“Leonard Cohen can command more attention by simply removing his fedora than most performers earn in an entire evening”

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Leonard Cohen (Nov 16 at the Saddledome): Granted, there was no critical consensus about the old master’s return to Calgary. But for many – including yours truly – this was a highlight of the year, a mesmerizing celebration of song performed with grace, polish and gratitude. At 78, Cohen can command more attention by simply removing his fedora than most performers earn in an entire evening. But his powerful stage presence aside, it was the songs, the voice and the confidence that made this special, achieving a level of intimacy that I’ve never seen before at the Saddledomequotedown2


From Calgary Concerts to remember (and to forget) in 2012 – Leonard Cohen by Eric Volmers. Calgary Herald: Dec 24, 2012. Note: Originally posted December 26, 2012 at DrHGuy.com, a predecessor of Cohencentric

French Translation: A Broken Hallelujah – Rock and roll, rédemption et vie de Leonard Cohen By Liel Leibovitz

51dcqtccyzl-_sx387_bo1204203200_The French translation of A Broken Hallelujah by Liel Leibovitz will be published March 3, 2017.  This information is from the French Amazon site

Publisher : Allia (March 3, 2017)
Language: French
Paperback: 256 pages
ISBN-13: 979-1030404982
ASIN: B01MY3QF7O

Credit Due Department: Thanks to Dominique BOILE, who alerted me to this translation.

“Framing the film with a pair of brilliant Cohen songs almost renders the remainder of Natural Born Killers irrelevant”

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Framing the film with a pair of brilliant Cohen songs almost renders the remainder of Natural Born Killers irrelevant. In about ten minutes’ worth of music, Cohen has already said everything that the film intends to say, and manages to do so with an eloquence that really can’t be matched by all the fancy editing and film tricks in the world.quotedown2

 

From Exit Music (For a Film): Leonard Cohen, “The Future” | Popdose: A consideration of Cohen’s “The Future” and “Waiting fo the Miracle” in the soundtrack of Natural Born Killer. Note: Originally posted October 16, 2013 at DrHGuy.com, a predecessor of Cohencentric

“To men, Leonard [Cohen] said: be tender, and for want of fidelity, be true. To women, he whispered: be who you want to be, we will love you anyway.” Francine Pelletier

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Cohen allowed us to believe in love at a time when consecrated unions—monogamy, partnership for life, the institution of marriage—were falling apart. When women refused to be mens’ property, a notion legalized through marriage, romantic partnerships had to be stripped down and given a new form. But we couldn’t turn our backs on a centuries-old tradition without smashing a few pots. Cohen, saviour, explored the maelstrom with passion; he re-sanctified what had been desecrated:

If you want a lover
I’ll do anything you ask me to
And if you want another kind of love
I’ll wear a mask for you
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From Love at Half Mast by Francine Pelletier. Adapted from the French by Emily Wilson, Deborah Ostrovsky and Francine Pelletier (Maisonneuve: Jan. 3, 2017)

Nick Cave On Leonard Cohen: “He was the one who kind of drew back the curtain and showed us things that no one else had ever dared to expose.”

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“You know, Leonard had such a huge impact on so many of us,” he says. “He was the one who kind of drew back the curtain and showed us things that no one else had ever dared to expose. In Wangaratta, where I grew up, my best friend’s sister bought Songs of Love and Hate. We listened to it out in her back shed on her record player, over and over again, night after night. We were basically having our young innocent minds perverted, and the course of lives changed, listening to that dark, sinister, ­sacred music. There probably should have been a law against that record.

The singer describes Cohen’s death in ­November last year as “devastating”. “It came at such a crazy time, you know, with [Donald] Trump being elected and all,” he says. “I think for a lot of people it just felt like the last f..king straw. It felt so personal.”

From ‘I was a mess, big time’ – Nick Cave by Iain Shedden (The Weekend Australian Review: January 14-15, 2017).

Credit Due Department: Thanks to Maria Cohen Viana, who alerted me to this article. Photo by Alterna2 http://www.alterna2.com – originally posted to Flickr as Grinderman en el Summercase 08 de Barcelona, CC BY 2.0, via Wikipedia

Leonard Cohen’s “You Want It Darker… was like someone transcendently singing the prayer for ascension at his own funeral” Review By Shefa Siegel

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[Leonard Cohen] sang the blues with Old World struggle, rasped epic tales and sometimes gospel, strumming Spanish chords on a broken-down guitar. But his final album, You Want It Darker, released a month after his 82nd birthday and only 17 days before he passed away, was like someone transcendently singing the prayer for ascension at his own funeral. As if chanting a private liturgy, there was no more hunger for a voice. At last Cohen was the praise singer, aged and fatigued, a pilgrim with just one journey left to make. From the opening supplication—“I’m ready, my lord”—to the closing blessing—“It’s over now, the water and the wine”—the album is an uninterrupted prayer unto death.quotedown2

 

A Final Surrender to a Sacred Undertow: You Want It Darker, by Leonard Cohen. Columbia by Shefa Siegel (Sojourners: February 2017). The entire thoughtful, well written review is available at the link now but may disappear behind a paywall soon.