Leonard Cohen and his ladies
This blog has been about art and literature since I resurfaced here to your great readership.
Time to return to the erotic. Mildly and respectfully.
A few words about Leonard Cohen, whom I love and respect.
I am watching Leonard Cohen Live at the Isle of Wight 1970. He is a phenomenon. Sexy is too mundane a word to describe his presence. He is a magician, although that word is an empty cliche too. He looks a bit absent. I know, it was in the middle of the night. I have not seen other performance of that period. On his recent Live in London DVD (2008) and indeed it is the same man. I am certain, however, that during the 2008 concert he is quite conscious of what he does and communicates with his band. Absence then does not apply. I am less sure of that, but do have the feeling he is supremely in control on the 1970 occasion, but by way of casual magic, not by direct and open communication.
Isle of Wight was a war zone before he came on, in the grip of that great tension between organisers, longhaired still, and the audience, who demanded to be admitted free of charge, in the name of some revolution or other. He refers to that a few times and playfully, I think, mentions that they have the number but not the strength to establish their nation. I can not escape the thought that he is at once supportive and ironic, in other words above all that. But he holds them in his grip, firmly, like a magician, a sexy one at that.
The purpose of this blog entry is to air my suspicion that he has a spell on his female backup singers. An erotic spell. Listen to 'The Guests', 'Take this Waltz', 'Dance me to the end of Love' and especially 'If it be your will'. All great songs, whether I am right or wrong in the following. Forgive me, but I can only imagine the Master having severely primed his ladies before the recording. Sex is in the air. Or perhaps he merely looks at them intently during the session, constantly, or rather only sparingly, coyly. The eyes of the lady or ladies on their part will not leave the face of the Master, they adjust their posture, as if offering their breasts, extending backwards their ripe hindquarters, ready for the taking. The relation is clear, he is the Master and they follow. He is a great lover, no doubt, sensitive and full of empathy, but the initiative is his, as is the timing and choice of position - above all whether anything will happen at all and who the chosen one will be. His ladies are ready, as is so clear from the swooning, subservient tones. They do not compete, but like sisters wait for the whims of the Master. It is, to use a big. provocative word, obscene in my eyes, very mildly and respectfully so. Can anyone see this differently? Regardless, I love and respect Leonard Cohen, his ladies and the songs they sing, and everyone that loves them.
Time to return to the erotic. Mildly and respectfully.
A few words about Leonard Cohen, whom I love and respect.
I am watching Leonard Cohen Live at the Isle of Wight 1970. He is a phenomenon. Sexy is too mundane a word to describe his presence. He is a magician, although that word is an empty cliche too. He looks a bit absent. I know, it was in the middle of the night. I have not seen other performance of that period. On his recent Live in London DVD (2008) and indeed it is the same man. I am certain, however, that during the 2008 concert he is quite conscious of what he does and communicates with his band. Absence then does not apply. I am less sure of that, but do have the feeling he is supremely in control on the 1970 occasion, but by way of casual magic, not by direct and open communication.
Isle of Wight was a war zone before he came on, in the grip of that great tension between organisers, longhaired still, and the audience, who demanded to be admitted free of charge, in the name of some revolution or other. He refers to that a few times and playfully, I think, mentions that they have the number but not the strength to establish their nation. I can not escape the thought that he is at once supportive and ironic, in other words above all that. But he holds them in his grip, firmly, like a magician, a sexy one at that.
The purpose of this blog entry is to air my suspicion that he has a spell on his female backup singers. An erotic spell. Listen to 'The Guests', 'Take this Waltz', 'Dance me to the end of Love' and especially 'If it be your will'. All great songs, whether I am right or wrong in the following. Forgive me, but I can only imagine the Master having severely primed his ladies before the recording. Sex is in the air. Or perhaps he merely looks at them intently during the session, constantly, or rather only sparingly, coyly. The eyes of the lady or ladies on their part will not leave the face of the Master, they adjust their posture, as if offering their breasts, extending backwards their ripe hindquarters, ready for the taking. The relation is clear, he is the Master and they follow. He is a great lover, no doubt, sensitive and full of empathy, but the initiative is his, as is the timing and choice of position - above all whether anything will happen at all and who the chosen one will be. His ladies are ready, as is so clear from the swooning, subservient tones. They do not compete, but like sisters wait for the whims of the Master. It is, to use a big. provocative word, obscene in my eyes, very mildly and respectfully so. Can anyone see this differently? Regardless, I love and respect Leonard Cohen, his ladies and the songs they sing, and everyone that loves them.
Labels: background singer, Leonard Cohen, spells
posted by Vanna Vechian | 1:16 PM
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