Tag: leonard-cohen

  • Democracy and the USA – Leonard Cohen

    The fall of the Berlin Wall in 1989 was perceived by many as a beginning of a new era, optimistic and full of joy. At the time is seemed that the influence of the US and western European countries was expanding, and nothing could stop it. Many thought the world is gradually advancing to a better future. Only some – Leonard Cohen among them – expressed concern regarding this very extensive historical process, arguing the promoting democratic values is a slow complex process, more complicated than simply establishing a democracy.

    Leonard Cohen began writing “Democracy” after the fall of the Wall. Many notebooks were filled with lines and rhymes, words crossed out time and again, there were more than fifty version of the song until he was happy with the final one, released on 1992. The song is an epitome of his perception of American culture and the way it metes out democracy. It is an intricate puzzle of serious historical observations and ironic references to sentences often heard in the US.

    The leitmotif is rather surprising: “democracy is coming to the USA.” We tend to think of the US as a source of inspiration for other countries; it is often referred to as the most prominent democracy on earth. But in the first line we are astonished to learn that democracy is penetrating into the US from holes in the air and in the walls, from the demonstrations in Tiananmen Square. Yet a couple of lines later we realize that Cohen is referring to places within the US (like Chevrolet workers) as sources of democratic ideas “coming” to America. So where exactly is the US and where are the democratic ideas coming from?

    If we follow the logic of the song we find that the US is essentially a concept, an idea, a place not defined by its geographic borders but by its fundamental values. I think the events of the last couple of months truly affirm this view: It is not the physical border of the US that is important but the American way of life. In an interview after the song had been released Leonard Cohen said, “It is a song where there’s no inside and no outside. This is just the life of the democracy.” And what is the US? “A lab of democracy,” a place where democratic ideas are truly tested. Democracy is not a steady state but a process, an infinite examination of ideas like equality, freedom, opportunities. The song compares the US to a sailing ship, which must be vigilant against greed and hate.

    From here Cohen attempts to define American culture. He first affirms America’s religious roots. “The Sermon on the Mount” is his point of departure, after which he provides a fascinating depiction of life in the US. Democracy, he argues, is not self-evident; it is acquired with effort, pain, it emerges “from the sorrow in the streets,” from inter-racial tension, from women kneeling down suffering, from a struggle about who would serve and who would eat – the song is full of descriptions of people in agony. Cohen’s US is not a tranquil wealthy place, a country in which human rights are secured. It is a country in which a constant battle is taking place, “the cradle of the best and of the worst,” where people can achieve the best and fall into deepest darkness.

    His observations of American individualism are especially interesting. The spirit that drives people to achieve their goals also pushes them away from one another. “It’s here they got the spiritual thirst,” he says, but then he connects self-fulfillment with the breaking of the family, “It’s here the family’s broken.” In an ironic tone he elaborated on the loneliness so typical of life in the US, along with a denial of its source, “and it’s here the lonely say that their heart has got to open in a fundamental way.” Clearly loneliness is not a result of the lack of openness; it is a mechanism of denial, unwillingness to admit that there is a link between extreme individualism and loneliness. And though the American spirit has a pronounced sexual character, sensual and passionate, ultimately people are alone.

    In the last stanza Cohen seems to break life in the US into the smallest components, almost into the physical material it is made of. “And I’m neither right nor left, I’m just staying home tonight, getting lost in that hopeless little screen.” This is a reduction of high principles into a very simple, uncomplicated life. Many American are not concerned with politics or the fundamental principles of democracy; they completely withdraw into their private space, watching TV for hours. But the strong determined spirit of America is also embedded in these people, who seem so detached from the public sphere, they are “like a garbage bag that time cannot decay.”

    There’s nothing like this metaphor to express a big idea with a small object: not passionate speeches on the American spirit, not the American bald eagle or the hand on the heart while singing the national anthem – but a disposable garbage bag; it is man-made, lacks any elegance or grace, but endures forever.

    Democracy/Leonard Cohen

    It’s coming through a hole in the air,
    From those nights in Tiananmen Square.
    It’s coming from the feel
    That this ain’t exactly real,
    Or it’s real, but it ain’t exactly there.
    From the wars against disorder,
    From the sirens night and day,
    From the fires of the homeless,
    From the ashes of the gay:
    Democracy is coming to the U.S.A.

    It’s coming through a crack in the wall
    On a visionary flood of alcohol
    From the staggering account
    Of the Sermon on the Mount
    Which I don’t pretend to understand at all.
    It’s coming from the silence
    On the dock of the bay,
    From the brave, the bold, the battered
    Heart of Chevrolet
    Democracy is coming to the U.S.A.

    It’s coming from the sorrow in the street,
    The holy places where the races meet
    From the homicidal bitchin’
    That goes down in every kitchen
    To determine who will serve and who will eat.
    From the wells of disappointment
    Where the women kneel to pray
    For the grace of God in the desert here
    And the desert far away:
    Democracy is coming to the U.S.A.

    Sail on, sail on
    O mighty Ship of State!
    To the Shores of Need
    Past the Reefs of Greed
    Through the Squalls of Hate
    Sail on, sail on, sail on, sail on.

    It’s coming to America first,
    The cradle of the best and of the worst.
    It’s here they got the range
    And the machinery for change
    And it’s here they got the spiritual thirst.
    It’s here the family’s broken
    And it’s here the lonely say
    That the heart has got to open
    In a fundamental way:
    Democracy is coming to the U.S.A.

    It’s coming from the women and the men.
    O baby, we’ll be making love again.
    We’ll be going down so deep
    The river’s going to weep,
    And the mountain’s going to shout Amen!
    It’s coming like the tidal flood
    Beneath the lunar sway,
    Imperial, mysterious,
    In amorous array
    Democracy is coming to the U.S.A.

    Sail on, sail on

    I’m sentimental, if you know what I mean
    I love the country but I can’t stand the scene.
    And I’m neither left or right
    I’m just staying home tonight,
    Getting lost in that hopeless little screen.
    But I’m stubborn as those garbage bags
    That Time cannot decay,
    I’m junk but I’m still holding up
    This little wild bouquet
    Democracy is coming to the U.S.A.

  • When Facing God – Leonard Cohen

    [Originaly published on September 23rd 2016, two months before Leonard Cohen had passed away]

    On his eighty-second birthday, Leonard Cohen released, “You Want It Darker”—a somber reflective song on the perception of God and the inner world of the believer. Cohen is a Canadian Jew who leads a secular lifestyle. However, his entire body of work is related closely to Judaism. He often embeds biblical motifs in his songs, and some poems reflect a deep connection with Israel. He also incorporates Christian imagery in his songs.

    Now, at eighty-two, Cohen is contemplating death. After a long and successful career, he dares to look forward into the passage to “the other world.” This reflection on his mortality is really a dialogue with God. The feeling that death is close creates an affinity with the Almighty and makes Him a partner in conversation, although it is, of course, a monolog without answers.

    The lyrics consist of two fundamental elements: Cohen’s open and explicit accusations of God, and then his calling to God: I am ready, my Lord, “Hineni” (biblical Hebrew for: “Here I am.” Bible for Jews, Old Testament for Christians).

    In the first part, Cohen articulates a profound philosophical argument: God is the cause of endless suffering, and horrible crimes were committed in His name. However, this is not the statement of an atheist, a non-believer. He is not saying that ­­­if religion didn’t exist, the world would have been a better place. That he is having a conversation with God illustrates a belief in His existence.

    He then argues that God Himself has made human existence difficult and painful. “You want it darker,” he says to God time and again, suggesting that God does not want human life to be happy and fulfilling, but rather sad and agonizing. This argument, as paradoxical and anti-religious at it may appear, was also put forward by the great Christian writer, Fyodor Dostoevsky. A naïve believer may think that God is the source of all that is good, and that eventually, His power will overcome evil. But God himself is also the source of human misery. We came into this world not to rejoice, but to suffer. God made this happen; we “killed the flame.” Salvation cannot be found in this life, but only in another world. “It is written in the scripture,” he concludes; if you read the bible, you will see that God never promised worldly happiness.

    From this perspective, Cohen juxtaposes man and God. “If you are the dealer, I’m out of this game/If you are the healer, it means I’m broken and lame.” Because the omnipotent God is not the source of good, He is not an ideal one should strive to emulate. The provocative tone is clear: if You (God) are the emblem of good, I would rather be bad. If God is the source of so much evil, I would rather be on the side of the sinners and wrongdoers.

    However, as harsh and daring as these words directed to God, they are put in perspective by the other element of the song: “Hineni,” “I’m ready, my Lord.” Hineni denotes a highlighted presence, used either by God before proclaiming action, or by men who are approached by God. In the binding of Isaac, Abraham says to God, “Hineni.” When God appeared in Jacob’s dream, he quickly said, “Hineni.” Moses saw God in the burning bush and cried, “Hineni.” Samuel the prophet told God, “Hineni,” and so on. Facing an omnipotent God, biblical protagonists often said “Hineni” to denote full obedience, to demonstrate the negation of their own desires and thoughts when facing the Almighty.

    The magic of the song is the interweaving of two disparate states of mind: one is that of a bitter believer, asserting that the anticipation of divine help and love ended in utter disappointment: “A million candles burning for the help that never came,” or “… for the love that never came.” Another is that of a profound believer, one who lacks doubt and hostility, and anticipates his death, which he envisages in purely religious terms: to die is to be taken by God. The ambivalent state of mind is also reflected in the music: part modern and rhythmic, part Jewish cantorial singing. If we are to speculate which part is more substantial, the song ends with cantor Gideon Zelermyer and a synagogue choir singing.

    Perhaps future historians will examine this song to understand our era. They may conclude that, despite the very modern and secular appearance of western civilization, the religious past was still very much alive, in particular when people were facing questions of life and death.

    You Want It Darker / Leonard Cohen

    If you are the dealer, I’m out of the game

    If you are the healer, it means I’m broken and lame

    It thine is the glory then mine must be the shame

    You want it darker

    We kill the flame

    Magnified, sanctified, be the holy name

    Vilified, crucified, in the human frame

    A million candles burning for the help that never came

    You want it darker

    Hineni, hineni,

    I’m ready, my lord

    There’s a lover in the story

    But the story’s still the same

    There’s a lullaby for suffering

    And a paradox to blame

    But it’s written in the scriptures

    And it’s not some idle claim

    You want it darker

    We kill the flame

    They’re lining up the prisoners

    And the guards are taking aim

    I struggled with some demons

    They were middle class and tame

    I didn’t know I had permission to murder and to maim

    You want it darker

    Hineni, hineni

    I’m ready, my lord

    Magnified, sanctified, be the holy name

    Vilified, crucified, in the human frame

    A million candles burning for the love that never came

    You want it darker

    We kill the flame

    If you are the dealer, let me out of the game

    If you are the healer, I’m broken and lame

    If thine is the glory, mine must be shame

    You want it darker

    Hineni, hineni

    Hineni, hineni

    I’m ready, my lord

    [Cantor Gideon Zelermyer]

    Hineni

    Hineni, hineni

    Hineni