, watching, on the bench, for those last moments.

The real final game of term was on the road. A few years ago, Oxford University Sport would pay for the basketball team to travel in a coach with a driver. Now, one of the players or the coaches is expected to drive everyone in a van. And nobody’s passed the test yet. The Blues did make it to Lincoln though, driven in separate cars, some by coaches, some by players. They had lunch, warmed up, and won, comfortably. Guess what? The first quarter was tight, and eventually, well you know the rest. But I am glad to be told that Georgi starred, scoring 11 points in limited minutes.

As routine as these wins have become, this run of form is totally not routine. The Blues’ start to this season has been literally perfect. They are top of their division. They’re still in the Midlands Cup. They’re still in the Oxford Basketball Association cup. They still have a shot at Varsity. Their record of 10-0 is historic. It’s the best start to a season since the 90s (more specifically, 1998-99, when Oxford won the national championship). Bill, the club president, and Jamie both spoke in interviews earlier in this series about a transformation taking place. The results cannot currently be denied.

Georgi has seen the change up front. He watched the club decline. He was there for the 2017-18 season, when the Blues had the mirror-image record to this current season: a 0-10 record in the league. And now he’s here for the present revival. He tells me of a new, more ambitious culture. He reminds me of the new, shiny kits that Bill and Jamie also love to talk about.

For Georgi, however, his increased connection to this team and this club is also part of a personal journey. The ankle injury he has is one he has had before. Its severity is heightened by that past incident. He has been told that if it happens for a third time, that will be the end of his playing days. When I ask what that would mean to him, he cringes slightly in anticipation of the earnestness he’s about to display. He says, “it would be a huge loss.”

OUBbC player and PhD student Georgi Pramatarov. Credit: Mansoor Ahmed

He is 6’5”, so naturally was encouraged into basketball from early in high school in Bulgaria. At school, he did not have time to take part in many proper games. His expression of his competitive side came instead through various maths and science tournaments. When that education led him to Oxford as an undergrad computer scientist in 2014, he did not make the Blues. He was a bench player for the Twos. It’s been a long road to his current status as one of the two Blues captains.

But although he only started playing for the Blues when he came back for a PhD, he says that in those two years in industry before he decided to rejoin academia for that PhD in 2020, he deeply missed Oxford basketball. That’s when he realised how much it now meant to him: “the whole atmosphere — the team, the practices, the games, the fact that you put on the uniform, the fact that you have to execute perfectly in order to win.”

Georgi is not alone in this feeling. He is not the only one taking ten shots as he walks down the stairs. Rather, he is a useful case study in the commitment to the sport that is mirrored throughout the team. It provides a good deal of the rhythm of these guys’ lives, because it takes a lot of time. In Oxford, if you commit, in a serious way, to some big society or some sport or editing a student newspaper or running a JCR, etc, then there is not a lot of room, along with work, for much else. So it better matter. Well, you better feel it matters.

I have been encouraged to end this series on a note of vindication — to say that my pushing for this series has been justified by the Blues’ success, to say that basketball is not some marginal sport but instead merits great prominence. I’m not sure that that’s quite right. It is true that OUBbC is currently flourishing. Both men’s and women’s Blues are winning with ease. It does seem fair to say that OU Sport should make sure these winning teams have courts with adequate heating and spectator seating, scoreboards that don’t break mid-match, and a mode of transport for away games that doesn’t require the point guard to learn how to drive a van.

On the other hand, Oxford basketball remains a small community. Of course, its constituent members are heavily invested. For Jamie, it’s his career. For Bill and the rest of the players, as said above, it takes up the greater portion of their non-work time. It’s worth noting, for example, that an away game, like that against Lincoln, usually takes up a whole day. It’s also a sport they love, and generally have been playing for years.

For these reasons, the low-level drama that goes on is imbued with great significance. The struggle for game minutes has a quiet intensity. Akin Akinlabi and Rocco Lofinmakin-Dutta have been the successful ones this term in fighting their way into the roster of more-featured players. Others remain yet to prove their worth, to the frustration of some. On the administrative level, the reaction by Jamie and Bill to the cock-ups stated above, like the scoreboard mishap, is of fairly serious grievance.

There is an indirect connection here to other parts of the Oxford landscape — to some of the excesses of Union political fights, OUCA internecine warfare, and other minor Oxfess squabbling. Everyone is attached to their own small communities, and treats them more seriously than an outsider might understand. What’s special, however, about competitive sport, and basketball in particular, is that even if all the extra varnish is stripped away, the dramatisation is, in part, natural.

Basketball in particular because of its enforced speed and its aesthetic edge. The 24-second shot clock ensures that dizzying, end-to-end pace so that every minute there’s at least a couple of failures or mini-successes. In aesthetic terms, there’s the quick passes, the endless movement and choreography, the dancing drives through a packed defence, and the still air as all eyes turn to the ball mid-shot and assess its trajectory.

According to all known laws of aviation, there is no way that a person should be able to fly. Yet a good basketball player jumping towards the hoop makes one question that. And it makes one instinctively see a narrative, as the intentions of all players are so continuously manifest in their movements, and the obstacles between them and fulfilling those intentions are visually clear, be it a tall defender or simply the trigonometrical requirements for a floating shot to drop effortlessly through the net.

In short, there is a lot to commend taking an interest in the Oxford Blues. Constructing narratives and character-arcs in their games is not difficult. They play a genuinely beautiful sport, and they are a group that is going somewhere. It’s a shame to end things here, when either way, something worth reporting is going to happen. Either (and this is admittedly less interesting) the Blues will eventually lose, and I wonder what that will feel like after such sustained success. Alternatively, they might just keep on winning. Jamie has indeed raised the possibility of the unimaginable ‘perfect season’. But, as I am sure he would concede, talk of that currently is a bit premature.

For now, it is time for everyone involved in this flurry of training, playing, complaining and cheering, to take a break. Oxford time tends to tick faster than most. In the sleepy and weirdly unconnected world of vac life, the mind adjusts uncannily quickly to a slower pace. Within a week, term time seems pretty distant.

When these players return, after a rest, this article series will no longer be part of mythologising their journey. But if they can pick up where they left off, if the Blues can keep winning, and keep making history, there is little else they should need to feel satisfied with how things are going in their little community. And a story will continue to brew by the hoops on Iffley Road.

Image Credit: Oxford University Basketball Club

Parting Words of Wisdom: Rusty Kate 7th Week

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CW: This is a mildly comedic column written by a drag queen agony aunt. It is not for the faint hearted, and contains sensitive topics which may cause distress to some readers.

Your favourite IBS-ridden drag-ony aunt has been giving you life advice all term. Like Nanny McPhee, Aunt Rusty has been here to help with your pillow talk problems, insecurity issues, and debaucherous debacles. She’s been dishing out important life advice five hundred words at a time; all because if you lot end up in the Warneford, no one will come to her shows. You’ve been guaranteed complete anonymity, unless she needed to use your trauma for blackmailing. Happens shockingly often. When you need her but do not want her, she shall be there; but when you want her but do not need her, she will be elbow deep in your father. Go back to your therapist – I know it’s above her paygrade, but she needs something to kill the time.

Rusty Kate will back in Hilary to help you solve your love troubles! If you would want Aunt Rusty’s help, submit your question here.

Words of Wisdom: Rusty Kate 5th Week

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CW: This is a mildly comedic column written by a drag queen agony aunt. It is not for the faint hearted, and contains sensitive topics which may cause distress to some readers.

Your favourite drag-ony aunt that drag-ony can’t is back! Aunt Rusty is here to help with your mummy, daddy, and zaddy issues. She’s dishing out important life advice five hundred words at a time, all out of the goodness of her heart (and the fact that there’s not much else to do in the Warneford).

Remember to submit your questions through the link on the Cherwell Facebook page or @rustykatedrag’s Instagram – you’re guaranteed complete anonymity. Unless you’re being fucking stupid, in which case you will be doxed.

Right, onto the issues your mother wasn’t listening to during your bi-weekly Facetime calls…

My boyfriend decided to break up with me midway through sex on the first day of meeting after a long-distance relationship over summer vac. I had some doubts about long-distance but he always reassured me to the contrary, only to dump me abruptly in lieu of an emotional reunion after being physically apart for so long. Should I forgive him and how do I move on from this?

That’s not really a sensible question dear – he broke up with you! It’s done! You’re over! Capeesh? At least you got a goodbye shag! Would you rather he did it over text? What do you expect? Granted, mid-way through sex isn’t a great way to break it to you, but clearly it was on his mind and stopping him from finishing. Maybe you should think about yourself and why he felt the need to break up with you. There’s nothing to forgive, you just need to forget and move the fuck on. Find a man on tinder, have a few rebounds, and for god’s sake, don’t catch feelings again. It only ends badly.

Alternatively, ask the much more sensible question of how you get revenge. I know there’s a petrol shortage, but a short cab to his house (with a stop at the nearest petrol station) is sure to send him the message you want. Just make sure he’s home at the time.

Dear Rusty, I need help getting over a m*n. We were really good friends, but then we got with each other. I feel like we’ve been circling around something for a while, but apparently he thinks we’re both over it. I’m watching him dick around with other girls but can’t seem to stop wanting his. What do?

Revenge is best served hot and sticky. Shag around, get the clap, then fuck his brother. Work your way around his social circle to ensure that he, and everyone he knows, will be itching to high heaven for the next two to four weeks. Maybe even bribe the GUM clinic nurse to give him the wrong bum injection – make sure that BOTH his cheeks are sore. If you want full shock value, become his mother’s lesbian lover. Be the step-mother he never wanted, and become more intimate with the place he came from than he could ever know. And if that sounds like too much work, just start a rumour that he’s got a piss kink.

How do I convince my boyfriend to wash his balls? Every time I go down on him I have to restrain myself from gagging at the smell!

Oh grow up, it all adds to the flavour. The French would scrape off whatever’s on top and spread it on a cracker – count yourself lucky.

Words of Wisdom: Rusty Kate 3rd Week

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CW: This is a mildly comedic column written by a drag queen agony aunt. It is not for the faint hearted, and contains sensitive topics which may cause distress to some readers.

​​Your favourite depraved, debaucherous drag-ony aunt is back! Aunt Rusty is back, and here to help with your silly little lives. She’s dishing out important life advice five hundred words at a time, all out of the goodness of her heart (and the need for charity work to count towards her parole).

Remember to submit your questions through the link on the Cherwell Facebook page or @rustykatedrag’s Instagram – you’re guaranteed complete anonymity. Loose lips sink ships, and Rusty is anything but loose.

Right, onto the issues you couldn’t fit into this week’s counselling service session…

Dear Rusty, Someone shat in my front garden last night. I’ve reported it to the police, but I don’t know what to do with the actual poo. I wish this was a joke. Thanks for your help, Confused in Cowley

Look, there’s no need to get the actual police involved. I’m sure the perpetrator of this faecal fiasco just needed to drop off a little parcel on their way home from the Bullingdon – you know what the toilets are like in there! I’d take a nice, soft grassy patch in the front garden of an unsuspecting Cowley resident over the syphilitic toilet seats in that ‘club’ any day. Who wants to catch worms for a THIRD time? Not me! As much as it’s an inconvenience to you, you need to put yourself in the other person’s shoes – they really needed that shit, and your front garden was a welcoming host.

If you’re looking for something to do with the remains, I’m sure a shit from a high-fibre diet will make excellent manure. Oh, and word of advice – take out the nettles by your front gate. My ankle is still a little swollen.

Dear Rusty, I think I might be unlovable. But only to the people I want. Please advise

At least you’re self-aware enough to ask the question. I’ve also experienced problems with self- worth before too, so I understand where you’re coming from. It happens every time I go on a date – the men I’m seeing are always so nervous and filled with self-doubt that most of them don’t even turn up! They just never think they’re good enough for me, and I’m left there, drinking a bottle of wine to myself.

Anyway, enough about me – let’s talk about untouchable, dysfunctional, unlovable you! And let’s not limit it to only the people you want – people you don’t want might find you repulsive too. I have a little insider knowledge as I can see who sends the questions, so I know for a FACT that most people would probably find you repulsive. Maybe stick to your natural hair colour and whack a bit of concealer on that facial mole – it’s the least you can do so that the rest of us can keep our dinner down.

Words of Wisdom: Rusty Kate 1st Week

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CW: This is a mildly comedic column written by a drag queen agony aunt. It is not for the faint hearted, and contains sensitive topics which may cause distress to some readers. Be prepared for dirty douche water, relationship issues, adultery, and finding out why your parents never loved you.

Your favourite depraved, debaucherous drag-ony aunt is back! Good old Aunt Rusty has been run through so many times that she could be legally declared a tunnel and privatised by Western Railways, but instead she’s here to give you her advice – just take it with a pinch of salt.

Remember to submit your questions through the link on the Cherwell Facebook page or @rustykatedrag’s Instagram, as her words of wisdom are more readily available than her throat in the Plush toilets.

Right, onto your issues…

Is it my fault my parents fought so much?

Does the Pope shit in the woods? Is the moon made of foreskin cheese? I don’t know, stop fucking asking me. Maybe if you stopped asking stupid questions your father would still be around.

What do I do if the douche water isn’t running clean?

Don’t stress, I haven’t douched since 2013. If a man can’t deal with an unexpected guest, then he shouldn’t be breaking into people’s back doors! Also, fibre supplements are a bottom’s best friend. No need to turn your hole into an off-brand water world show, just push through until it looks more like a Nickelodeon slime special. Or until you’re loose enough to fold in on yourself like a single sock in the wash.

Hey Rusty! I’m trying to get over a guy I know isn’t right for me – he can be proud and quite shut off (he can really put the arse into Mr Darcy when he wants to) but he can also be so charming and thoughtful and we used to be really close. We were never really together and it ended over a miscommunication which is making it really hard to let it go – it just feels like we’re fighting for no reason. I know I shouldn’t go back to someone who’s spoken to me the way he has… but he is unfairly cute and the whole feud feels so futile! What do I do?

I feel qualified to answer this question because I too have faced prejudice at pride, as much as I wouldn’t call entering the wrong hole a miscommunication. Mr Darcy does have his advantages though – his little Fitzwilliam probably being less than little. In all seriousness, you’ve answered your own question: you know he isn’t right for you and there’s nothing you can do to change that. You were never really together, which can often make things all the more painful when it comes to a bitter end, but just remember this – charming and thoughtful don’t make your legs quiver. If you really want to keep seeing him, whack on some headphones and let him go to town. If he’s being as rude to you as you say, don’t take it lying down – or do, if you’re not flexible enough for doggy. You say he’s unfairly cute, but at the end of the day, even Mr Darcy will eventually have a receding hairline.

I’m worried Rusty Kate will steal my man – What shall I do?

Be better or let it happen – it’s a dog-eat-dog world, and I’m a sloppy eater.

Introducing Cherwell’s Dragony Aunt: Rusty Kate 0th Week

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CW: This is a mildly comedic column written by a drag queen agony aunt. It is not for the faint hearted, and contains sensitive topics which may cause distress to some readers.

Boy troubles? Girl troubles? They/them troubles? Good old Aunt Rusty is here to help!

Rusty Kate is Oxford’s premier cum-filled crossdresser, known for turning looks, tricks, and straight men seven nights a week. She’s decided to take a short break out of her busy schedule to act as Cherwell’s Dragony Aunt, and help sort out your pathetic little lives one mildly comedic column at a time.

Submit your questions through the link on @rustykatedrag’s Instagram page, and she’ll be dishing out all her words of wisdom for you to lap up like the Queen’s corgies after Liz is done with the peanut butter.

In the meantime, here’s one question Aunt Rusty can answer…

“Dear Rusty Kate, it’s my first week at University and a boy on my flat has been giving me the eyes. He’s really hot but I don’t want to make things awkward, what should I do?”

At least he’s been giving you the eyes and not the finger. My normal motto is don’t shit where you eat, but then again, call me Ella Fitzgerald because I’m not adverse to a little scat.

In all seriousness, give it a bit of time and make sure you don’t do anything ridiculous. Maybe grab a drink with the guy and see where things go! It could be a flatmates-to-lovers trope, or you could fall flat and be forced to avoid a boy you live with after a drunken one night stand in Freshers week. In any case, use your common sense – and for god’s sake, use protection!

Escape to the culture-side

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There is a certain magic in the escapism that art offers, in our ability as humans to completely fall into worlds and emotions that do not belong to us. Not to be underestimated as mindless distraction, there is something powerful in how art permits us to create a different reality to the one we find ourselves in. 

Since the beginning of the pandemic, the question of how long art can exist as a form of escapism is something I have ruminated over quite a bit. As the world seemed to spin out of control in the first lockdown, we cannot be blamed for seeking out alternate realities. Some people discovered new creative outlets, whilst others filled their days with consuming art, whether that be artworks, films, books, music or TV shows. Our willingness to become lost in stories where words such as lockdown or pandemic had little meaning is unsurprising, and evident in trends from the time. Take the ‘Normal People’ phenomenon of April 2020. Without detracting from the show’s deserved success, arguably the twelve-hour intimate exploration of the protagonists’ relationship resonated so widely due to the audience’s desperation for, well, normal. The show’s emphasis on the significance of physicality and touch only played upon people’s longing for connection. It was a reminder of the lives and emotional ties that had been paused, a respite from our strange new surroundings. 

This relief could only be offered for so long, however. It was inevitable that the new emotions and anxieties would seep into the art being produced. Yet interestingly, many early creations were met with mixed receptions. ‘Love in the Time of Corona’, a hasty pandemic project released in August 2020, was particularly attacked by critics. Critic Adrian Horton remained ‘sceptical that there’s anything that can capture a period we’re still very much in,’ which confirms the suspicion that people still wished to suspend belief for a moment longer. It was, quite simply, too soon to see our newsfeeds replicated in the fiction that we turned to for escape. 

Yet as we distance ourselves from the past two years, I would argue that there is value in seeing the world around us reflected in the art we consume. In her book ‘Funny Weather: Art in an Emergency’, Olivia Laing discusses how art certainly cannot solve everything. It cannot provide a concrete answer, nor can it explain fully what has happened. It can, however, be reparative for the future. It offers a new way of seeing, opens our eyes to the alternate possibilities surrounding us. The best art, in her opinion, is ‘more invested in finding nourishment than identifying poison.’ Whilst art may not allow us to change what has already happened, it can provide us with the hope of what follows. 

I think most importantly, art allows us to catch our breath. Whilst we are so desperate to rush towards getting back to normal, I will speak for myself in saying that I am not ready to move on just yet. As the days ahead stretch out and are filled with seeing friends and family, alongside gratitude, I can still feel the discombobulating nature of what we have experienced upon my shoulders. As if I am floating somewhere in the sphere of the new normal, not quite grounding my feet. Art allows us to sit in moments like these; it freezes time and gives emotions the space to be felt. It allows us to make better sense of ourselves. I would like to catch my breath. 

Whilst I agree that reminders of bleak lockdowns are not in demand, I would like to see art that reflects the shift in our collective experience and channels our emotions. I would like to see art that discusses where we are right now, here, in the aftermath. That offers a light for this messy in-between stage where everything is yet to fall into place and lets us know that we are not alone. I hope we do begin to see stories of people trying to scramble back into social interactions; university freshers who haven’t had normality since they were sixteen, twenty-somethings thrown into the adult world unexpectedly, people grieving for the time that was lost. Stories of how love has been changed; people who fell into connections immediately, people who still can’t seem to shake the distance placed upon them. Tales that feature the pandemic of course, but at heart are mostly just about people learning to live again. 

Escapism will always have its blissful moments, but there is also a kind of beauty in the strangeness around us. I hope we don’t turn away from it. 

Image: Nick Fewings/ Unsplash

Patricia Kingori becomes youngest Black Oxbridge professor

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Patricia Kingori, a research fellow at Somerville College, has become one of the youngest women to be awarded a full professorship in Oxford’s 925-year history, and she is the youngest ever Black professor at Oxford or Cambridge.

Kingori is a sociologist based at the Ethox Centre and Wellcome Centre for Ethics and Humanities. Working at the intersection of sociology and medicine, her research explores the ethical dilemmas that arise in the “everyday ethical experiences of frontline workers in global health” across a variety of contexts throughout Africa and Southeast Asia.

She currently leads a team of researchers exploring the evolving concerns around “Fakes, Fabrications, and Falsehoods in Global Health.”  The project, which is funded by a four-year Wellcome Centre award, seeks to understand the people, places and processes involved in contemporary concerns about fakes in global health.

“To have my body of work recognised in this way is a great honour, and I am deeply grateful to the many people who have inspired and supported me so far,” Kingori said in a press release from Somerville College.

Outside of Oxford, she has advised multiple organisations, ranging from the World Health Organization, Medecins Sans Frontieres, and the Obama White House.

This milestone is especially important for Kingori, as she has dedicated her professional life to advocating for greater Equality, Diversity and Inclusion in academia. She spearheaded the creation of a visiting scholarship for Black academics at the University of Oxford, in addition to a student internship scheme aimed at increasing diversity. In 2020, she contributed to the Wellcome Trust’s Reimagine Research Initiative.

Kingori is also a member of the Global Health Bioethics Network and leads a team providing qualitative research support for early-career researchers in low-income countries, including Malawi, Kenya, and Cambodia.

Born in Kenya and raised in Saint Kitts and London, Kingori graduated from the Royal Holloway, University of London and the London School of Hygiene & Tropical Medicine.

Image Credit: Philip Allfrey / CC BY-SA 3.0

Review: Horoscope by Beth Simcock

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Beth Simcock’s bright and colourful large-scale work The Zodiac lights up the exhibition space at Oxford’s Modern Art Gallery. A recent Ruskin graduate and one of the winners of the Platform Graduate Award, this is Beth’s first solo exhibition, open to the public until 31st of October. The grand stature of the piece impresses upon the viewer immediately, comprising 12 canvasses each representative of a different astrological sign. Alongside the painting, a horoscope written by Simcock contextualizes the piece as well as adding further layers of meaning. 

Visually, I love Beth’s vibrant and unique style of magical realism which is dominated by reds, pinks and glitter. Exploring themes of memory and storytelling are central to her practice which is reflected in this work through ideas of collage and things being obscured. Practically, using acrylic paint enabled Simcock to create this feeling of nostalgia by working in layers. The act of spraying things out and repainting them, as well as making use of the plastic medium to incorporate mistakes as part of the piece, seen concealed but visible under layers, literally reflects the process of doing and undoing which she foregrounds as integral to creativity itself. 

Simcock’s inspiration and references for the work span a diverse range from historical tapestries to modern popular culture as well as including auto-biographical elements. Working in two directions, the piece scans both left to right, driven by the repeated bright baby pink horses and dogs which leap across the canvasses, and in a cyclical fashion which mirrors the act of reading the zodiac itself. As a motif, the horse plays a central role in several of Simcock’s paintings as a personal in-joke with herself. Layers of meaning are created through this motif by referencing the horse as a prominent figure in art-history and therefore tying the work into the tradition of painting, whilst directly referencing the Bayeux tapestry with their positioning and figurative representation and simultaneously exploring horses as a reflection of different modes of femininity. 

In terms of genre, Simcock describes her work as narrative paintings which aim to capture scenes to do with memory and the relationships between people and objects. In this piece, a couple of the figures are self-portraits functioning as references to the self as well as capturing the work’s historical context as Simcock was painting in an empty studio due to covid regulations but, of course, could use herself as a model. Some other figures are paintings of friends and family members who posed for the work, and the rest are amalgamated faces, combining multiple people and their features drawn from collected drawings and reference images, a process which Simcock charmingly terms “Chinese whispers with drawings”. The Zodiac is a highly creative, engaging and thought-provoking work, feeling relevant within modernity yet also reflecting the past – definitely worth a visit!

Image: Rosa Bonnin

Review: “Kid A Mnesia” by Radiohead

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Kid A and its sister album Amnesiac helped introduce electronic instruments to alternative rock, and were a risky sonic departure from Radiohead’s guitar-based and immensely successful OK Computer. But there is a sense in which OK Computer and Kid A were also a natural progression. If OK Computer was interested in collective anxiety about a rapidly technologizing, isolating world, Kid A represented the realization of those fears. In Kid A the machines have arrived, in the form of an Aphex Twin and Autechre-inspired soundscape, and what remains of the human element is scrambling around for whatever meaning, structure and coherence it can find. Listening to “Idioteque”, “Everything in its Right Place” and “Kid A” you sense that the organic voice is keeping the electronic forces at bay, but only just. And sometimes the electronic forces gain control, as in Amnesiac’s more experimental “Pulk/Pull Revolving Doors” and “Hunting Bears”. Then the world is looking very inhuman.

As with 2017’s OKNOTOK, this re-issue of Kid A and Amnesiac is a twentieth anniversary celebration of one of the group’s most creative periods, featuring both albums and a further disk of twelve unreleased tracks. Since the original songs have not been remastered, whether this is a fitting celebration largely depends on whether these twelve unreleased tracks deserve inclusion. 

At their core is a pair of quite polished songs. “Follow Me Around” has been knocking about for many years (see the performance by Yorke and Jonny Greenwood in Macerata in 2017, and the earliest version on the 1998 documentary film Meeting People is Easy). “If You Say the Word” came out of the blue, though. Or almost: in Ed O’Brien’s diary entries from September, 1999 he does talk about a song called ‘say the word’, which he says has ‘great drum, bass and vocals’, although he is ‘personally getting a bit anxious over it, as i [sic] can’t find anything that works with it, or rather i have an idea but can’t get the sound right. makes me a bit neurotic’. 

It seems Ed must have eventually got the sound right because these are both album-calibre songs. But you can see why they never made it onto the original releases. “If You Say the Word” features some disquieting ondes Martenot, like several of the band’s more haunting songs from the time, and some equally disquieting lyrics: ‘when you forget how lucky you are, buried in rubble, sixty foot down’. Nevertheless, it’s a little too calm and contemplative to belong fully alongside riled-up Amnesiac tracks like “Packt Like Sardines In a Crushd Tin Box” and “Knives Out”. WhereasAmnesiac is claustrophobic, “If You Say the Word” is airy and spacy. Almost uplifting. Too much so to be on an album whose cover features a crying Minotaur.

“Follow Me Around” is a good example of Radiohead refusing to release a song until the ‘right’ moment (sometimes, in my view, many years too late when things have moved on, cf. “Lift”). But it’s better late than never on this occasion. The main difference between this version and the live performances is that Yorke’s voice is partly fed through a computer, in true Kid A style, though only to the degree that it sounds like he has an artificial voice shadowing his real one. I thought this a little odd at first listen, but it’s grown on me; his voice is quite literally followed around. Yorke sings ‘I see you in the dark…Comin’ after me, yeah, headlights on full-beam, comin’ down the fast lane’, and thus continues his important tradition of motoring-themed lyrics and song titles (see “Killer Cars”, “Airbag”, “Stupid Car” and “Traffic”).

The accompanying video for “Follow Me Around” unfortunately doesn’t achieve much that wasn’t done already in the 2017 “Man of War” video, featuring another man running from a faceless, frightening force. The video for “If You Say the Word” is quite humorous by Radiohead standards. In absurdist fashion, ‘wild’ city workers are captured from a state of nature and brought to the City, a tamed, closed environment where they live a sanitised working existence.  

The other ten tracks are a mixed bag, but there are flashes of brilliance throughout, and it is noticeable how well the songs are sequenced and blended. It sounds much more like a concept album designed from the start as a seamless succession than a collection of odds and ends assembled 20 years later. “Like Spinning Plates – ‘Why Us’ Version” opens the disk. It is similar to the piano-based live version released on 2001’s I Might Be Wrong, but has a curious (probably early) alternative vocal melody, and a stunningly ethereal outro. This certainly has a claim to being the best version of the song. “Untitled v1” is a spooky, uncertain ambient interlude that flows serenely into “Fog – Again Again Version”, which pitter-patters cheerfully before Yorke’s fragile, melancholy vocals arrive. He proceeds to make you feel strangely wistful about ‘baby alligators in the sewer’ who ‘grow up fast’. 

Then come the two polished songs already discussed, followed by “Pulk/Pull – True Love Waits version”. This song’s title sounds preposterous. How, I wondered, could the sparse electronic moodiness of “Pulk/Pull Revolving Doors” and the anthemic “True Love Waits” come together? Surprisingly they do so rather well, becoming a relaxed but purposeful version of “True Love Waits”. This adds a third (album) instalment of the song, following the live acoustic version in 2001 and the subdued closer of A Moon Shaped Pool. It’s a combination I didn’t know I wanted, but it works. I also find it funny that “Pulk/Pull Revolving Doors” might possibly have never come about without “True Love Waits” needing a backing track.

The ambient “Untitled v2”, which has shadows of “Pulk/PullRevolving Doors”, leads into “The Morning Bell – In the Dark Version”, the third version of the song in as many disks. This is rather plodding and doesn’t add much to the other versions. “Pyramid Strings” is also underwhelming, albeit menacing. The more determined drums of “Alt. Fast Track” then kick in, which feels like you’ve just fallen into a Bourne film. It’s only a sketch of a song, but it’s quite compelling. A shame it isn’t longer, though. “Untitled v3”, which recalls the harp at the end of “Motion Picture Soundtrack”, melds into “How to Disappear into Strings”. This is a sinister and cinematic end to the disk, reducing the Kid A song to its bare orchestral essence, and forming an organic and satisfying closer.

In the book accompaniment to the re-issue Kid A Mnesia Yorke describes how after OK Computer ‘There was this fierce desire to be totally on the outside of everything that was going on, and a fierce anger, and suspicion. And that permeated everything’, and how when making Kid A he would ‘be going off on one in all directions, flailing around, experimenting with lots of different things’. From this period of clearly intense and repetitive creative struggle emerged an engaging, challenging and frequently intoxicating body of work. There was no need to put Kid A Mnesia together. But the additional disk is more than worth having for those who enjoy this Radiohead era. 

Image: Nicholas Lœuillet// CC BY-SA 2.0 via Flickr