20 Hannah Cohen: Welcome Home

I absolutely adore Hannah Cohen. I would go as far as saying I love her. As an artist, of course, I think she’s amazingly talented and has that certain something special that you can’t quite put your finger on. She may well be a fucking nightmare as a person. Maybe she spends half the time complaining about how dumb people are for watching Love Island, and the other half actually watching Love Island “Just to see how shit it is”. Maybe she’s a staunch believer in aromatherapy and whenever you bring up the questionable science behind it she simply states that there’s “A lot we don’t know about the world”. Maybe she prefers Jurassic Park 2 to Jurassic Park. I mean, it’s not a bad film, don’t get me wrong, but come on! Maybe she hates feminism because she “doesn’t hate men”, which leads to so many circular arguments that you know it’s a guaranteed evening wasted if you bring it up so have learned not to. Maybe, when she rides the bus on her own, she sits on the seat next to the aisle and leaves an empty seat next to the window just to make sure nobody sits next to her. Do you know these people?? Worse than fucking Hitler. Maybe- in fact, statistically, very probably– Ms Cohen is the absolute worse person in the world, that doesn’t matter, it’s the artist that I love.

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“[FUNNY QUOTE]”  Sorry, it’s late and I’m tired

Pleasure Boy‘ was all kinds of amazing. One of the best albums of

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2019’s Best Movie: Sorry We Missed You

Yeah, I know, continuing my proud tradition of naming the year’s best movie alongside the albums of the year countdown. ‘Under the Skin‘ was named 2014’s movie of the year, but the award went unclaimed in 2015, 2016, 2017, 2018, and indeed every year before 2014. However, the (latest) masterpiece by Ken Loach, ‘Sorry We Missed You,’ was such a powerful piece that inspired such painful bolts of recognition and sheer fucking anger that I had to make space in 2019 to talk about it.

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Oh, and by the way, this isn’t going to be one of those “Ooooooh, look at the camera angles! isn’t the mise en scène lovely?! Hints of Akira Kurosawa’s vagina dentata, perhaps??” reviews, as I have no interest in actually talking about the movie. Instead, these is mainly going to be a thousand words or so of me ranting about the twisted nature of capitalism in 2019. Like I said, it’s gonna be a lot of fun.

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Entry #5 Future: Mask Off

Phew, that last entry was a bit of a mess, wasn’t it? Barely mentioned the (excellent) song and just flew off into TMI land. It won’t be the last time that happens, I’ll often have something to get off my chest that I feel can’t wait until December, but I always feel that there has to be some overarching ‘point’ to each entry and this series is literally the only outlet I have for that. At least until I get around to starting ‘Sing of the Thrill’ [TITLE TO BE CONFIRMED], my long promised/threatened King of the Hill episode by episode retrospective that’s currently the second most eagerly anticipated literary operation behind George RRRRRR Martin’s ‘No, No, No, This is What Was Supposed to Happen!’. To make up for Entry #4, this time around I’m actually just going to talk about one of the greatest songs ever for a thousand words or so, all tangents and flights of fancy will be kept to an absolute minimum, and if anything I’ll be undersharing, yeah? We cool? We cool.

This post contains a lot of information cribbed from Simon Reynolds’s fantastic Pitchfork article from last year. I might call him a ‘contributor’, but the fact is that he’s very likely to sue me for royalties once the money starts rolling in.

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