Signs Of Leonard Cohen: 1992 “The Voice Of The Soul” The Future Ad

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This rare, gorgeously designed and executed French advertisement for Leonard Cohen’s The Future album was published in Les Inrockuptibles (December 1992, n° 41, p 59). The heading, “LA VOIX DE L’ÂME …” translated into English is “THE VOICE OF THE SOUL…” From Dominique BOILE

Note: Originally posted Aug 6, 2012 at DrHGuy.com, a predecessor of Cohencentric

A Brief Introduction To Night Magic By Leonard Cohen & Lewis Furey + Video Clip

nmagicNight Magic is a Canadian-French musical film with lyrics by Leonard Cohen. Lewis Furey directed and wrote the music. Both Cohen and Furey contributed to the screenplay. It premiered May 17, 1985 at the Cannes Film Festival. The following description is from AMG AllMovie Guide:

In this fantasy-drama-romance, forbidden love between an angel (Carole Laure) and a singer (Nick Mancuso) is set against the singer’s attempts to resuscitate a fading theater. During the period of one night, the singer is visited by three different guardian angels out to help him succeed in putting together a stunning show (a show that will include some of Canada’s best dancers). One of the angels (Laure) takes a liking to the singer, and that gives rise to musical numbers on the nature of the creative genius and the conflicts that can arise between art, artifice, and real life.

Update: See Leonard Cohen On His Use Of Spenserian Stanzas In Night Music

Leonard Cohen, Bard Of Bedsits Boffo In Boston – 2009

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Cohen Wonderful At The Wang:
Photos & Review

Images
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.

cohen-kneel-wang9I’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.

The final two photos capture the physicality of Dino Soldo’s style of playing the woodwinds.cohen-wind-wangcohen-wind2-wang9

The Words
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:

The great shot of the marquee at the Wang Theatre was taken by Avi Elkoni, The other  three photos were taken by xrayspx, who has generously licensed these pictures for uses such as this.

Note: Originally posted Jun 1, 2009 at 1HeckOfAGuy.com, a predecessor of Cohencentric

Signs Of Leonard Cohen: “100,000 Tickets Sold” 2012 Ghent Concerts Ad

gent_-_1000ksold-scaled1000Ad for the 2012 Leonard Cohen Old Ideas World Tour concerts to be held in Ghent on August 12, 14, 15, 17, & 18 with declaration that “Since 2008, Cohen sold 100,000 concert tickets in Belgium.” Originally posted August 10, 2012 at DrHGuy.com, a predecessor of Cohencentric