Note: Originally posted Nov 11, 2014 at DrHGuy.com, a predecessor of Cohencentric
Paolo Brillo contributes these photos from the August 29, 2009 Concert at the O2 Arena in Prague. I’m especially taken by the Full Joe Friday look of the shot of Leonard Cohen atop this post and the ultra-wholesome, some might even say “angelic” portrait of Charley Webb.
Note: Originally posted Aug 31, 2009 at 1HeckOfAGuy.com, a predecessor of Cohencentric
Other, more recent examples follow.
Thanks to Maarten Massa for access to these images of a very young Leonard Cohen. Originally posted Oct 12, 2014 at DrHGuy.com, a predecessor of Cohencentric
If you want a boxer
I will step into the ring for you
And if you want a doctor
I’ll examine every inch of you
From “I’m Your Man” by Leonard Cohen1
“I’m Your Man” Props
As documented in the video below, the Canadian singer-songwriter, already wearing the boxing gloves slung over his shoulder, retrieves and puts on the stethoscope.
The audience seems pleased.
Next, a stuffed monkey with a (also stuffed) banana can be seen flying toward the stage where it is nimbly fielded by the now well-equipped singer/songwriter/poet/boxer/doctor/icon.
Thanks to reader, Uli, who, accompanied by her Swiss sidekick, attended the Aug 16, 2009 Leonard Cohen Colmar Concert where she shot the stellar photo of The Poet equipped with boxing gloves, tossed on stage by Vic & Beck of the UK, and stethoscope, the perfect offering of Christine Geyer,
Update: The Colmar concert was a fun show. Also see Video: 2009 Colmar Hijinks – Leonard Cohen & Dino Play The Hat Game
Note: Originally posted Aug 18, 2009 at 1HeckOfAGuy.com, a predecessor of Cohencentric
- The next lines in the lyrics are
If you want a driver
Or if you want to take me for a ride
You know you can
Disappointingly, no one drove a car onto the stage. [↩]
Cohen Wonderful At The Wang:
Photos & Review
Once again, a striking shot of the marquee at a venue for a Cohen concert anchors the Heck Of A Guy post about that performance.
I’m unsure why there are only one or two other photos (at least, that I’ve found) taken from this perspective (otherwise known as the balcony) of Cohen kneeling, but I am grateful for these few instances of that classic image.
While a number of reports of the Boston show competently describe the performance and some nicely evoke the experience of watching the concert, I am especially taken with the review at Neo-neocon: Leonard Cohen comes to Boston, which offers a perspective not only of Cohen’s work place within the context of the lives of those in the cohort Neo-neocon and I share but also of the significance of his music on our consciousness. Excerpts follow:
As I’ve written before, Leonard Cohen is not for everyone (although he’s certainly for me). Some find him boring, some find him droning, some find him hard to tell apart from Dustin Hoffman until he opens his mouth (although as they’ve both aged, they look a lot less alike than they used to). But I find him to be one of the most compelling and hypnotic singer-songwriters, poet-musicians—whatever sort of hyphenated descriptive term you prefer—in the world.
Cohen spent a lot of time last night with his hat on and his eyes closed and his legs bent or even in a full kneel (try doing that when you’re seventy-four), facing his backup singers or his musicians and singing to them. It sounds as though this would distance him from the audience, but it didn’t; it’s his way of reaching deep within himself to give the greatest emotional power to each song. The words are neither more nor less important than the music, and although he’s probably sung each composition hundreds or even thousands of times, he never seems to be just going through the motions.
For example, when Cohen sang “Suzanne,” one of his earliest songs, he brought thick layers of memory to those of us who had first heard it back in high school or college in the 60s, from a Leonard Cohen who seemed mature at the time but was only in his mid-thirties. How did he make it seem so fresh now, singing it as an old man? His voice is far deeper (deeper even than I’d heard it sound recently in You Tube videos from the current tour—how deep can a man’s voice get and still be heard by the human ear?) But that’s not the only thing that’s deeper; you can hear all the ache of the intervening years—the hard-won wisdom and the hard-fought pain—in his phrasing and tone, and as you listen you nod and think of all that you’ve been through in those same passing decades.
… it is a tribute to the extraordinary musicality of Cohen and everyone else on the stage that none of the new variations is ever a disappointment no matter how deeply entrenched in one’s head a beloved original might be. Each new phrasing, each new riff, is a revelation.
I have just used the word “revelation,” and it points to another characteristic of Cohen’s work: there is a religious undercurrent to it, even when he’s singing about sex (or maybe especially when he’s singing about sex). How he manages to combine the worldly and even the world-weary with the ecstatic and the numinous is a mystery, but his music is permeated with this sense.
The full review cam be read at Neo-neocon: Leonard Cohen comes to Boston.
Credit Due Department:
Note: Originally posted Jun 1, 2009 at 1HeckOfAGuy.com, a predecessor of Cohencentric