Where do you get inspiration for your work? Leonard Cohen “I do it for the same reason the sparrow sings – even when it doesn’t have a very good voice”

Where do you get inspiration for your work?

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Maybe I do it for the same reason the sparrow sings – even when it doesn’t have a very good voice. No one tells the sparrow that it should sing the same way as a nightingale. Some of us are just born this way. I think it’s natural that I write. Whether I have a voice or not, what I do is part of me.quotedown2

Leonard Cohen

From ”En tunne vanhenevani lainkaan” – Leonard Cohen Soundissa 1976: The 2016 reprint of a June 1976 Leonard Cohen interview by Dougie Gordon. (Soundi: Nov 11, 2016) Via computer translation.

Leonard Cohen Attributes Refinement In His Music To Self-Confidence & Gain In Self-Confidence To Bob Johnston


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I used to be petrified with the idea of going on the road and presenting my work. I often felt that the risks of humiliation were too wide. But with the help of my last producer, Bob Johnston, I gained the self-confidence I felt was necessary. My music now is much more highly refined. When you are again in touch with yourself and you feel a certain sense of health, you feel somehow that the prison bars are lifted, and you start hearing new possibilities in your workquotedown2

Leonard Cohen

From Leonard Cohen: Cohen’s New Skin by Harvey Kubernik. Melody Maker: 1 March 1975. Accessed at We Are Cult Originally posted December 19, 2013 at DrHGuy.com, a predecessor of Cohencentric

Audience, while Leonard Cohen tunes guitar: “Good enough for folk music” Leonard: “Yeah, but not good enough for eternity” (1976)


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With his back to just over a hundred fans who filled Nashville’s Exit-In, Leonard paused for the third time to tune his guitar. A drunken voice blurted from the darkness, ‘Good enough for folk music!’ A few patrons chuckled. Leonard made a final adjustment, then casually turned to respond, ‘Yeah, but not good enough for eternity.’ He smiled his sardonic best and the adoring crowd filled the small room with laughter. Leonard was back, and we lucky few were there with him.quotedown2


 

From Leonard Lately – A Leonard Cohen interview-article by Bill Conrad.  Posted May 7, 2012 at No Depression. Note: Although not published until 2012, the article is based on an interview that took place in autumn 1976. Originally posted June 16, 2013 at DrHGuy.com, a predecessor of Cohencentric

“It doesn’t really matter what the singer is speaking of, it doesn’t really matter what the song is. There’s something I listen for in a singer’s voice and that’s some kind of truth …” Leonard Cohen


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It doesn’t really matter what the singer is speaking of, it doesn’t really matter what the song is. There’s something I listen for in a singer’s voice and that’s some kind of truth. It may even be truth of deception, it may even be the truth of the scam, the truth of the hustle in the singers own presentation, but something is coming across that is true, and if that isn’t there the song dies. And the singer deserves to die too, and will, in time, die. So the thing that I listen for is that note of something big manifested that is beyond the singer’s control.quotedown2

Leonard Cohen

From How The Heart Approaches What It Yearns – Interview With Leonard Cohen Presented By John McKenna. RTE Ireland, May 9 & 12, 1988. Originally posted Dec 3, 2013 at DrHGuy.com, a predecessor of Cohencentric

“I always associated song and singing with some sort of nobility of spirit.” Leonard Cohen

Quotation from Transcript of Pacifica Interview with Kathleen Kendall. WBAI Radio, New York City: December 4, 1974. Photo by Pete Purnell (Leonard Cohen In Concert 1974 To 1993: Photos By Pete Purnell). Originally posted Dec 23, 2013 at DrHGuy.com, a predecessor of Cohencentric

Leonard Cohen on the characterization of his musical performances “I don’t care what people call me”

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I don’t care what people call me, whether you call it folksinging or some people call it a priestly function or some people see it as a revolutionary activity or acidheads see it as psychedelic revolution or poets see it as the popularization of poetry.quotedown2

Leonard Cohen

 

After the Wipe-Out, A Renewal by Sandra Diwa, published in The Ubyssey (the student newspaper of the University of British Columbia), February 3, 1967. Photo from York University Libraries, Clara Thomas Archives & Special Collections, Toronto Telegram fonds, F0433, Photographer: John Sharp, ASC01709. Originally posted June 4, 2014 at DrHGuy.com, a predecessor of Cohencentric