An accessible, often funny musicological (a phrase I’ve never before had occasion to write) explanation of the major error made on defective covers of Hallelujah.
Adam Cohen has released a video promoting his new album, “Like A Man.” In it, he talks about finding his place as part of his father’s heritage rather than rebelling against that notion. Consequently, Leonard Cohen appears often in this brief video. These photos are all screen captures from “Adam Cohen – Like A Man”
The first shot is Leonard Cohen with his grandson (Adam’s son). The second image shows Leonard and Adam Cohen embracing. The third is composed of two screenshots, one showing Adam Cohen walking past a mirror and one showing a young Leonard Cohen also walking past a mirror (a scene originally from “Ladies and Gentlemen – Mr. Leonard Cohen”). Fourth is Leonard Cohen in the audience watching his son perform. Fifth is Leonard Cohen talking about about his son’s performance; the full caption (including the previous frames) follows:
He’s the real thing. Even if he weren’t my son, I’d be deeply moved. The fact that he is my son makes me so very happy.
There are many more allusions to Leonard Cohen, including scenes from Hydra. Rufus Wainwright also makes a couple of appearances.
Note: Originally posted Aug 23, 2011 at DrHGuy.com, a predecessor of Cohencentric
Here is our new Cohenesque Art Video, in anticipation of Leonard’s celebration in November, here in Montreal.
More Cohencentric posts featuring work by this artist can be found at Oana Maria Cajal. She also maintains a website at www.oanacajal.ca and a Twitter account at http://www.twitter.com/@OanaCajal
Halloween In Austin
In 2013, I pondered the sight displayed above in the screen capture and posted this plea:
Would someone (maybe someone like Roscoe Beck or Mitch Watkins who understands how Austin operates) explain to me why the gentleman in the middle of this screenshot, taken when the camera pans the audience just prior to the start of Take This Waltz during the 1988 Leonard Cohen Austin City Limits Show, seems to be wearing a watermelon helmet on his head? I realize there are some odd images in Take This Waltz (you’ve got your “chair with a dead magazine” and that “bed where the moon has been sweating,” for example) but I don’t recall “I’ll applaud with a watermelon for a hat” in the lyrics.
And, sure enough, a reader wise in the ways of Austin, Leorstef, responded:
So, why is the guy wearing a Watermelon Hat? Why is one lady dressed as a Nun? I asked that question myself the first time I saw the concert 24 years ago.
That concert was actually filmed on Halloween night in 1988, then aired on PBS in April 1989. So simply, many of the folks were just in Halloween costumes. Since Austin has always been a good place to party, I assume they were just getting ready ahead of time for the rest of the night.
Here’s the sad part: I was at the Leonard Cohen concert in Austin on Oct 31, 2012, and I recall seeing only one person that might have been wearing a Halloween costume (and I suspect it could have been the sort of thing she wore every day). So, is Austin getting less weird?
Note: More Halloween-related Leonard Cohen posts can be found at Leonard Cohen – Halloween
Leonard Cohen On The Air In Austin
Leonard Cohen’s performance on the October 31, 1988 episode of Austin City Limits, which has become routinely designated as his “first major performance on American television,” is strong musically and a treat to watch. As ongoing readers know, this show has been intermittently available on various sites and then lost to copyright restrictions.
Now, however, it’s back – in an official version uploaded by AustinCityLimitsTV
The 1988 Austin City Limits show1 is notable for Leonard Cohen’s idiosyncratic preludes to certain songs, including a description of the crucifixion of Christ that invokes the application of shaving lotion as an introduction to “Ain’t No Cure For Love” and a lead-in to “If It Be Your Will” that consists of Cohen’s complaint that his “hands are all sweaty with Tequila juice. It’s an impermeable oil that seeps through the membrane,” a scientifically baffling declaration that nonetheless seems to work in context as suggestive language to set the mood.2
Video: Leonard Cohen – Austin City Limits 1988
When they poured across the border
I was cautioned to surrender,
this I could not do;
I took my gun and vanished.
I have changed my name so often,
I’ve lost my wife and children
but I have many friends,
and some of them are with me.
This video was suggested by Linda-Lee Sturgess, who wrote “This video is not perfection – but a remarkable capture of Leonard ‘up close and personal.’”
Leonard Cohen – The Partisan
Marseille: Sept 21, 2010 (Leonard Cohen’s 76th birthday)
Video by cohenadmirer1
Note: Originally posted Nov 15, 2014 at 1HeckOfAGuy.com, a predecessor of Cohencentric
There is nothing extraordinary about this video of Leonard Cohen’s soundcheck before the 2008 Lucca show, but I always enjoy seeing the backup singers and the band in mufti (OK, I guess that technically, Leonard is in civilian clothes as well , but how do you tell his concert costume from his everyday outfit?), and I am taken by Leonard responding, in the midst of solving some issue with the sound system, to fans applauding the abruptly ended song by doffing his hat and smiling at the crowd — an event followed a moment later by Sharon flashing her own winsome smile and waving. Consider my cockles warmed.
Leonard Cohen – Dance Me To The End Of Love
Lucca Soundcheck: July 27, 2008
Video by Todd Rongstad