Leonard Cohen: The Man Who Saw the Angels Fall
Leonard Cohen's artistic journey reflects a struggle against male egoism, marked by a retreat from music, a profound audience connection upon his return, and a legacy of authenticity and introspection.
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Leonard Cohen's artistic journey reflects a profound struggle against the male egoism prevalent in the music industry. Initially reluctant to tour, Cohen withdrew from the music scene in his late 50s, retreating to a Zen monastery after financial mismanagement left him nearly broke. His return to performing in 2008 at the age of 73 revealed a deeper emotional connection with his audience, as evidenced by the intense reactions during his performances, particularly at the Glastonbury Festival. Cohen's music, characterized by its authenticity and lack of bombast, stands in stark contrast to the typical rock star persona. His work is rooted in the understanding of human fallibility, as explored in Christophe Lebold's book, which portrays Cohen as a figure who transcends the cult of celebrity. Unlike many of his contemporaries, Cohen's career unfolded outside the conventional rock narrative, allowing him to maintain a unique artistic integrity. His early life, marked by literary aspirations and a complex relationship with fame, shaped his eventual emergence as a musician. Cohen's legacy is one of introspection and emotional depth, challenging the archetype of the rock star while resonating with audiences across generations.
- Leonard Cohen's reluctance to tour led to a retreat from the music industry in his late 50s.
- His return to performing in 2008 showcased a profound emotional connection with audiences.
- Cohen's music is noted for its authenticity and lack of typical rock star bombast.
- His career trajectory diverged from the conventional rock narrative, preserving his artistic integrity.
- Cohen's legacy emphasizes introspection and emotional depth, resonating with diverse audiences.
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24 comments ...the rock era unfolded as ... a series of begats (Elvis begat the Beatles, the Beatles begat Jann Wenner, etc.) involving identity-famished teenagers and their heroes ... Cohen is absent from this narrative for one simple reason: He was the same age as Elvis.
His response was that no, earlier in the day he was wearing grey but it clashed with the rain so he went home and changed.
1000 kisses deep, if it be your will, you want it darker, tower of song, ain’t no cure for love, anthem, and on and on. Most songwriters will never write one of those, but he just kept on going.
He was our man, our searching, restless, yearning man.
I wonder how many people were introduced to him in the late 90s from The Soprano's opening theme?
One of the first things I did in New York was to visit the Chelsea Hotel. All the stories.
I’ve always been borderline obsessed with hey that’s no way to say goodbye, so long, Marianne, and later on if it be your will. There are so many other gems I was almost angry when Dylan won a Nobel and not Leonard Cohen. Another musician I enjoy in the same way would be Gainsbourg. Wonder when will the language model overlords understand all of these beauty.
I did not discover him, though, I grew up to the sound of Suzanne and the rest of the Songs, one of the tapes my mother played fairly regularly when I was little. He, along with Tom Waits, was the soundtrack of my childhood and of course something you grow to appreciate more, not less, with age.
I think Suzanne is probably my favorite song of his. It's got one of the most soothing melodies, simple and gently repetitive, undulating, like the river itself. The imagery of Jesus, of the cross as a lonely wooden tower, as a man broken and forsaken, in contrast to a life-affirming personification of nature in Suzanne; the whole river / boat / sailor theme running throughout; it's just very well put together and thematically tight.
Plus, I liked his personality. Totally unpretentious, similar to Johnny Cash. Never got distracted by his fame.
https://en.m.wikipedia.org/wiki/Beautiful_Losers
Way ahead of its time, both then and now.
the future.
things are going to slide (slide) in all directions
won't be nothing (won't be)
nothing you can measure anymore
...
i've seen the nations rise and fall,
i've heard their stories, heard them all
but love's the only engine of survival.
...
and all the lousy little poets coming round
trying to sound like charlie manson
...
give me back the berlin wall
give me stalin and st. paul
i've seen the future, siblings
it is murder
https://www.youtube.com/watch?v=LYzPVKg3wyo
the song is from 1992 ...
edit: tried to fix the formatting
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