Cohen Song Quotes

And I'll dance with you in Vienna, I'll be wearing a river's disguise. The hyacinth wild on my shoulder my mouth on the dew of your thighs. And I'll bury my soul in a scrapbook, with the photographs there and the moss. And I'll yield to the flood of your beauty, my cheap violin and my cross.

We are not mad. We are human.We want to love, and someone must forgive us for the paths we take to love, for the paths are many and dark, and we are ardent and cruel in our journey.

A heavy burden lifted from my soul, I heard that love was out of my control.

Love is not a victory march It's a cold and it's a broken Hallelujah

My friends are gone and my hair is grey. I ache in places I used to play. And I’m crazy for love but I’m not coming on. I’m just paying my rent every day in the tower of song.

It's time that we began to laugh and cry and cry and laugh about it all again.

The sweetest little song: You go your way I'll go your way too!

Show me slowly what I only know the limits of Dance me to the end of love

Dylan and Leonard Cohen and Patti Smith, all dark, all romantic. When I say “romantic,” I mean a sensibility that sees everything, and has to express everything, and still doesn’t know what the fuck it is, it hurts that bad. It just madly tries to speak whatever it feels, and that can mean vast things. That sort of mentality can turn a sun-kissed orange into a flaming meteorite, and make it sound like that in a song.

It is in love that we are made, in love we disappear.

It’s a pity if someone… has to console himself for the wreck of his days with the notion that somehow his voice, his work embodies the deepest, most obscure, freshest, rawest oyster of reality in the unfathomable refrigerator of the heart’s ocean, but I am such a one, and there you have it.

Now suzanne takes you hand And she leads you to the river She is wearing rags and feathers From salvation army counters And the sun pours down like honey On our lady of the harbour And she shows you where to look Among the garbage and the flowers There are heroes in the seaweed There are children in the morning They are leaning out for love And they will lean that way forever While suzanne holds the mirror And you want to travel with her And you want to travel blind And you know that she will trust you For shes touched your perfect body with her mind.

DEAR DI­ARY You are greater than the Bible And the Con­fer­ence of the Birds And the Up­an­ishads All put to­geth­er You are more se­vere Than the Scrip­tures And Ham­mura­bi’s Code More dan­ger­ous than Luther’s pa­per Nailed to the Cathe­dral door You are sweet­er Than the Song of Songs Might­ier by far Than the Epic of Gil­gamesh And braver Than the Sagas of Ice­land I bow my head in grat­itude To the ones who give their lives To keep the se­cret The dai­ly se­cret Un­der lock and key Dear Di­ary I mean no dis­re­spect But you are more sub­lime Than any Sa­cred Text Some­times just a list Of my events Is holi­er than the Bill of Rights And more in­tense

There is evidence that the honoree [Leonard Cohen] might be privy to the secret of the universe, which, in case you're wondering, is simply this: everything is connected. Everything. Many, if not most, of the links are difficult to determine. The instrument, the apparatus, the focused ray that can uncover and illuminate those connections is language. And just as a sudden infatuation often will light up a person's biochemical atmosphere more pyrotechnically than any deep, abiding attachment, so an unlikely, unexpected burst of linguistic imagination will usually reveal greater truths than the most exacting scholarship. In fact. The poetic image may be the only device remotely capable of dissecting romantic passion, let alone disclosing the inherent mystical qualities of the material world. Cohen is a master of the quasi-surrealistic phrase, of the "illogical" line that speaks so directly to the unconscious that surface ambiguity is transformed into ultimate, if fleeting, comprehension: comprehension of the bewitching nuances of sex and bewildering assaults of culture. Undoubtedly, it is to his lyrical mastery that his prestigious colleagues now pay tribute. Yet, there may be something else. As various, as distinct, as rewarding as each of their expressions are, there can still be heard in their individual interpretations the distant echo of Cohen's own voice, for it is his singing voice as well as his writing pen that has spawned these songs. It is a voice raked by the claws of Cupid, a voice rubbed raw by the philosopher's stone. A voice marinated in kirschwasser, sulfur, deer musk and snow; bandaged with sackcloth from a ruined monastery; warmed by the embers left down near the river after the gypsies have gone. It is a penitent's voice, a rabbinical voice, a crust of unleavened vocal toasts -- spread with smoke and subversive wit. He has a voice like a carpet in an old hotel, like a bad itch on the hunchback of love. It is a voice meant for pronouncing the names of women -- and cataloging their sometimes hazardous charms. Nobody can say the word "naked" as nakedly as Cohen. He makes us see the markings where the pantyhose have been. Finally, the actual persona of their creator may be said to haunt these songs, although details of his private lifestyle can be only surmised. A decade ago, a teacher who called himself Shree Bhagwan Rajneesh came up with the name "Zorba the Buddha" to describe the ideal modern man: A contemplative man who maintains a strict devotional bond with cosmic energies, yet is completely at home in the physical realm. Such a man knows the value of the dharma and the value of the deutschmark, knows how much to tip a waiter in a Paris nightclub and how many times to bow in a Kyoto shrine, a man who can do business when business is necessary, allow his mind to enter a pine cone, or dance in wild abandon if moved by the tune. Refusing to shun beauty, this Zorba the Buddha finds in ripe pleasures not a contradiction but an affirmation of the spiritual self. Doesn't he sound a lot like Leonard Cohen? We have been led to picture Cohen spending his mornings meditating in Armani suits, his afternoons wrestling the muse, his evenings sitting in cafes were he eats, drinks and speaks soulfully but flirtatiously with the pretty larks of the street. Quite possibly this is a distorted portrait. The apocryphal, however, has a special kind of truth. It doesn't really matter. What matters here is that after thirty years, L. Cohen is holding court in the lobby of the whirlwind, and that giants have gathered to pay him homage. To him -- and to us -- they bring the offerings they have hammered from his iron, his lead, his nitrogen, his gold.

Blessed is the covenant of love, the covenant of mercy, useless light behind the terror, deathless song in the house of night.

I'm just waiting for the miracle to come

Then I start to struggle With a feeble song Which will overcome me Many miles from home

-You know how to call me although such a noise now would only confuse the air Neither of us can forget the steps we danced the words you stretched to call me out of dust Yes I long for you not just as a leaf for weather or vase for hands but with a narrow human longing that makes a man refuse any fields but his own I wait for you at an unexpected place in your journey like the rusted key or the feather you do not pick up.- -I WILL NEVER FIND THE FACES FOR ALL GOODBYES I'VE MADE.- For Anyone Dressed in Marble The miracle we all are waiting for is waiting till the Parthenon falls down and House of Birthdays is a house no more and fathers are unpoisoned by renown. The medals and the records of abuse can't help us on our pilgrimage to lust, but like whips certain perverts never use, compel our flesh in paralysing trust. I see an orphan, lawless and serene, standing in a corner of the sky, body something like bodies that have been, but not the scar of naming in his eye. Bred close to the ovens, he's burnt inside. Light, wind, cold, dark -- they use him like a bride. I Had It for a Moment I had it for a moment I knew why I must thank you I saw powerful governing men in black suits I saw them undressed in the arms of young mistresses the men more naked than the naked women the men crying quietly No that is not it I'm losing why I must thank you which means I'm left with pure longing How old are you Do you like your thighs I had it for a moment I had a reason for letting the picture of your mouth destroy my conversation Something on the radio the end of a Mexican song I saw the musicians getting paid they are not even surprised they knew it was only a job Now I've lost it completely A lot of people think you are beautiful How do I feel about that I have no feeling about that I had a wonderful reason for not merely courting you It was tied up with the newspapers I saw secret arrangements in high offices I saw men who loved their worldliness even though they had looked through big electric telescopes they still thought their worldliness was serious not just a hobby a taste a harmless affectation they thought the cosmos listened I was suddenly fearful one of their obscure regulations could separate us I was ready to beg for mercy Now I'm getting into humiliation I've lost why I began this I wanted to talk about your eyes I know nothing about your eyes and you've noticed how little I know I want you somewhere safe far from high offices I'll study you later So many people want to cry quietly beside you

A Kite is a Victim A kite is a victim you are sure of. You love it because it pulls gentle enough to call you master, strong enough to call you fool; because it lives like a desperate trained falcon in the high sweet air, and you can always haul it down to tame it in your drawer. A kite is a fish you have already caught in a pool where no fish come, so you play him carefully and long, and hope he won't give up, or the wind die down. A kite is the last poem you've written so you give it to the wind, but you don't let it go until someone finds you something else to do. A kite is a contract of glory that must be made with the sun, so you make friends with the field the river and the wind, then you pray the whole cold night before, under the travelling cordless moon, to make you worthy and lyric and pure. Gift You tell me that silence is nearer to peace than poems but if for my gift I brought you silence (for I know silence) you would say This is not silence this is another poem and you would hand it back to me There are some men There are some men who should have mountains to bear their names through time Grave markers are not high enough or green and sons go far away to lose the fist their father’s hand will always seem I had a friend he lived and died in mighty silence and with dignity left no book son or lover to mourn. Nor is this a mourning song but only a naming of this mountain on which I walk fragrant, dark and softly white under the pale of mist I name this mountain after him. -Believe nothing of me Except that I felt your beauty more closely than my own. I did not see any cities burn, I heard no promises of endless night, I felt your beauty more closely than my own. Promise me that I will return.- -When you call me close to tell me your body is not beautiful I want to summon the eyes and hidden mouths of stone and light and water to testify against you.- Song I almost went to bed without remembering the four white violets I put in the button-hole of your green sweater and how i kissed you then and you kissed me shy as though I'd never been your lover -Reach into the vineyard of arteries for my heart. Eat the fruit of ignorance and share with me the mist and fragrance of dying.-

Everybody knows that the dice are loaded Everybody rolls with their fingers crossed Everybody knows the war is over Everybody knows the good guys lost Everybody knows the fight was fixed The poor stay poor, the rich get rich That's how it goes Everybody knows

There’s a quote that I share every time I talk about vulnerability and perfectionism. My fixation with these words from Leonard Cohen’s song “Anthem” comes from how much comfort and hope they give me as I put “enough” into practice: “There’s a crack in everything. That’s how the light gets in.

Suzanne takes you down to her place near the river You can hear the boats go by You can spend the night beside her And you know that she's half crazy But that's why you want to be there And she feeds you tea and oranges That come all the way from China And just when you mean to tell her That you have no love to give her Then she gets you on her wavelength And she lets the river answer

You are right, Sahara. There are no mists, or veils, or distances. But the mist is surrounded by a mist; and the veil is hidden behind a veil; and the distance continually draws away from the distance. That is why there are no mists, or veils, or distances. That is why it is called The Great Distance of Mist and Veils. It is here that The Traveler becomes The Wanderer, and The Wanderer becomes The One Who Is Lost, and The One Who Is Lost becomes The Seeker, and The Seeker becomes The Passionate Lover, and The Passionate Lover becomes The Beggar, and The Beggar becomes The Wretch, and The Wretch becomes The One Who Must Be Sacrificed, and The One Who Must Be Sacrificed becomes The Resurrected One and The Resurrected One becomes The One Who has Transcended The Great Distance of Mist and Veils. Then for a thousand years, or the rest of the afternoon, such a One spins in the Blazing Fire of Changes, embodying all the transformations, one after the other, and then beginning again, and then ending again, 86,000 times a second. Then such a one, if he is a man, is ready to love the woman Sahara; and such a one, if she is a woman, is ready to love the man who can put into song The Great Distance of Mist and Veils. Is it you who are waiting, Sahara, or is it I?

We are so small between the stars, so large against the sky | and lost among these subway crowds, I try to catch your eye.

People change and their bodies change and their hair grows gray and falls out and their bodies decay and die… but there is something that doesn’t change about love and about the feelings we have for people. Marianne, the woman of So Long, Marianne, when I hear her voice on the telephone, I know something is completely intact even though our lives have separated and we’ve gone our very different paths. I feel that love never dies, and that when there is an emotion strong enough to gather a song around it, that there is something about that emotion that is indestructible…

You say I took the name in vain I don't even know the name But if I did, well, really, what's it to you? There's a blaze of light in every word It doesn't matter which you heard The holy or the broken Hallelujah Hallelujah, Hallelujah Hallelujah, Hallelujah I did my best, it wasn't much I couldn't feel, so I tried to touch I've told the truth, I didn't come to fool you And even though it all went wrong I'll stand before the Lord of Song With nothing on my tongue but Hallelujah

There are always meaningful songs for somebody. People are doing their courting, people are finding their wives, people are making babies, people are washing their dishes, people are getting through the day, with songs that we may find insignificant. But their significance is affirmed by others. There’s always someone affirming the significance of a song by taking a woman into his arms or by getting through the night. That’s what dignifies the song. Songs don’t dignify human activity. Human activity dignifies the song.

Listen to a name so private it can burn hear it said aloud and learn and learn History is a needle for putting men asleep anointed with the poison of all they want to keep Now

You have the lovers, they are nameless, their histories only for each other, and you have the room, the bed, and the windows. Pretend it is a ritual. Unfurl the bed, bury the lovers, blacken the windows, let them live in that house for a generation or two. No one dares disturb them. Visitors in the corridor tip-toe past the long closed door, they listen for sounds, for a moan, for a song: nothing is heard, not even breathing. You know they are not dead, you can feel the presence of their intense love. Your children grow up, they leave you, they have become soldiers and riders. Your mate dies after a life of service. Who knows you? Who remembers you? But in your house a ritual is in progress: It is not finished: it needs more people. One day the door is opened to the lover's chamber. The room has become a dense garden, full of colours, smells, sounds you have never known. The bed is smooth as a wafer of sunlight, in the midst of the garden it stands alone. In the bed the lovers, slowly and deliberately and silently, perform the act of love. Their eyes are closed, as tightly as if heavy coins of flesh lay on them. Their lips are bruised with new and old bruises. Her hair and his beard are hopelessly tangled. When he puts his mouth against her shoulder she is uncertain whether her shoulder has given or received the kiss. All her flesh is like a mouth. He carries his fingers along her waist and feels his own waist caressed. She holds him closer and his own arms tighten around her. She kisses the hand besider her mouth. It is his hand or her hand, it hardly matters, there are so many more kisses. You stand beside the bed, weeping with happiness, you carefully peel away the sheets from the slow-moving bodies. Your eyes filled with tears, you barely make out the lovers, As you undress you sing out, and your voice is magnificent because now you believe it is the first human voice heard in that room. The garments you let fall grow into vines. You climb into bed and recover the flesh. You close your eyes and allow them to be sewn shut. You create an embrace and fall into it. There is only one moment of pain or doubt as you wonder how many multitudes are lying beside your body, but a mouth kisses and a hand soothes the moment away.

This is it I’m not coming after you I’m going to lie down for half an hour This is it I’m not going down On your memory I’m not rubbing my face in it anymore I’m going to yawn I’m going to stretch I’m going to put a knitting needle Up my nose And poke out my brain I don’t want to love you For the rest of my life I want your skin To fall off my skin I want my clamp To release your clamp I don’t want to live With this tongue hanging out And another filthy song In the place Of my baseball bat This is it I’m going to sleep now darling Don’t try to stop me I’m going to sleep I’ll have a smooth face And I’m going to drool I’ll be asleep Whether you love me or not This is it The new world order Of wrinkles and bad breath It’s not going to be Like it was before Eating you With my eyes closed Hoping you won’t get up And go away It’s going to be something else Something worse Something sillier Something like this Only shorter

I did my best, it wasn't much I couldn't feel, so I tried to touch I've told the truth, I didn't come to fool you And even though it all went wrong I'll stand before the lord of song With nothing on my tongue but hallelujah

He was rowed down from the north in a leather skiff manned by a crew of trolls. His fur cape was caked with candle wax, his brow stained blue by wine - though the latter was seldom noticed due to the fox mask he wore at-all times. A quill in his teeth, a solitary teardrop a-squirm in his palm, he was the young poet prince of Montreal, handsome, immaculate, searching for sturdier doors to nail his poignant verses on. In Manhattan, grit drifted into his ink bottle. In Vienna, his spice box exploded. On the Greek island of Hydra, Orpheus came to him at dawn astride a transparent donkey and restrung his cheap guitar. From that moment on, he shamelessly and willingly exposed himself to the contagion of music. To the secretly religious curiosity of the traveler was added the openly foolhardy dignity of the troubadour. By the time he returned to America, songs were working in him like bees in an attic. Connoisseurs developed cravings for his nocturnal honey, despite the fact that hearts were occasionally stung. Now, thirty years later, as society staggers towards the millennium - nailing and screeching at the while, like an orangutan with a steak knife in its side - Leonard Cohen, his vision, his gift, his perseverance, are finally getting their due. It may be because he speaks to this wounded zeitgeist with particular eloquence and accuracy, it may be merely cultural time-lag, another example of the slow-to-catch-on many opening their ears belatedly to what the few have been hearing all along. In any case, the sparkle curtain has shredded, the boogie-woogie gate has rocked loose from its hinges, and here sits L. Cohen at an altar in the garden, solemnly enjoying new-found popularity and expanded respect. From the beginning, his musical peers have recognized Cohen´s ability to establish succinct analogies among life´s realities, his talent for creating intimate relationships between the interior world of longing and language and the exterior world of trains and violins. Even those performers who have neither "covered" his compositions nor been overtly influenced by them have professed to admire their artfulness: the darkly delicious melodies - aural bouquets of gardenia and thistle - that bring to mind an electrified, de-Germanized Kurt Weill; the playfully (and therefore dangerously) mournful lyrics that can peel the apple of love and the peach of lust with a knife that cuts all the way to the mystery, a layer Cole Porter just could`t expose. It is their desire to honor L. Cohen, songwriter, that has prompted a delegation of our brightest artists to climb, one by one, joss sticks smoldering, the steep and salty staircase in the Tower of Song.

[S]ongs must be measured by their utility. Any jaunty little tune that can get you from one point to another as you drive, or get you through the dishes, or that can illuminate or dignify your courting, I always appreciate. -interview, 1995

TRAVEL Loving you, flesh to flesh, I often thought Of travelling penniless to some mud throne Where a master might instruct me how to plot My life away from pain, to love alone In the bruiseless embrace of stone and lake. Lost in the fields of your hair I was never lost Enough to lose a way I had to take; Breathless beside your body I could not exhaust The will that forbid me contract, vow, Or promise, and often while you slept I looked in awe beyond your beauty.                                                                   Now I know why many men have stopped and wept Halfway between the loves they leave and seek, And wondered if travel leads them anywhere — Horizons keep the soft line of your cheek, The windy sky’s a locket for your hair.

Time really is a circle; I can see that now. We are trapped between a past we can't return to and a future that is uncertain. And it takes guts to live here, in the hard space between anticipation and realization. How quickly we believe that nothing can be new again but then, look. Another Leonard Cohen song is being sung. Hallelujah.

TAKE THIS LONGING

You finish listening to a song of Leonard's and you know he's said everything he had to say, he didn't let the song go till he was done with it.

Here's a note to the parents of addicted children: choose your music carefully. Avoid Louis Armstrong's "What a Wonderful World", from the Polaroid or Kodak or whichever commercial, and the songs "Turn Around" and "Sunrise, Sunset" and - there are thousands more. Avoid Cyndi Lauper's "Time After Time," and this one, Eric Clapton's song about his son. Leonard Cohen's "Hallelujah" sneaked up on me one time. The music doesn't have to be sentimental. Springsteen can be dangerous. John and Yoko. Bjork. Dylan. I become overwhelmed when I hear Nirvana. I want to scream like Kurt Cobain. I want to scream at him. Music isn't all that does it. There are millions of treacherous moments. Driving along Highway 1, I will see a peeling wave. Or I will reach the fork where two roads meet near Rancho Nicasio, where we veered to the left in carpool. A shooting star on a still night at the crest of Olema Hill. With friends, I hear a good joke - one that Nic would appreciate. The kids do something funny or endearing. A story. A worn sweater. A movie. Feeling wind and looking up, riding my bike. A million moments.

He was beautiful when he sat alone, he was like me, he had wide lapels, he was holding the mug in the hardest possible way so that his fingers were all twisted but still long and beautiful, he didn’t like to sit alone all the time, but this time, I swear, he didn’t care on way or the other. I’ll tell you why I like to sit alone, because I’m a sadist, that’s why we like to sit alone, because we’re the sadists who like to sit alone. He sat alone because he was beautifully dressed for the occasion and because he was not a civilian. We are the sadists you don’t have to worry about, you think, and we have no opinion on the matter of whether you have to worry about us, and we don’t even like to think about the matter because it baffles us. Maybe he doesn’t mean a thing to me any more but I think he was like me. You didn’t expect to fall in love, I said to myself and at the same time I answered gently, Do you think so? I heard you humming beautifully, your hum said that I can’t ignore you, that I’d finally come around for a number of delicious reasons that only you knew about, and here I am, Miss Blood. And you won’t come back, you won’t come back to where you left me, and that’s why you keep my number, so you don’t dial it by mistake when you’re fooling with the dial not even dialing numbers. You begin to bore us with your pain and we have decided to change your pain. You said you were happiest when you danced, you said you were happiest when you danced with me, now which do you mean? And so we changed his pain, we threw the idea of a body at him and we told him a joke, and then he thought a great deal about laughing and about the code. And he thought that she thought that he thought that she thought the worst thing a woman could do was to take a man away from his work because that made her what, ugly or beautiful? And now you’ve entered the mathematical section of your soul which you claimed you never had. I suppose that this, plus the broken heart, makes you believe that now you have a perfect right to go out and tame the sadists. He had the last line of each verse of the song but he didn’t have any of the other lines, the last line was always the same, Don’t call yourself a secret unless you mean to keep it. He thought he knew, or he actually did know too much about singing to be a singer; and if there is actually such a condition, is anybody in it, and are sadists born there? It is not a question mark, it is not an exclamation point, it is a full stop by the man who wrote Parasites of Heaven. Even if we stated our case very clearly and all those who held as we do came to our side, all of them, we would still be very few.

Don't matter if you're rich and strong Don't matter if you're weak Don't matter if you write a song The nightingales repeat Don't matter if it's nine to five Or timeless and unique You ditch your life to stay alive A thousand kisses deep

AS THE MIST LEAVES NO SCAR As the mist leaves no scar On the dark green hill, So my body leaves no scar On you, nor ever will. When wind and hawk encounter, What remains to keep? So you and I encounter, Then turn, then fall to sleep. As many nights endure Without a moon or star, So will we endure When one is gone and far.

Leonard Cohen is my patron saint. Try “Dance Me to the End of Love” or “Famous Blue Raincoat,” or pretty much anything else he’s ever written, including, of course, “Hallelujah,” his best-known song but really only the tip of the Leonard iceberg! Also: “Hinach Yafah (You Are Beautiful)” by Idan Raichel. It’s a gorgeous song of longing for the beloved, but really it’s about longing in general.

THIS IS IT This is it I’m not coming after you I’m going to lie down for half an hour This is it I’m not going down on your memory I’m not rubbing my face in it any more I’m going to yawn I’m going to stretch I’m going to put a knitting needle up my nose and poke out my brain I don’t want to love you for the rest of my life I want your skin to fall off my skin I want my clamp to release your clamp I don’t want to live with this tongue hanging out and another filthy song in the place of my baseball bat This is it I’m going to sleep now darling Don’t try to stop me I’m going to sleep I’ll have a smooth face and I’m going to drool I’ll be asleep whether you love me or not This is it The New World Order of wrinkles and bad breath It’s not going to be like it was before eating you with my eyes closed hoping you won’t get up and go away It’s going to be something else Something worse Something sillier Something like this only shorter

Hallelujah is a Hebrew word which means “Glory to the Lord.” The song explains that many kinds of hallelujahs do exist. I say all the perfect and broken hallelujahs have an equal value. It’s a desire to affirm my faith in life, not in some formal religious way, but with enthusiasm, with emotion. —Leonard Cohen Whoever listens carefully to “Hallelujah” will discover that it is a song about sex, about love, about life on earth. The hallelujah is not an homage to a worshipped person, idol, or god, but the hallelujah of the orgasm. It’s an ode to life and love. —Jeff Buckley

I wrote this next song a while ago to a great American singer who died several years ago. I used to bumb into her from time to time at hotel in New York where a lot of musicians used to come. A lot of those musicians are gone. They say the era is over. They say these are now the times of the conservative, the stable, the order. Perhaps that's true. She certainly stood for something that was beyond order and beyond chaos, beyond the radical and beyond the conservative, which is what every great singer embodies. Something that is not an argument, not a philosophy. Anyway, I wrote this song for her a long time ago.

I was looking through my dreams when I saw myself looking through my dreams looking through my dreams and so on and so forth until I was consumed in the mysterous activity of expansion and contraction breathing in and out at the same time and disappearing naturally up my own asshole i did this for 30 years but I kept coming back to let you know how bad it felt Now I'm here at the end of the song the end fo the prayer The ashes have fallen away at last exactly as they're supposed to do The chains have slowly followed the anchors to the bottom of the sea It's merely a song merely a prayer Thank you, Teachers Thank you, Everyone

Surrender” might be the most powerful word in the world, but now I’m caught between the life I know and the one I don’t. Can I just take a walk on Killiney Hill with my best friend, who happens to be my wife, and sit on that wooden seat that overlooks the bay and not check the phone to see what’s going on somewhere else in the world? Can I take in the view without having to be in it? Can I not take that call, in favor of this other call, to stillness? Is this what vision over visibility looks like now? I bow to no one in my love and respect for Leonard Cohen, but I can’t see myself following him up that mountain on his Zen retreat. I’m not sure I’m made to climb that hill. But then the drip, drip, drip. I hear the words of another Sufi, the poet Rumi. Out beyond ideas of wrongdoing and rightdoing, there is a field. I’ll meet you there. When the soul lies down in that grass, the world is too full to talk about. Maybe I’m discovering surrender doesn’t always have to follow defeat and may be all the fuller after victory. When you’ve won the argument you now understand you never needed to have. The argument with your life

• The trick to staying out of resentment is maintaining better boundaries—blaming others less and holding myself more accountable for asking for what I need and want. • There is no integrity in blaming and turning to “it’s not fair” and “I deserve.” I need to take responsibility for my own well-being. If I believed I was not being treated fairly or not getting something I deserved, was I actually asking for it, or was I just looking for an excuse to assign blame and feel self-righteous? • I am trying not to numb my discomfort for myself, because I think I’m worth the effort. It’s not something that’s happening to me—it’s something I’m choosing for myself. • This rumble taught me why self-righteousness is dangerous. Most of us buy into the myth that it’s a long fall from “I’m better than you” to “I’m not good enough”—but the truth is that these are two sides of the same coin. Both are attacks on our worthiness. We don’t compare when we’re feeling good about ourselves; we look for what’s good in others. When we practice self-compassion, we are compassionate toward others. Self-righteousness is just the armor of self-loathing. In Daring Greatly, I talk about how the lyrics of Leonard Cohen’s song “Hallelujah”—“Love is not a victory march, it’s a cold and it’s a broken hallelujah”—capture how daring greatly can feel more like freedom with a little battle fatigue than a full-on celebration. The same is true for rising strong. What

The war was lost The treaty signed I was not caught I crossed the line I was not caught Though many tried I live among you Well-disguised I had to leave My life behind I dug some graves You'll never find The story's told With facts and lies I had a name But never mind Never mind Never mind The war was lost The treaty signed There's Truth that lives And Truth that dies I don't know which So never mind (...السلام و السلام) Your victory Was so complete Some among you Thought to keep A record of Our little lives The clothes we wore Our spoons our knives The games of luck Our soldiers played The stones we cut The songs we made Our law of peace Which understands A husband leads A wife commands And all of these Expressions of the Sweet indifference Some called love The high indifference Some call fate But we had names More intimate Names so deep And names so true They're blood to me They're dust to you There is no need And this survives There's Truth that lives And Truth that dies Never mind Never mind I leave the life I left behind There's Truth that lives And Truth that dies I don't know which So never mind (...السلام و السلام) I could not kill The way you kill I could not hate I tried, I failed You turned me in At least you tried You side with them whom You despise This was your heart This swarm of flies This was once your mouth This bowl of lies You serve them well I'm not surprised You're of their kin You're of their kind Never mind Never mind I had to leave my Life behind The story's told With facts and lies You own the world So never mind Never mind Never mind I live the life I left behind I live it full I live it wide Through layers of time You can't divide My woman's here My children too Their graves are safe From ghosts like you In places deep With roots entwined I live the life I left behind The war was lost The treaty signed I was not caught Across the line I was not caught Though many tried I live among you Well-disguised

Israel, and you who call yourself Israel, the Church that calls itself Israel, and the revolt that calls itself Israel, and every nation chosen to be a nation – none of these lands is yours, all of you are thieves of holiness, all of you at war with Mercy. Who will say it? Will America say, We have stolen it, or France step down? Will Russia confess, or Poland say, We have sinned? All bloated on their scraps of destiny, all swaggering in the immunity of superstition. Ishmael, who was saved in the wilderness, and given shade in the desert, and a deadly treasure under you: has Mercy made you wise? Will Ishmael declare, We are in debt forever? Therefore the lands belong to none of you, the borders do not hold, the Law will never serve the lawless. To every people the land is given on condition. Perceived or not, there is a covenant, beyond the constitution, beyond sovereign guarantee, beyond the nation’s sweetest dreams of itself. The Covenant is broken, the condition is dishonoured, have you not noticed that the world has been taken away? You have no place, you will wander through yourselves from generation to generation without a thread. Therefore you rule over chaos, you hoist your flags with no authority, and the heart that is still alive hates you, and the remnant of Mercy is ashamed to look at you. You decompose behind your flimsy armour, your stench alarms you, your panic strikes at love. The land is not yours, the land has been taken back, your shrines fall through empty air, your tablets are quickly revised, and you bow down in hell beside your hired torturers, and still you count your battalions and crank out your marching songs. Your righteous enemy is listening. He hears your anthem full of blood and vanity, and your children singing to themselves. He has overturned the vehicle of nationhood, he has spilled the precious cargo, and every nation he has taken back. Because you are swollen with your little time. Because you do not wrestle with your angel. Because you dare to live without God. Because your cowardice has led you to believe that the victor does not limp.

Live Songs, he said, represented “a very confused and

Trained as a classical pianist, she was often called a jazz singer, but it was a label she deeply resented, seeing in it only a racial classification. She grudgingly accepted the popular nickname “the High Priestess of Soul” but gave it little significance. If anything, she claimed, she was a folk singer, and her dazzling, unpredictable repertoire—Israeli folk tunes, compositions by Bertolt Brecht and Kurt Weill, songs by the Bee Gees and Leonard Cohen and George Harrison, traditional ballads, jazz standards, spirituals, children’s songs—is perhaps unmatched in its range.

There was one song on the album I found with Michelle that I had never heard before. It has piqued my fancy like it was a secret message, like it had been written the day before I purchased the album. It’s called Winter Lady.

One million candles burning for the help that never came

Needless to say, the song ["Hallelujah"] was now a climax in every show [of the 2009 Leonard Cohen tour], received like holy scripture. It belonged in a category with seeing Bob Dylan sing "Like a Rolling Stone" or watching Bruce Springsteen perform "Born to Run"—it was an event that people simply wanted to witness, to say they had seen. It took on a power that had to do with the song's history first, its feeling second, and its details hardly at all. Every performance carried with it a sense of where this song had been, who had sung it,where and how every listener had first encountered it; it had reached a place where it was something to be experienced, rather than listened to.

There’s no arguing with a song that writes itself.

On the Saturday after the election, I turned on Saturday Night Live and watched Kate McKinnon open the show with her impression of me one more time. She sat at a grand piano and played “Hallelujah,” the hauntingly beautiful song by Leonard Cohen, who had died a few days before. As she sang, it seemed like she was fighting back tears. Listening, so was I. I did my best, it wasn’t much, I couldn’t feel, so I tried to touch I’ve told the truth, I didn’t come to fool you And even though it all went wrong I’ll stand before the lord of song With nothing on my tongue but hallelujah. At the end, Kate-as-Hillary turned to the camera and said, “I’m not giving up and neither should you.

Time really is a circle; I can see that now. We are trapped between a past we can't return to and a future that is uncertain. And it takes guts to live here, in the hard space between anticipation and realization. How quickly we believe that nothing can be new again but then, look. Another Leonard Cohen song is being sung. Hallelujah.

Do you know what Leonard Cohen said about love songs? … He said: ‘Children show scars like medals. A scar is what happens when the world is made flesh.

[A relaxed body is more protected from damage.] There is a Daoist saying, "When a child or a drunk falls from a carriage, their bones don't break." This is because they are embodying the qigong principle of song relaxation, and so are able to adapt to the ground as they fall.

It’s a rather joyous song,” Cohen said when Various Positions was released. “I like very much the last verse—‘And even though it all went wrong, / I’ll stand before the Lord of Song / with nothing on my lips but Hallelujah!

Though most cultural observers hadn't noticed it yet, everything was now in place for "Hallelujah" to sweep through the pop landscape. It was a song that had multiple strong, emotional connections with millions of listeners. Its mood was both fixed and malleable, universal and specific. It was familiar enough to resonate, obscure enough to remain cool. Though its most celebrated performer was gone forever, its mysterious creator had come back to the spotlight just in time. After 2001, whether it signified an individual's solitude (human or monster or otherwise) or a population in mourning, "Hallelujah"—now far removed from Leonard Cohen's initial," rather joyous" intent—was established as the definitive representation of sadness for a new generation.

it's closing time

Get Inspired: Most of us are trying to live an authentic life. Deep down, we want to take off our game face and be real and imperfect. There is a line from Leonard Cohen’s song “Anthem” that serves as a reminder to me when I get into that place where I’m trying to control everything and make it perfect.6 The line is, “There is a crack in everything. That’s how the light gets in.” So many of us run around spackling all of the cracks, trying to make everything look just right. This line helps me remember the beauty of the cracks (and the messy house and the imperfect manuscript and the too-tight jeans). It reminds me that our imperfections are not inadequacies; they are reminders that we’re all in this together. Imperfectly, but together.

Do you know that old song by Leonard Cohen, Hallelujah?

SIT IN A CHAIR AND KEEP still. Let the dancer’s shoulders emerge from your shoulders, the dancer’s chest from your chest, the dancer’s loins from your loins, the dancer’s hips and thighs from yours; and from your silence the throat that makes a sound, and from your bafflement a clear song to which the dancer moves, and let him serve God in beauty.

Much of the genre pretty much sounds like popular acoustic songs you'd hear on mainstream radio. The only difference here is that the front man, instead of singing "I love her," switches the words to "I love him," referring to Jesus. Which ends up sounding just a tad gay. That irony is apparently lost on this spiritual set.

The foundation of qigong is song, relaxation and tranquillity.

When I think about Moe, I think about a line from a Leonard Cohen song: “There’s a crack in the world, that’s how the light gets in.” Moe represents a crack. By being in the world, he let some light in. People laughed at me because I made it look so easy.

Gabby’s theme Song: “Bloodstream” by Ed Sheeran Lucas’ theme Song: “Making Love out of Nothing at All” by Air Supply Karen and her family’s theme song: “Photograph” by Ed Sheeran Killer’s theme songs: “Bandito” by Twenty One Pilots and “I Don’t Care Anymore” by HELLYEAH. Other important songs I basically play on repeat as I work: “Neon Gravestones” by Twenty One Pilots  “Heathens” by Twenty One Pilots “Getting Away With It” by James “The Girl You Think I Am” by Carrie Underwood “Waiting for the Miracle” by Leonard Cohen “You Want it Darker” by Leonard Cohen

If I knew where the good songs were, I’d go there more often. It’s a mysterious condition. It’s much like the life of a Catholic nun. You’re married to a mystery.

Andy Cohen: She followed in the footsteps of our other Housewives and did a song next, naturally. The more songs the better, as far as I’m concerned. It’s theater of the absurd.

I've only ever been loved like a Top 40 song- the latest hit, the hot new thing. Something fleeting, bubbly and fun; nothing serious. But just once, I'd like to be loved like a poignant, timeless ballad. With a melody that moves you and lyrics that burrow deep in your heart. Like Leonard Cohen's "Suzanne" or "Something" by the Beatles or "Speak Now" by Taylor Swift. But that never seems to happen.

But when I asked if she was behind 'You Can't Always Get What You Want,' she said, 'Absolutely. That's my song. Every time I hear it, I'm right back with Mick in the flat. Music can't tell time.

As long ago as the early 1980s, a UK government poster depicted a human being as a 2,048,000 kilobyte memory. (That’s only two megabytes – about one song on an iPod – but at the time it sounded a lot!)

Leonard (Cohen) never broke my heart, but his songs have, every time I sing or hear one of them. As Leonard says, “There is a crack in everything; that’s how the light gets in.

I have always had a soft spot for Canadian writers. There is something expansive and yet intimate about their songs, broad as the northwestern plains and as comfortable as having a cup of coffee out on a pinewood porch with a friend. From Ed McCurdy to Gordon Lightfoot and Leonard Cohen, from Joni Mitchell to Ian and Sylvia Tyson, hearing their songs is hearing the truth. And, as the man says, “when you’ve heard the truth, the rest is just cheap whiskey.

If I knew where the good songs came from, I’d go there more often. It’s a mysterious condition. It’s much like the life of a Catholic nun. You’re married to a mystery.

See how everything is vibrating around, the wind, the sun, a bird song , I close my eyes just before my morning readings , I leave the third one open, wide open.

In the song “Hallelujah,” Leonard Cohen writes, “Love is not a victory march, it’s a cold and it’s a broken hallelujah.” Love is a form of vulnerability and if you replace the word love with vulnerability in that line, it’s just as true.

I love Leonard Cohen, but he's not the guy you want on in the background when you're working or whatever." "Brilliant. I've studied his poetry, of course, but never heard him sing." "My mom loved him. She had a taste for dark themes, sad music- all that regret, you know- and Cohen has this great, deep voice, rumbly, raw, but it's the words that make his songs. He was such an old, old soul, especially about relationships.

Leonard Cohen’s song “Anthem” comes from how much comfort and hope they give me as I put “enough” into practice: “There’s a crack in everything. That’s how the light gets in.

Imogen recalled a line from a Leonard Cohen song and something within her cracked a little, willing to let the light in.

Sit in a chair and keep still. Let the dancer's shoulders emerge from your shoulders, the dancer's chest from your chest, the dancer's loins from your loins, the dancer's hips and thighs from yours; and from your silence the throat that makes a sound, and from your bafflement a clear song to which the dancer moves...