Tag Archives: music

Sex with Leonard Cohen…

Okay, not literally.

I’m not so worldly-experienced to have actual carnal knowledge of Leonard Cohen himself. However, as a long-standing fan of the high priest of pathos (who did not shy away from discussing his sexcapades through his artistry in ways which ricocheted between brutal and beautiful) I do have carnal knowledge of him, of sorts. I mean, this was a dude who wrote an album called Various Positions, for crying out loud. Go figure.

Image is of Marianne Ihlen, Leonard’s muse. Taken by him in Hydra. Courtesy of Getty Images.

Leonard Cohen’s life was multifaceted, to say the least, and his body of work was vast. His life really did imitate art, or maybe it was vice versa. He began as a poet and at some point realised that in order to gain more mainstream recognition for his talents as a wordsmith, he would need to put music to it (which makes sense as song writing is modern-day poetry). It’s also very difficult for anyone born after about 1895 to make any kind of sustainable living off of being poet exclusively. That ship has long-since sailed. So he joined the ranks of the folk community, rubbing shoulders with the likes of Bob Dylan, Joni Mitchell, Paul Simon, Joan Baez, Patti Smith, and so on, and found a new platform to waft his tactile words around.

For those just tuning in (as in you’re not overly/at all familiar with Leonard Cohen), I feel it’s only fair to say now that he did actually, over the course of his expansive career, cover a whole bunch of topics other than sex. He just happens to be the only writer I’m familiar with who was/is capable of creating such elegant smut… not that I’m particularly on the look-out for that sort of content, but we live in a world where sex sells, and sex is everywhere – whether or not you happen to be getting any yourself. Which Leonard clearly was…

I’ve been toying with the idea of writing something about Leonard Cohen for a while now, as his writing is one of my own key influences, but have found myself umming and ahhing over what angle to take. Yes, I could probably bash out a pretty good biography on him from a more colourful approach than say, Wikipedia, but really where’s the fun in that? He was too free-spirited and his work too special for some little shit like me to attempt to cover its entire expanse by way of a pale WordPress blog. So I thought I’d go for angles. I may (and probably will at some point) go in for the other areas of his life that are worth documenting. This was a man who lived a very bohemian life on the Greek island of Hydra for several years during the 1960s, then a couple of decades later would forsake that hazy romantic Mediterranean lifestyle in favour of becoming a Buddhist monk in the mountains of Tibet. So it’s safe to say the content is certainly there, so ya know, watch this space.

So the first angle I agreed with myself on was his sexual expression by way of his art. And why not? Sex and art don’t necessarily equate to pornography. More like eroticism, if we have to put a label on it. Not that we need to really. It’s the 21st century, we should be able to just discuss sex for what it is, but hey-ho. I’m sure there’ll be readers accusing me of honing in on the crass angle, and bypassing his other relevant opinions in favour of smut. I’ll allow it. It was obviously an important subject to him to arguably be the spinal column that propped up his body of work.

I think it needs to be said now: I’m not naive. I know that the subject of sex in music is not exactly a rare thing. I’m aware of this. Kings of Leon wrote a song called Sex on Fire back in 2008 and it was number one for weeks and weeks. And the lyrics are not subtle. I’m also familiar with the song Closer by Nine Inch Nails, which makes Sex on Fire sound like a nursery rhyme…

But like virtually every outlet in the twentieth century – from movies to fashion, and everything in between – music was no different in the sense that it was shackled by conservative restrictions in a desperate bid to maintain an air of modesty that our Victorian ancestors would be proud of. That is, right up until around the 1950s, when artists such as Elvis Presley and even Marilyn Monroe and her musical performances in her movies were like “Hmm. You know what. Let’s see what happens when we rock the boat a little….” And what happened? America’s youth – both male and female – exploded like a (sex) bomb.

But they were still quite modest by today’s standards, and here’s why: during the first half of the twentieth century, the film industry was dominated by something called the Hays Code. I won’t go into it in full because it’s long and boring, but basically it was a set of restrictions that prohibited writers and directors from screening anything even remotely risqué. And it wasn’t even just a generic “no tits and ass” thing. It was that plus a ton of ridiculous things like ‘it is prohibited to show a toilet being flushed” or “it is prohibited to film a male and female on a bed together” – even fully clothed. It was as if the American public, up until circa 1950, were considered to be children and shouldn’t be exposed to anything that wasn’t 100% wholesome imagery, and then almost collectively, everyone said “Fuck it. We want to see toilets being flushed and we want to see Grace Kelly and Humphrey Bogart getting their jollies off together on a bed. And show us the tits and ass while you’re at it.”

Well, it was kind of the same with the music industry. After the invention of the contraceptive pill in the 1960s, the post-war kids were doing it like bunnies, scot-free, so it’s natural that while society was evolving, so was the entertainment industry. Vive la sex!

Which, timing-wise, couldn’t have worked out better for Leonard Cohen. Screw the world of poetry. The stages of Glastonbury and Coachella are where it’s at.

So what, you may or may not be asking, (if you’ve stuck with me this far) is the big deal? Like I’ve said, every Tom, Dick and Harry who can wield a guitar has warbled away about bumping uglies. No big deal. What makes this Cohen guy so special? Well. The difference between saying “I like shagging” and “The delectable, delicious, euphoric experience one savours whilst embroiled in the divine act of coitus.”

It’s all about our good friend, language.

So here I’ve devised a list of a few of Leonard’s most eyebrow-raising or cockle-warming reminiscences of sex. A karma sutra of words, if you will… and not a f-bomb in sight…

“I remember you well in the Chelsea Hotel,
you were talking so brave and so sweet.
Giving me head on the unmade bed,
while the limousines wait in the street.”

Chelsea Hotel #2

[NOTE: Those familiar with the song will undoubtedly know that it was written about his brief affair with Janis Joplin after the news hit of her untimely death, (she is a member of the famous 27 club, along with other artists who died at the age of 27, such as Kurt Cobain, Amy Winehouse, Jimi Hendrix, etc) and comes across as almost a biographical account of their sexual coupling and the emotion (or lack of) behind it. It’s neither scathing or rose-tinted. It just is what it is. The song ends with the line “I remember you well in the Chelsea Hotel, but that’s all, I don’t even think of you that often.” An icy juxtaposition of two contradictory actions.]

“I’d love to see you naked over there,
especially from the back.
Take this longing from my tongue.
Whatever useless things these hands have done.
Untie for me your hired blue gown,
Like you would do for one that you love.”

Take this Longing

“I’m aching for you, baby.
I can’t pretend I’m not.
I need to see you naked,
In your body and your thought.”

Ain’t No Cure for Love

“If you want a lover,
I’ll do anything you ask me to.”

I’m Your Man

“They opened to me urgently,
like lilies from the dead.
Behind a fine embroidery,
her nipples rose like bread.”

The Night of Santiago

“When she bends to my longing like a willow, like a fountain,
She stands in the luminous air
And the night comes on, it’s very calm
I lie in her arms and she says when I’m gone
I’ll be yours, yours for a song.”

Night Comes On

“Just dance me to the dark side of the gym
Chances are I’ll let you do almost anything
I know you’re hungry, I can hear it in your voice
And there are many parts of me to touch, you have your choice.”

Memories

“You are the naked angel in my heart
You are the woman with her legs apart.”

Paper-Thin Hotel

They make me a secret place
In there busy lives
And they take me there
They become naked in their different ways.”

Because Of

“Don’t go home with your hard-on.”

Don’t Go Home with Your Hard-On

[All words are my own, unless stated otherwise. No copyright infringement intended.]

The Blues Brothers – 40 Years On

“Jesus H. Tap-Dancing Christ, I Have Seen the Light!

Anyone who grew up in the 80s or 90s will very likely hold a torch for the 1980 classic, The Blues Brothers.
I, for one, can’t hear those three words without cracking a little smile. Those familiar with the film will know that it holds a similar die-hard cult fanbase, similar to that of the other bangers of its generation, such as The Goonies and the Back to the Future trio. The only difference is The Blues Brothers managed to hire the legendary James Brown as a fuchsia-wearing, gospel-singing priest, and Aretha Franklin as a sweary, no-nonsense café owner. Does this make it better than its box-office rivals? Yes, yes it does (in my humble opinion, anyway.)

The Blues Brothers turned 40 last week, so to celebrate, I decided to don my rose-tinted glasses (or in this case, my black wayfarers) and take a little stroll down memory lane to look at how this bonkers little movie is still relevant (and wonderful) today.

So, gosh. Where to begin?

I think with the crux of the film, which is the music. The musical performances in the film are so effin’ good, it’s unreal. As a huge music lover, (even as a wee whippersnapper, when I first saw this movie), what makes TBB stand in its own unique league is the killer musical performances that transcend the rather silly plotline (“We’re on a mission from God!”) from silly crime caper to musical velociraptor. What did it for me (and still does) is the incredible RnB guests, that range from John Lee Hooker to Ray Charles. Even a young Chaka Khan makes an appearance!

“Boys, you gotta learn not to talk to nuns that way!”

For those who like their soul and RnB music coupled with rib-tickling humour from the vintage Saturday Night Live alumni, this movie is right up your alley. For those who haven’t seen it (do, obviously. It’s currently on Netflix) the story follows Chicago brothers, Jake and Elwood Blues – two guys who love their blues music, but just can’t seem to stay out of mischief. Elwood picks Jake up from prison in his grubby, shitty 1970 Dodge Sudan, (which happens to be a former police car) of which quite literally becomes the vehicle that gets the boys both in and out of all manner of trouble.

Their first port of call is to the formidable and slightly terrifying Reverend Mother (more affectionately known to the boys as The Penguin) at the orphanage they grew up in. This visit goes hilariously awry very quickly, (cue much swearing and a tumble down the stairs whilst stuck in an old-fashioned wooden desk/chair thingy-ma-bob, that is clearly aimed at persons of 12 years and under) but not before the Penguin reveals to them that the orphanage will be closed down unless it can come up with $5000 and fast.

Challenge accepted.

They then motor over to a church, where James Brown’s character invokes the light of God Almighty himself (yep, felt bonkers writing that entire sentence) and Jake has an epiphany of getting their band back together to raise money to save the orphanage.

What ensues is a hilarious series of music-based shenanigans, including the rehiring of their old band – most of whom are more than somewhat dubious, on account of the lies, bullshit and petty con jobs that Jake and Elwood inadvertently managed to rope them into back in the day. Finally reluctantly agreeing, the guys embark on a series of gigs, which as wonderful as they are, somehow manage to piss off everyone they come across. This ranges from every state trooper in the entire Illinois area, to a group of Nazis, to Twiggy… of all people.

And everyone in between.

It’s just crackers, the entire thing. But so much fun. The film also still holds the record for the biggest car pile-up in cinematic history. It’s also up there with most amount of cocaine snorted behind the scenes, but that’s a different story for a different day.

So, where are we now, forty years later?

Well, sadly we’re sans half of the cast. Everyone from John Candy, Carrie Fisher, and Ray Charles, to most of the band themselves (including the horribly untimely death of John Belushi less than two years after the film’s release) are no longer here to enjoy all the fun and laughter that 2020 has brought us… *ahem*

Some of the political events that occur in the film still echo today, particularly the infamous “Illinois Nazis… I hate Illinois Nazis” scene, when Jake and Elwood launch their car towards a group of marching Nazis, forcing them to jump off a bridge and into a river to escape being hit. This causes a crowd of angry anti-Nazi protesters to cheer and laugh. The scene, as hilarious as it is, highlights the sad fact that white supremacy culture still lurks within our society today, but with the implication of the anti-Nazi protester mass being much larger than the white supremacists themselves, offers the feeling of general solidarity, and that love is always stronger than hate.

There is also a scene in which the boys are sat having a drink with Cab Calloway, and behind them are posters clearly depicting the faces of Martin Luther King, Malcolm X, John F. Kennedy and Bobby Kennedy, which is an obvious nod to the Civil Rights Movement. It’s moments like these that suggest, although the film is wacky, it also broods with obvious sentiments that nod towards the dark history behind blues and black Gospel music, outlining that yep, it’s nice to have fun and enjoy this music for what it is, but to also never forget where it came from.

“He broke my watch!”

The filming was by no means a smooth production. Much like Jaws, three years prior, it was marred with complications, temporarily halted by certain talented but troubled cast members (*coughs* John Belushi) and went horrendously over its budget; with producers having to beg, borrow or steal any rights they could for permission to shoot on location.

The car stunts alone are something of near-genius, given the time period. No use of CGI was implemented either. It’s just good old-fashioned filmmaking. Kooky, hilarious, and full of classic one-liners. If bucket list films are a thing, this should definitely be at the top of it.

[All words are my own and are subject to copyright, with the exception of the quotes which obviously come from the movie. Image is not mine. No copyright infringement intended.]