Carlos Santana recently told musicians their role was to help people open up to feel their totality, to claim back their divinity, their light, concluding—it’s church. Leonard Cohen fulfilled this responsibility by courageously standing for the complexity of his own emotions at the center of his song giving audiences everything he had. Together they revealed the purpose of playing music—creating holy moments. Artists who listened to Leonard Cohen sing “Hallelujah” confirmed this: “It felt like a beautiful, holy moment. It was a church moment. You get this feeling of having a modern prayer.”
As musicians we are given the gift to help humans feel the totality of themselves. Because a lot of people feel like they’re not worthy. They walk around… Most people are not happy unless they’re miserable. You know. And it’s our duty as musicians to open them up and help them feel their totality. You know. It’s not ego. It’s just that people forget that we are spirit first. And then chromosomes and molecules and blood, and bones, and all that stuff later. But as musicians, with each note, we compel people to: claim back your divinity, claim back your light. We’re not wretched sinners. And we’re not a mistake. We are grand, because we are made from the Grand Design. Thank you for sharing your light and your music. And you will see, you will see that when people start dancing, they get chills and they start crying and laughing. It’s church. That’s what we’re supposed to do. Anything else is show business. I don’t know anything about that. (He blows them a kiss. They laugh and applaud.) — Carlos Santana
This inspiring biographical documentary examines the life and influence of singer-songwriter Leonard Cohen through the lens of his most famous song, “Hallelujah.” It’s available on Digital, Blu-ray, and DVD: https://bit.ly/GetHallelujah. It’s also included in a Netflix subscription. Sony Pictures Entertainment posted the First 7 Minutes.
Directors Dan Geller and Dayna Goldfine, and head of the Cohen estate/Executive Producer Robert Kory discuss HALLELUJAH: Leonard Cohen, A Journey, A Song at the Rock & Roll Hall of Fame. This was the first RRHF screening and discussion since the covid pandemic had shut them down for a year. See the 42-minute video.
Why Leonard Cohen came out of retirement to tour again
After leaving the Mount Baldy Zen Center where he had spent several years in retirement meditating and serving his Roshi, Cohen soon discovered that his manager had siphoned off all of his money leaving him penniless. He had to get back to work. He put a band together and after rehearsing for 3 months, Leonard Cohen, his backup singers, and the band performed their first concert in a small Canadian Maritime venue. Word spread and they kept performing at sold out venues and shows. The demand became so great they played sold-out concerts all over the world for 5 years! It more than made up for his loses and blessed those thousands of lucky attendees. Not bad for an old retiree!
Musical collaborator Sharon Robinson said: “Leonard really honored his audiences. He said every night before the show: ‘We’re gonna give you everything we’ve got.’” And Leonard concluded each show saying: “Thanks so much friends, it’s been a real privilege and an honor to play for you tonight.”
What Leonard Cohen said here gets to the essence of what makes for a memorable concert.
The only way you can sell a concert is to put yourself at risk. And if you don’t do that, people know, and they go home with a feeling that they liked the songs, but you know, they prefer to listen to them at home. But if you can really stand at the center of your song, if you can inhabit that space and really stand for the complexity of your own emotions, then everybody feels good. The musicians feel good, and you feel good, and the people who’ve come feel good. — Leonard Cohen
What some musicians said after hearing a Leonard Cohen concert
New York writer Larry “Ratso” Sloman said Leonard Cohen “was always a spiritual seeker, and that gave him a dimension that most rock stars couldn’t even fathom.”
John Lissauer, who produced Leonard’s 1984 album, “Various Positions”, which includes “Hallelujah”, commented, “When people hear ‘Hallelujah’, it must be something so universal. It’s really, really powerful. And that’s a big deal. We don’t get to be involved in very many things that hit people as strongly as that does.”
Towards the end of the film various artists commented on how they felt seeing Leonard Cohen in concert.
I was doing my first-ever solo show at Coachella, and I remember looking at the lineup and going: “Oh my God! Leonard Cohen.” Seeing Leonard Cohen felt like a beautiful, holy moment, to be outside with all of those people watching him. It was a church moment.” (2009 Coachella Music Festival, Indio, California) — Amanda Palmer
You get this feeling of having a modern prayer. I think that’s why people were coming to the shows so much because they were getting that feeling. Even how he thanked everybody, everybody in the crew, and all the different jobs that people did to put together the show. It was like an instruction manual on how to be in the world. It’s like you can be this good, you really can. — Regina Spektor
When Judy Collins first met Leonard Cohen and heard him sing “Suzanne” for her, she told him she was going to record his song the next day. It was included on her 1966 landmark album, In My Life. She later forcefully invited him to sing “Suzanne” at a town hall charity event attended by many well-known musicians. He was so nervous he couldn’t complete the song, apologized, and walked off stage, which endeared him to the audience. Judy convinced him to return and finish the song. Judy Collins sang “Suzanne” with Leonard Cohen on her PBS TV “Soundstage” concert performance in January 1976. That episode helped launch his career as a special singer-songwriter. In this documentary film she summarized:
People who respond to him in the way they do—and they respond to him all over the world, of course—are responding to something that is different. You’re getting things that are so deep and so resonant in your own spiritual journey, that you are benefitting from his. And that’s of course the highest compliment to a poet or a songwriter. — Judy Collins
There is a crack in everything. That’s how the light gets in.
Another film worth watching is Marianne & Leonard: Words of Love (2019)—a sensitive in-depth look at the relationship between Leonard Cohen and his Norwegian muse Marianne Ihlen. More relevant content has been added in the previous post about it.
— Written and compiled (citing sources) by Ken Chawkin for The Uncarved Blog.
Postscript: Speaking of creating a church moment, on May 31, 2024, Angelina Jordan premiered her own powerful rendition, with Toby Gad, of the hit song he co-wrote with BC Jean for Beyonce, If I Were A Boy (Piano Diaries), recorded in a London church.
May Sarton (Belgian-American, 1912-1995) was a highly respected American poet, novelist, and memoirist. Her literature encompasses themes of aging, solitude, family and romantic relationships. Self-identified as a lesbian and regarded as a feminist, she preferred that her work found a place in a broad humanitarian connection rather than within the identities she embodied.
A good writer uses words to discover, and to bring that discovery to other people. He rewrites so that his prose is a pleasure that carries knowledge with it. That pleasure-carrying knowledge comes from self-understanding, and creates understanding in the minds of other people.
I must have time alone
The implication from these quotes is that we need a time and place to be alone to create in the dark of the unknown, shut off from distractions that divide the mind, to experience the richness of our inner world, and blossom with the light of our newly discovered self-knowledge. We write to know—to discover and understand.
Yet, like every true artist it is always a challenge to balance the personal with the social, our own needs with those of another in a relationship. In her Journal of Solitude May Sarton wrote:
This is so true. And if we don’t express our need for solitude in a healthy manner, resentment builds up, and we find ourselves passively-aggressively taking our frustration out on those closest to us, causing pain for both parties involved. We blame others for our inability to properly balance our priorities. We lash out or fall into inertia and suffer.
However, when free to fully engage in the creative process, writing can become an ecstatic experience. This quote stood out for me, showing May Sarton’s passion for writing and how significant it was for her.
Talking to paper is talking to the divine. Paper is infinitely patient. Each time you scratch on it, you trace part of yourself, and thus part of the world, and thus part of the grammar of the universe. It is a huge language, but each of us tracks his or her particular understanding of it.
True to the end, Leonard Cohen‘s work charted the arc of his career, between life and death (Sept 21, 1934 – Nov 7, 2016). His search for redemption also influenced his fans. Cohen’s evolving understanding of life, beautifully expressed through his music, shone a light through the cracks of a broken humanity in a dark suffering world. He never claimed to have found all the answers, but seemed to have reached a kind of inner peace toward the end of his life, between himself and his God.
There is a repeated stanza in one of his songs, Anthem, that conveys the redeeming acceptance of light illuminating the darkness, compassion and love overcoming bigotry and hatred: “Ring the bells that still can ring/ Forget your perfect offering/ There is a crack in everything/ That’s how the light gets in.”
There may be a crack in everything, but how does the light get in—from without, or is it released from within? I’ve often thought about the profundity of those lines, and there have been many interpretations of what he may be implying. See mine below.* I think he sang about finding that divinity within and among our broken humanity. I wrote this tanka in honor of Leonard Cohen.
Leonard Cohen’s music lit up a dark world A tanka in honor of the poet by Ken Chawkin
Leonard Cohen said There’s a crack in everything How the light gets in
It came through him and lit up a broken humanity
Of course there is a kind of irony here when he says, “Forget your perfect offerings,” since he labored for months, sometimes years, on getting the lyrics to his songs perfect. At some point, though, he must’ve given up, admitted his imperfection, and sent them out into the world. As Leonardo da Vinci once said: Art is never finished, only abandoned. Other famous artists and writers have said and done the same thing.
Artistic Genius—Two Creative Approaches
There is a story about Leonard Cohen and Bob Dylan. They happened to be in Paris at the same time and decided to meet at a certain café. During their conversation, Dylan, one of the first to sing Cohen’s song “Hallelujah” in his concerts, asked Cohen how long it took him to write it. Cohen was embarrassed to tell him the truth so he lied and said 2 years. Then Leonard asked Bob how long it took him to write “I And I“, and he replied 15 minutes. I think he said he wrote it in the back of a cab. Cohen later told this story to an interviewer and confessed that it took him more like 5 years to write that song. He never could complete it, even after 30 verses! Their styles reflect thedifferent philosophical approaches of ‘first thought, best thought’ versus ‘revise, revise, revise’.
You can read the fascinating history of that song in Alan Light’s book, The Holy or the Broken: Leonard Cohen, Jeff Buckley, and the Unlikely Ascent of “Hallelujah”. Malcolm Gladwell, in Season 1, Episode 7 of his Revisionist History podcast, discusses the history of “Hallelujah”with Alan Light. That segment starts at 21:35 and explains how this obscure song was first covered by only a few artists 15 years after Cohen had recorded it. The theme is about two kinds of artists—those who seem to create spontaneously, and others who labor for a very long time—the differences between Mozart and Beethoven, or Picasso and Cezanne. It first aired July 28, 2016. Later added on YouTube March 8, 2023 starting at 18:13. Also listen to BBC – SOUNDS – Soul Music – Series 20 – Hallelujah. First broadcast on BBC Radio 4 in April 14, 2015. (27:50)
During Leonard Cohen’s final public appearance at the Canadian consulate in Los Angeles on October 13, 2016, the day Bob Dylan was awarded the Nobel Prize in Literature, he was asked what he thought about that and said: “To me, it’s like pinning a medal on Mount Everest for being the highest mountain.”
Hallelujah: Leonard Cohen, a Journey, a Song
I later read the Guardian article (6-29-2022) that this book served as the basis for the new documentary Hallelujah: Leonard Cohen, A Journey, A Song. Directed and produced by Dayna Goldfine and Dan Geller, the film takes both a micro and macro view of the song and Cohen, along with their respective and deeply intertwined places in culture. See ‘More than a song’: the enduring power of Leonard Cohen’s Hallelujah. In a new documentary, fans and experts explore the legacy of a song originally shunned before becoming a timeless classic.
I saw this documentary at the FilmScene in Iowa City (Saturday, August 6, 2022). It was very well put together. The ending moved me to tears. Netflix later offered it: Hallelujah: Leonard Cohen, A Journey, A Song.
Murals mark 1-year anniversary of Leonard Cohen’s death
Montreal murals made by Gene Pendon (l) and Kevin Ledo (r)
November 7, 2017 is the 1-year anniversary of Leonard Cohen’s death. To personally commemorate this date, Sylvie Simmons tweeted a picture of herself standing in front of a large mural of Leonard Cohen painted by Kevin Ledo on the side of a 9-storey Montreal building close to where Leonard kept a home. It was the center piece for the fifth Mural International Public Art Festival in June. CBC Arts interviewed Kevin Ledo while he was working on it: Montreal Remembers Leonard Cohen With This Massive Mural. The Montreal Gazette’s Bill Brownstein had written an article about the making of it. He also mentions another mural, a tribute to Leonard Cohen made by artist Gene Pendon, which was painted on the side of a 20-storey downtown building, as part of Montreal’s 375th billion dollar birthday bash. The Globe and Mail described them in detail: Leonard Cohen and a tale of two Montreal murals. ET Canada reported on the official inauguration today, a year after Cohen’s passing. Josée Cloutier posted photos of both murals in one tweet, shown above.
The M.A.C.’s Exhibition on Leonard Cohen: A Crack in Everything
The Guardian published Leonard Cohen: A Crack in Everything – Montreal’s tribute to its favourite son. The new exhibition was conceived as part of the city’s 375th anniversary celebrations – but has morphed into a thorough investigation of all things Cohen. On 9 November, the Musée d’art contemporain de Montréal (AKA the Mac) will open the doors to Leonard Cohen : une brèche en toute chose/A Crack in Everything, a tribute to the artist, poet and musician, filled with multi-disciplinary works inspired by Cohen’s songs of life. This special exhibition at the Montreal Museum of Contemporary Art will conclude 9 April 2018.
The show takes its title from Cohen’s song Anthem, which contains the famous line “There is a crack in everything, that’s how the light gets in.” The song also inspired artist Kara Blake’s piece for the show, an immersive installation called The Offerings. “The song apparently took Cohen 10 years to craft and is just one example of his many artistic offerings that get inside the beautifully flawed nature of being human,” says Blake. “I wanted my piece to present visitors with a sampling of the creativity, wit and insight Cohen has gifted us with.”
Julia Holter contributed a cover of Cohen’s Take This Waltz, which will play on rotation in the Listening Room. “I enjoyed getting into the feeling of this passionate, seductive, demented waltz,” says Holter, who incorporated field recordings she made during a visit to the Greek island of Hydra, where Cohen had a home. “Being there was incredible,” she says.
For Holter, being invited to contribute to the show is the perfect way for her to give back to an artist she was introduced to as a child and who inspired her love of poetry. “What was special about Leonard Cohen’s work was its calm mystery. I think that can be an inspiration to the world right now,” she says. “The world needs this subtle beauty right now.”
And of course, who could ever forget Suzanne, Leonard’s mysterious poetic song that started it all, thanks to Judy Collins who wanted to cover it right after she heard Leonard sing it to her. It launched his career as a singer-songwriter. The song was inspired by Suzanne Verdal, the then estranged wife of his friend, sculptor Armand Vaillancourt. Read Suzanne’s 1998 BBC Radio 4 interview.
I enjoyed reading Sylvie’s wonderful biography, I’m Your Man: The Life of Leonard Cohen. It will be published next year in a new French edition with an added afterword that will be included in a revised English edition by McClelland & Stewart.
The afterword is Cohen’s response to the question about what was the driving force that propelled his output. Simmons calls it Traveling Light, and quotes Cohen’s answer in this interview for The Senior Times: Biographer Sylvie Simmons pays tribute to Montreal’s favourite son.
Leonard Cohen was very active towards the end of his life. Due to his declining health he tried to bring as many projects to completion as possible. One of them was his last album, You Want It Darker, produced by his son Adam Cohen. A new poetry book, The Flame, will be released next year.
The Flame: Poems Notebooks Lyrics Drawings
On Oct 1, 2018 CBC q host Tom Power interviewed Adam Cohen on the legacy of his father Leonard Cohen. It’s been almost two years since the passing of Leonard Cohen, but we’re about to hear from the legendary singer and poet again. The Flame is a posthumous collection of his final writing that features never before published poems that Leonard Cohen wrote in the final few years of his life. The day before it’s release, Adam Cohen returns to q to talk about mourning his father’s life and and celebrating his legacy on the morning of the book’s release.
*My reply to Quora question about the crack and the light
I agree with a number of interpretations posted here, quoting William Blake, the Kabbalah, and other esoteric sources, to explain what Leonard Cohen may be referring to in that line. They all make good sense to me. I also think that the light, of clarity, understanding, call it what you will, comes from within, not without. Metaphorically we may imagine light coming into a dark broken place from outside. But it can also light up the darkness from inside, if one knows how to turn on the switch. Another interpretation then, is no matter how broken, incomplete we are, with the proper approach, meditation technique, one can transcend, go beyond our limitations and just Be, experience that unbroken inner light of pure consciousness. With repeated exposures to one’s inner divine nature, the outer vessel, our body, can begin to heal, mend the broken cracks, and become whole. One way to experience this inner and outer development is with the regular practice of Transcendental Meditation.
New information on this topic later found and added
I recently discovered a quote by Rumi, which led me to believe this is where Leonard may have received the idea of the light entering the crack. Rumi wrote: “The wound is the place where the Light enters you.”
In the documentary, Andrea Bocelli – The Power of Silence, the interviewer quotes Rumi to Andrea. Here, ‘wound’ replaces ‘crack’, and he changes ‘you’ to ‘the heart’, but the idea is the same. It seems more intimate. “The wound is the place where the Light enters the heart.” They discuss the notion of the value of suffering and he asks him, “When did the light enter your heart? When did that light strike Andrea?”
Andrea gives him an unexpected, beautiful, religious answer. “So the vision of Rumi the philosopher that you quoted is very interesting and I agree with what he says. In my case I didn’t think it was a wound, not such a painful wound that opened up and allowed the light to enter. No, I think the light entered my heart thanks to the grace of God.”
He asks him, “Are you happy?” and Bocelli replies, “I am happy, yes, but more importantly, I am serene. To me happiness is a transitory condition and it can sometimes be a bit dangerous; whereas being serene is a state of mind that can be consolidated and it can stay with us forever.”
In 1991 media mogul Moses Znaimer inducted Leonard Cohen into the Canadian Music Hall of Fame at The JUNO Awards in Vancouver. Leonard gave a brilliant and humorous acceptance speech.
k.d. lang agreed to pay tribute to the legendary singer-songwriter with a rendition of his beloved song, “Hallelujah.” She had never performed the song for Cohen and “was excruciatingly nervous” knowing he would be in the audience. She received a standing ovation, and as the credits began to roll, she ran down the stage steps towards Leonard to offer him her reverence and appreciation. He rose to meet her and they warmly, respectfully embraced. Cohen’s partner, singer Anjani Thomas, looked at Cohen and said, “Well, I think we can lay that song to rest now! It’s really been done to its ultimate blissful state of perfection.” He agreed. A few years later, in a CBC interview, Cohen recalled that performance and said, “that really touched me.” He was asked about the history of that song, and said, “the only person who seemed to recognize the song was Dylan.” During her world tour in 2008, lang gave a beautiful performance of the song backed by the BBC Concert Orchestra in a concert filmed at St. Luke’s Church in London. And two years later, lang sang Leonard Cohen’s “Hallelujah” at the Vancouver 2010 Olympics Opening Ceremony. It was spectacular!
Leonard Cohen on Q TV (CBC exclusive). To celebrate Q’s 2nd anniversary — poet, novelist, songwriter, legend…a special exclusive feature interview with Leonard Cohen… recorded at his home in Montreal. Posted Apr 15, 2009.
Listen to CBC Radio’s As It Happens interview Marianne’s close friend, filmmaker Jan Christian Mollestad, the week she died: So long, Marianne. Leonard Cohen’s final letter to his muse. At Marianne’s request, Jan had conveyed a message to Leonard that she was dying. He wrote back to her, the subject of the interview. There is also a link to Leonard Cohen’s Facebook page with Jan’s reply to Leonard, saying his letter to Marianne gave her deep peace of mind, and described her peaceful passing to him.
Jan Christian Mollestad was one of the executive producers on the film. He had posted a video celebrating Marianne’s 80th birthday that previous year on Hydra, including Adam Cohen singing “So long, Marianne” in Oslo, and Marianne and Judy Collins enjoying singing “Famous Blue Raincoat” together.
November 22, 2019 brings the release of the first posthumous Leonard Cohen album, Thanks For the Dance. For the nine-track LP, Cohen’s son, Adam, took leftover sketches and poems from his father’s 2016 LP, You Want it Darker, and fleshed them out with the assistance of Beck, Damien Rice, The National’s Bryce Dessner, and others. Following last month’s teaser track, “The Goal”, “Happens to the Heart” has now been released as the album’s first official single.
July 7, 2022, Directors Dan Geller and Dayna Goldfine, and head of the Cohen estate/Executive Producer Robert Kory discuss HALLELUJAH: Leonard Cohen, A Journey, A Song at the Rock & Roll Hall of Fame. This was the first RRHF screening and discussion since the covid pandemic had shut them down for a year. See the 42-minute video.
Speaking of The Coming of Wisdom in Time, as William Butler Yeats put it, Leonard Cohen came to a similar realization when he said: “The older I get, the surer I am that I’m not running the show.”
I later found this video posted on YouTube by AirGigs on Jan 18, 2022: 10 Pearls Of Wisdom From Leonard Cohen. In this episode we look at his thoughts on success, writing, talent and much more.
Apr 9, 2024, Contra Costa JCC presented, Leonard Cohen: Untold Stories. Award-winning writer, playwright, journalist, and author of seven books, Michael Posner, joined the Under One Tent audience online on Tuesday, April 9, 2024. He introduced the third volume of his book, “Leonard Cohen: Untold Stories,” a must-read for fans of Leonard Cohen.
I wrote Our Meditation Love Poem, about 4 ½ years ago, and decided to post it now, for Valentine’s Day. I was visiting my sweetheart during the week at her care facility and wrote the poem and story behind it that Saturday, September 4, 2010, almost 4 ½ months after she moved in.
I was remembering the meditation we had this week; my chest area filled up with a great inner warmth and bliss of loving you. Tonight, I was listening to Leonard Cohen singing his songs of love, and started writing this poem from that memory, that feeling, and also remembered the quote in the film, Tristan and Isolde, when he is dying and he says to her, “You were right—life is greater than death, but love is greater than either.” He was referring to what she had said when they first met, about following your heart, and that love in one’s life fills up what would otherwise be an empty shell of duty and honor, quoting John Donne’s The Good Morrow, where he writes:
My face in thine eye, thine in mine appeares,
And true plaine hearts doe in the faces rest,
…..
If our two loves be one, or, thou and I
Love so alike, that none doe slacken, none can die.
So I came up with this poem, Our Meditation Love Poem. I found myself writing a 17-syllable line, the sum of a haiku in 3 lines. I liked the flow and decided to make each line 17 syllables long, each one having its own internal rhythm and flow. I wanted to write 11 lines for some reason, maybe thinking there were 11 syllables in each line. But now I remember there are 17. But I would then have to write 6 more lines, and right now I can’t see it. I naturally divided them into 2 stanzas of 4 lines each followed by a stanza of 3 at the end. It seems to have worked well.
Mark Strand, former U.S. poet laureate (1990-1991) and winner of the Pulitzer Prize for Poetry (1999), felt strongly that writing and reading poetry could make us better human beings. “Poetry helps us imagine what it’s like to be human,” he said in an Inscape interview last year.
Percy Bysshe Shelley had famously said, “Poets are the unacknowledged legislators of the world.” When Mark Strand was asked what he thought the function of poetry was in today’s society, he replied: “It’s not going to change the world, but I believe if every head of state and every government official spent an hour a day reading poetry we’d live in a much more humane and decent world. Poetry has a humanizing influence. Poetry delivers an inner life that is articulated to the reader.”
Indeed, especially if they were as transformed by poetry as Mark Strand, who wanted to feel himself “suddenly larger . . . in touch with—or at least close to—what I deem magical, astonishing. I want to experience a kind of wonderment.”
I was surprised and sorry to hear the news of Strand’s passing and checked the Paris Review for an update. I found Memoriam Mark Strand, 1934–2014, under The Daily by Dan Piepenbring, and sent it to Roger.
Media from around the world published Obituaries reviewing the Canadian-born, American poet’s accomplished literary career. The LA Times described Mark Strand as “a revelatory poet who addressed love and death in his poems, but in radically lyrical, revelatory ways.”
This poem is filled with the wonderment he sought, and seems a fitting memorial, prophetically written in the poet’s own magical words.
My Name
Once when the lawn was a golden green
and the marbled moonlit trees rose like fresh memorials
in the scented air, and the whole countryside pulsed
with the chirr and murmur of insects, I lay in the grass,
feeling the great distances open above me, and wondered
what I would become and where I would find myself,
and though I barely existed, I felt for an instant
that the vast star-clustered sky was mine, and I heard
my name as if for the first time, heard it the way
one hears the wind or the rain, but faint and far off
as though it belonged not to me but to the silence
from which it had come and to which it would go.
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