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6 episodes with Famous Blue Raincoat
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2 episodes with Famous Blue Raincoat
4 episodes with Famous Blue Raincoat
2 episodes with Famous Blue Raincoat
Artist. Poet. Friend. This week, we celebrate the music, life, and legacy of Leonard Cohen with someone who knew him well - Perla Batalla. Grammy-nominated Singer/songwriter Perla Batalla first came to prominence as a backing singer for Leonard Cohen during his 1988 I'm Your Man tour and on the 1992 album The Future, in the process forging a deep friendship. With Cohen's encouragement, Perla stepped out as an artist in her own right, releasing a beautifully diverse range of magnificent albums such as Mestiza and Discoteca Batalla, performing at the world's best venues, co-writing and appearing in two one-woman shows, honored by UN and Focus on the Masters. But she has always kept the words and works of Leonard Cohen close to her heart. Her latest album, A Letter to Leonard Cohen: Tribute to a Friend, is her second album of her unique interpretations of Cohen's music, following 2005's Bird on the Wire. It was released the day before what would have been his 90th birthday. Leonard Norman Cohen was born in Quebec on September 21, 1934. Spending the latter part of the ‘50s and first half of the ‘60s as a published poet and author, he shifted his focus to songwriting. From 1967 to 1971, he established himself as a major musical talent with the trilogy of classic albums Songs of Leonard Cohen, Songs from a Room, and Songs of Love and Hate, as well as interpretations by the likes of Judy Collins, Nina Simone, Joe Cocker, and Roberta Flack. He would continue to record and tour sporadically throughout the ‘70s and early ‘80s to widespread acclaim and with some commercial success in Europe. In the late ‘80s & early ‘90s, Cohen gained a new underground audience through his two synth-driven productions, I'm Your Man and The Future, prominent soundtrack placements, a beloved album of interpretations by Jennifer Warnes, Famous Blue Raincoat, and the 1991 high profile tribute album, I'm Your Fan, where a who's who of alternative music disciples like REM, Ian McCulloch, Pixies, James, The House of Love, Robert Forster, Nick Cave, and John Cale paid their respects to the man. The latter artist, John Cale, performed a breathtaking piano version of a song from 1984's Various Positions called “Hallelujah,” in an arrangement that would be borrowed and transcribed to guitar by Jeff Buckley a few years later, which further elevated Leonard Cohen's already mythical status. After spending the latter half of the ‘90s in a monastery as an ordained Buddhist monk, Leonard Cohen returned in the twenty first century to finish what he started, adding six additional studio albums to his catalogue, including the album released weeks before his November 7, 2016 death, You Want It Darker, and the posthumous followup completed by his son Adam, 2019's Thanks For The Dance, as well as multiple live albums, both archival and contemporary. He was inducted into the Rock and Roll Hall of Fame in 2008. Learn more about your ad choices. Visit megaphone.fm/adchoices
While The FBR is now a sextet that includes guitarist Evan Opitz, keyboardist Brandon Mordecai, bassist C.J. Singer and former Goo Goo Dolls drummer Mike Malinin, it started with McConaha and Hunter performing as a duo. They met at an open-mike night in 2014 at what was then known as Puckett's Grocery and Restaurant in Leipers Fork, a small rural community 30 minutes southwest of Nashville popular with songwriters and musicians. It was during a period of time when McConaha had discovered the music of Leonard Cohen, who had lived in Leipers Fork himself in the late '60s and early '70s.The group takes its name from another song by Cohen, “Famous Blue Raincoat,” which he recorded in Nashville in September 1970, and that is what the duo began calling themselves after Cohen passed before later shortening it to “The FBR.”One might expect a group named after a Leonard Cohen song to be a folk act or maybe folk-rock, but that's not the case with The FBR. Decades ago, they would have been considered Southern rock, and that's still not a bad description of their music because it's essentially gospel-flavored blues rock with a little boogie on the side. The FBR may work some classic musical territory, but that's not to suggest they're retro. The music on Ghost has a timeless and authentic quality that transcends its roots and gives it a powerful relevance in the postmodern musical landscape.At the heart of The FBR's sound is McConaha's enchanting and soulful voice, which can go from a whisper to a roar. In what seems like a contradiction, her voice is both familiar and different. But despite her obvious vocal gifts, she didn't move to Nashville to be a singer.McConaha also counts Emmylou Harris, Robert Plant, Lucinda Williams, Adele and Amy Winehouse among other vocalists who influenced her. Some have compared McConaha to Maria Muldaur of “Midnight at the Oasis” fame, and their voices do have a similar flowing and sensual quality. On Ghost, the power and allure of her voice is on full display.Work on the album began in 2019 with co-producer Matt Sepanic, and those sessions, which featured backing from studio musicians, yielded three songs — “Rain On,” “Still On The Run” and the album opener and first single, “Before I Drown.” Six other songs, including the next two singles — “Empty Room” and a mashup of a pair of traditional numbers “Hurricane”/“House of the Rising Sun,” which has become a showstopper in their live performances — were recorded with their band in June 2022. “Skies of Donegal Blue,” which features just McConaha and Hunter and provides a glimpse into what they sounded like as a duo, was cut in California in spring 2023 with producer Jim Scott, who also mixed the album.https://www.fbrmusic.com/https://www.instagram.com/thefbr_music/?hl=enhttps://www.facebook.com/theFBRmusic/https://www.youtube.com/@thefbrband?app=desktopHost - Trey MitchellIG - treymitchellphotography IG - feeding_the_senses_unsensoredFB - facebook.com/profile.php?id=100074368084848Threads - www.threads.net/@treymitchellphotographySponsorship Information - ftsunashville@gmail.com
It's football season, so we're talking football movies. Four of them, to be exact: The Best of Times, All the Right Moves, Wildcats, and The Program. Hard hitting cinematic gridiron... We also yell about the remake of Speak No Evil. Also, Jennifer Warnes did, in fact, sing a rendition of Leonard Cohen's Famous Blue Raincoat. Keep in touch and read more at whydoesthewilhelmscream.com on instagram and threads @whydoesthewilhelmpod Find out more about upcoming Fort Worth Film Club screenings and events at fortworthfilmclub.com and @fortworthfilm Support the next generation of film lovers at reelhousefoundation.org and on facebook reelhousefoundation Artwork by @_mosla_
Forgiveness ~ Famous Blue Raincoat (6 March 1994 - London, ENG)
La storica condanna di Donald Trump, raccontata da dentro l'aula del tribunale. Con Marina Catucci, corrispondente del Manifesto dagli Stati Uniti. – Elettorale Americana, la rubrica multimediale del Manifesto sulle elezioni – Segui il liveblog di Da Costa a Costa, aggiornato tutti i giorni con quello che succede negli Stati Uniti Questo e gli altri podcast gratuiti del Post sono possibili grazie a chi si abbona al Post e ne sostiene il lavoro. Se vuoi fare la tua parte, abbonati al Post. I consigli di Marina Catucci – Il film "Blue in the Face" – "Manhattan Transfer" di John Dos Passos – La canzone "Famous Blue Raincoat" di Leonard Cohen Learn more about your ad choices. Visit megaphone.fm/adchoices
L'argomento che affronta Cohen, reale o fittizio che sia, riguarda la possibilità di perdonare un amico che ci ha fatto del male. perché l'affetto fa fatica a svanire, nonostante un tradimento.Audioascolto:L'incanto fonico della Poesia - dialogo con Mariangela Gualtieri sull'importanza del suono e del silenzio, di come sia importante per i poeti il suono della voce, così tanto che un microfono e un amplificatore sono doni degli dèi che risvegliano l'essenza divina del suono. Lettura: Consiglio vivamente il libro di Michele Mari “Cento poesie d'amore a Ladyhawke" di cui vi abbiamo regalato un assaggio stasera. il suo linguaggio poetico , la cura della parola e le citazioni colte e pop rendono l'intero canzoniere godibilissimo, seppur lirico.
1. Body and Soul (19 June 2007 - Warsaw, POL) 2. Not David Bowie (28 November 2007 - Denver, CO) 3. Cornflake Girl (2 August 1998 - Springfield, MA) 4. Hotel (6 October 1998 - Tulsa, OK) 5. Don't Make Me Come to Vegas (19 July 2023 - Mesa, AZ) 6. Flavor (29 July 2009 - Miami, FL) 7. Spring Haze (6 October 1999 - Portland, OR) 8. Ocean to Ocean (17 July 2023 - Omaha, NE) 9. Rattlesnakes (8 November 2001 - Vancouver, BC) 10. Famous Blue Raincoat (6 October 2017 - Glasgow, SCO) 11. Enjoy the Silence (26 May 2022 - Ann Arbor, MI) 12. Landslide (11 June 1996 - Ames, IA) 13. China (13 July 2009 - Oakland, CA) 14. Talula (22 August 1998 - Fort Lauderdale, FL) 15. Mary (18 April 2003 - Santa Barbara, CA) 16. Marys of the Sea (13 August 2009 - NYC, NY) 17. God (7 June 2007 - Munich, GER) 18. Precious Things (22 August 2003 - Holmdel, NJ) 19. Original Sensuality (2 June 2005 - Wolverhampton, ENG) 20. Sister Named Desire (23 July 2023 - San Diego, CA) 21. Gold Dust (12 November 2002 - Fairfax, VA) 22. Winter (7 November 1994 - Quebec City, MON) 23. Snow Cherries From France (8 September 2005 - Woodinville, WA)
An Officer and a Boomerman ~ Robert Kasprzycki - Famous Blue Raincoat
“First Voices Radio” is digging into our archive to share two conversations from last year. In the first half-hour, Tiokasin talks with Eda Zavala Lopez, a direct descendant of the Wari people of Peru. She inherited ancient traditions and profound knowledge related to plants, spirits and magical storytelling from her ancestors. Eda is dedicated to Amazonian Indigenous healing practices by leading ceremonies with medicinal plants, practicing ancient ways of healing knowledge and empowering her people in preserving their sacred territories. As a Curandera, Eda directly uses the power of medicinal plants to help heal people emotionally and spirituality, especially women. As a spiritual leader in her village, she is deeply committed to Indigenous Peruvian people in defending their sacred territories and protecting their lands. Find out about Eda at http://www.edazavalalopez.com/. In the second half-hour, Tiokasin's guest is Oqwilowgwa Kim Recalma-Clutesi of the Qualicum First Nation, British Columbia, Canada. Oqwilowgwa is a cross-cultural interpreter, teacher, researcher and writer on topics of ethnobiology and tribal history. She is also a nonprofit director, political organizer, and award-winning videographer and film producer. Production Credits: Tiokasin Ghosthorse (Lakota), Host and Executive Producer Liz Hill (Red Lake Ojibwe), Producer Karen Ramirez (Mayan), Studio Engineer, Radio Kingston Tiokasin Ghosthorse, Audio Editor Kevin Richardson, Podcast Editor Music Selections: 1. Song Title: Tahi Roots Mix (First Voices Radio Theme Song) Artist: Moana and the Moa Hunters Album: Tahi (1993) Label: Southside Records (Australia and New Zealand) (00:00:22) 2. Song Title: Renegade Artist: Dylan LeBlanc Album: Renegade (2019) Label: ATO Records (00:24:45) 3. Song Title: *First We Take Manhattan Artist: Jennifer Warnes (featuring Stevie Ray Vaughan) Album: Famous Blue Raincoat 20th Anniversary Edition (Digitally Remastered) (1986) Label: Porch Light LLC (*Note: "First We Take Manhattan" is a song written by Canadian singer-songwriter Leonard Cohen. It was originally recorded by American singer Jennifer Warnes on her 1986 Cohen tribute album Famous Blue Raincoat, which consisted entirely of songs written or co-written by Cohen. Backed up by Stevie Ray Vaughan who was Chickasaw for those of you who didn't know that.) (00:53:15) AKANTU INTELLIGENCE Visit Akantu Intelligence, an institute that Tiokasin founded with a mission of contextualizing original wisdom for troubled times. Go to https://akantuintelligence.org to find out more and consider joining his Patreon page at https://www.patreon.com/Ghosthorse
Everyone has heard of Leonard Cohen, but not so many know much about him. With this episode, we look to give you a taste of Mr Cohen – his views on life, women and songwriting; his extraordinary influence on modern songwriting; his legacy, and, of course, “Hallelujah”! A world that never had Leonard Cohen in it would be a much lesser place indeed. Jeff gives us his holiday report on a visit to the only Museum in the world dedicated to penises, whose prime exhibit is a plaster cast of Jimi Hendrix' tackle. (It's true!!) We give an update on our Ed Kuepper episode, with a report on his live concert in Sydney in September, which was fantastic! We take a quick look at a few of the icons we've lost so far this year including Tom Verlaine (Television), Burt Bacharach, Andy Rourke (The Smiths), Francis Monkman (Sky, 801), and Sinead O'Connor. In honour of Sinead, our Album You Must Hear Before You Die is her “I Do Not Want What I Haven't Got” (1990), which we both agree is an absolute cracker of an album. Haven't heard it? The link is in the show notes. References: Iceland, Icelandic Phallological Museum, Jimi Hendrix' penis, Cynthia Albritton, Cynthia Plaster Caster, Ed Kuepper, Steve Harwell, Smash Mouth, Tom Verlaine, Television, Burt Bacharach, Tim Bachman, Cliff Fish, Paper Lace, Gordon Lightfoot, Andy Rourke, Francis Monkman, 801, Tina Turner, Tony Bennett, Sinead O'Connor, Rodrigeuz, Robbie Robertson, Jimmy Buffett, Globite store Sydney Airport, “1001 Albums You Must Hear before You Die”, Robert Dimery, I Do Not Want What I Haven't Got, “Nothing Compares to You”, The Young Ones, Alexei Sayle, Tom Waits, “There's a crack in everything / That's how the light gets in”, “The Future”, Bill Clinton, Hillary Clinton, Janis Joplin, Kris Kristofferson, “Chelsea Hotel #2”, “Tower of Song”, "Famous Blue Raincoat", "Everybody Knows", Concrete Blonde, “Bird on a Wire”, Willie Nelson, “Hallelujah” ___________________________________ Other References This episode's playlist I'm Your Man - Leonard Cohen Songs of Love and Hate - Leonard Cohen I Do Not Want What I Haven't Got - Sinead O'Connor Rare on Air - Amazon - Tori Amos/Leonard Cohen spoken word intro Rare on Air Vol 1 – all songs Ed Kuepper – Live Song List 21 Sep 23 Ed Kuepper - Live Sep 2023 The Young Ones – Leonard Cohen vampire reference YouTube Links Bon Jovi Hallelujah - O2 Arena June 24th 07
Last month, we sat down with journalist and author Matti Friedman in a Jerusalem studio to talk about Leonard Cohen, the Israel-Diaspora relationship, and the turning point that was the 1973 Yom Kippur War. Selected by Vanity Fair as one of the best books of 2022, Friedman's “Who by Fire: Leonard Cohen in the Sinai,” explores the late poet and singer's concert tour on the front lines of the Yom Kippur War – a historic moment of introspection for the Jewish State that continues to reverberate through events we witness today. *The views and opinions expressed by guests do not necessarily reflect the views or position of AJC. __ Episode Lineup: (0:40) Matti Friedman __ Show Notes: Listen: From the Black-Jewish Caucus to Shabbat and Sunday Dinners: Connecting Through Food and Allyship How to Tell Fact from Fiction About the Israeli-Palestinian Conflict Live from Jerusalem: Exploring Israel and the Media with Matti Friedman Watch: Should Diaspora Jews Have a Say in Israeli Affairs? Learn: Four Common Tough Questions on Israel 75 Years of Israel: How much do you know about the Jewish state? Follow People of the Pod on your favorite podcast app, and learn more at AJC.org/PeopleofthePod You can reach us at: peopleofthepod@ajc.org If you've enjoyed this episode, please be sure to tell your friends, tag us on social media with #PeopleofthePod, and hop onto Apple Podcasts to rate us and write a review, to help more listeners find us. __ Transcript of Interview with Matti Friedman: Manya Brachear Pashman: Matti Friedman has joined us on this podcast multiple times. Last year, he gave us an essential lesson on how to tell fact from fiction about Israel, and when AJC held its global forum in Jerusalem in 2018, he joined us for our first live recording, so I could not pass through Jerusalem without looking him up, Especially after learning that the writer behind Shtisel is adapting Matti's latest book, “Who By Fire” about the late great Leonard Cohen's time on the front lines of the Yom Kippur War. He joins us now in a studio in the Talpiot neighborhood of Jerusalem. Matti, welcome to People of the Pod. Matti Friedman: Thank you for having me. Manya Brachear Pashman: So I take it you're a fan of Leonard Cohen, or just as a journalist you find him fascinating? Matti Friedman: No, of course, I'm a fan of Leonard Cohen. First of all, I'm Canadian. So if you are Canadian, you really have no choice. You have to be a Leonard Cohen fan, and certainly if you're a Canadian Jew. We grew up listening to Leonard Cohen. So absolutely, I'm a big admirer of the man and his music. Manya Brachear Pashman: What are your favorite songs? Matti Friedman: Probably my favorite Leonard Cohen song is called “If it Be Your Will." Just a prayer that came out on a Cohen album in the 80s. But I love all the Cohen you know top 10- Suzanne and So Long Marianne, Famous Blue Raincoat and Chelsea Hotel. It's a very long list. Manya Brachear Pashman: So I should clarify that your book is not a biography of Leonard Cohen. It's about just a few weeks of his life when he came in 1973, during the Yom Kippur War, and these few weeks were a real turning point in his life, also for Israel, but we can talk about that later. But I want to know, why is it important? Why do you think it's important for Leonard Cohen fans, for Jews, particularly Israelis, to know this story about him? Matti Friedman: I think that those few weeks in the fall of 1973, when Cohen finds himself at the front of the Yom Kippur War, those weeks are really an incredible meeting of Israel and the diaspora, maybe one of the ultimate diaspora figures, Leonard Cohen, this kind of universal poet and creature of the village, and this product of a very specific moment in North American Jewish life, when Jews are really kind of bursting out of the ghetto and entering the mainstream. And we can think of names like Paul Simon and Bob Dylan, even Phil Ochs, and people like that. And Cohen is very much part of that. And he comes to Israel and meets, I guess the other main trend in Jewish history, in the second half of the 20th century, which is the State of Israel, and Israelis, who are not bursting into, you know, a universal culture in the United States, they're trying to create a very specific Jewish culture–in Hebrew, in this very kind of tortured scrap of the Middle East. And the meeting of those two sides, who have a very powerful connection to each other, but don't really understand each other. It's a very interesting meeting. And the fact that it happens at this moment of acute crisis, one of the darkest moments in Israel's history, which is the Yom Kippur War, that makes it even more powerful. So I think if we take that snapshot, from October 1973, we get something very interesting about Israel, and about the Jewish world and about this artist. And in some ways, I think those weeks really encapsulate much of Leonard Cohen's story. So it's not a biography, it doesn't trace his life from birth to death. But it gives us something very deep about the guy by looking at him at this very intense and kind of traumatic moment. Manya Brachear Pashman: Do you also think it sheds some light on the relationship between diaspora Jews and Israel? And how has that relationship changed and evolved since the 1970s? Matti Friedman: When Cohen embarks on this strange journey to the war, which, I mean, it's a long story, and I tell it in the book, but it starts on a Greek island or he's kind of holed up. He's in a crisis, and he's unhappy with his domestic life and he's unhappy with his creative life and he kind of needs to escape. So he gets on a ferry from the island and gets on an airplane from Athens and inserts himself into this war, by mistake, not really intending to do it. And he says in this manuscript that he writes about that time, which is unpublished until, until my own book, I published segments of it. He says, I'm going to my myth home. That's how he describes Israel. He uses this very interesting phrase myth home. And it's hard to understand exactly what he means. But I think many Jewish listeners will understand kind of almost automatically what that means. Israel is not necessarily your home. And it's possible that you've never even been there. But you have this sense that it is your mythical home or some alternate universe where you belong. And of course, that makes the relationship very fraught. It's a lot of baggage on a relationship with a country that is, after all, a foreign country. And Cohen lands in Israel and has a very powerful, but also very confusing time and leaves quite conflicted about it. And I think that is reflective, more generally of the experience of many Jews from the diaspora who come here with ideas about the country and then are forced to admit that those ideas have very little connection to reality. And it's one reason I think that I often meet Jews here from, you know, from North America, and they're not even fascinated by the country, but they're kind of thrown off by it, because it doesn't really function in the way they expect. It's a country in the Middle East. It's very different from Jewish life in North America. And as time goes on, those two things are increasingly disconnected from each other. Manya Brachear Pashman: Yeah. Which is something that I think you say, Israelis say repeatedly, that lots of people have opinions about Israel and decisions that are made and how it's run. But they have no idea what life is like here, right? That's part of the disconnect. And the reason why there's so much tumult. Matti Friedman: Yes, and runs in the other direction, too, of course. Israelis just have less and less idea of what animates Jews in the United States. So the idea that we're one people, and we should kind of automatically understand each other. That just doesn't work anymore. I think in the years after the Second World War, it might have worked better because people were more closely connected by family ties. So you'd have two brothers from Warsaw or whatever, and one would go to Rehovot, and one would go to Brooklyn, but they were brothers. And then in the next generation, you know, their children were cousins, and they kind of knew something about each other, but a few generations have gone by, and it's much more infrequent to find people who have Israeli cousins, or American cousins, you know, it might be second cousins or third cousins, but the familial connections have kind of frayed and because the communities are being formed by completely different sets of circumstances, it's much harder for Americans to understand Israelis and for Israelis to understand Americans. And we're really seeing that play out more and more in the communication or miscommunication between the two big Jewish communities here in the United States. Manya Brachear Pashman: So this is my first trip to Israel. And many people told me that I would never be the same after this trip. Was that true for Leonard Cohen? Matti Friedman: I think it was, I think it was a turning point in his life. Of course, I wrote a book about it. I would have to say that, even if it weren't true, but I happen to think that it is true. He comes here at a moment of a real kind of desperation, he had announced that he was retiring from music that year. So he had this string of hits, and he was a major star of the 60s and early 70s. And those really famous Cohen songs that I mentioned, most of them had already come out and he'd been playing at the biggest music festivals at the Isle of White, which was a bigger festival than Woodstock. And he was a big deal. And, and he just given up, he felt that he had hit a wall and he no longer had anything to say. And he was 39 years old. That's pretty old for a rock star. And he was in those days, of course, people are dying at 27. So he kind of thought he was washed up. And he came to Israel. And he writes in this manuscript, this very strange manuscript that he wrote, and then shelved, that he thinks that Israel is a place where he might be able to be born again, or just saying, again, he writes both of those thoughts. And in a very weird way, it happens. So he's too sophisticated a character to tell us exactly how that happened, or to ever say that he went to Israel and was saved or changed in some way. Leonard Cohen would never give us that moment that of course, as a journalist I'm looking for but they won't give us all we can do is look at the fact that he had announced his retirement before the war, came home from this war very rattled, not at all waving the Israeli flag and singing the national anthem or anything like that, but he came back invigorated in some way. And a few months after that war, he releases one of his best albums, which is called “New Skin for the Old Ceremony.” Which is a reference, of course, to circumcision, which is itself a kind of wink toward rebirth. And that album includes Chelsea Hotel and Lover Lover Lover and Who by Fire and he's back on the horse and he goes on to have this absolutely incredible career that lasts until he's 80 years old and beyond. Manya Brachear Pashman: So let's talk about Lover Lover Lover, and the line of that song. You had interviewed a former soldier on the frontlines in the Yom Kippur War. He had heard Leonard Cohen sing, was very moved by that song, which was composed on an Israeli Air Force Base, I believe originally. And then the album comes out and he hears it again. And something is different. The soldier is not happy about that. Can you talk a little bit about how you confirmed that? Matti Friedman: Right, so I spent a lot of time trying to track down the soldiers who had seen Leonard Cohen during this very weird concert tour that he ends up giving on the Sinai front of the Yom Kippur War. And it's this series of concerts, these very small concerts, mostly for just small units of soldiers who are in the sand and suddenly Leonard Cohen shows up in a jeep and plays music for them. And it's kind of a hallucinatory scene. And one of the soldiers told me that he will never forget the song that Cohen sang, and it was on the far side of the Suez Canal. So the Israeli army having kind of fallen back in the first week and a half of the war has crossed the Suez Canal, in the great counter attack that changes the course of the war, and now they're fighting on Egyptian territory. And one night, on that, on the far side of the canal, he meets Leonard Cohen, it's just kind of sitting on a helmet in the sand playing guitar, and he sang a song that would later become famous, but no one knew it at the time, because it had just been written. As you said, it was written for an audience of Israeli pilots at an Air Force base a few weeks before, or a few days before. And the song's lyrics address the Israeli soldiers as brothers. That's what the soldier remembered. And he said, I'll never forget it. He called us his brothers. And that was a big deal for the Israelis, to hear an international star like Leonard Cohen, say, I'm a member of this family, and you're my brothers. And that was a great memory. But there's no verse like that in the song Lover, Lover, Lover. And there's no reference at all that's explicit to Israeli soldiers. And the word brothers does not appear in the song. Manya Brachear Pashman: At least the one on the album, the song on the album. Matti Friedman: On the album, right. So that is the only one that was known at the time that I was writing the book. And then I kind of set it aside, I just figured that it was a strange memory that was, you know, mistaken or manufactured. And I didn't think much more about it. But I was going through Cohen's old notebooks and the Cohen archive in Los Angeles, which is where many of his documents are kept. And he had a notebook in his pocket throughout the war, and was writing down notes and writing down lyrics and writing on people's phone numbers. And in in the notebook, I found the first draft of Lover, Lover, Lover, and this verse, which had somehow disappeared from the song and the verse is a really powerful expression of identification, not uncomplicated identification, but definitely sympathy for the Israelis who was traveling with, he was traveling with a group of Israeli musicians, he was wearing something that looked a lot like an Israeli uniform, he was asking people to call him by his Hebrew name, which was Eliezer Cohen. So he was definitely, he had kind of gone native. And the verse, the verse goes, ‘I went down to the desert to help my brothers fight. I knew that they weren't wrong. I knew that they weren't right. But bones must stand up straight and walk and blood must move around. And men go making ugly lines across the holy ground.' It's quite a potent verse. And it definitely places Cohen on one side of the Yom Kippur War. And when he records the song, a few months later, that verse is gone. So he obviously made a different decision about how to locate himself in the experience. And ultimately, the experience of the war kind of disappears from the Cohen story. He doesn't talk about it. Later on, he very rarely makes any explicit reference to it. The Cohen biographies mention it in passing, but don't make a big deal of it. And I think that's in part because he always played it down. And when that soldier Shlomi Groner, who I call the soldier, but he's going into his seventies, but you know, for me, he's a soldier. He heard that song when it came out on the radio, and he was waiting for that verse where Cohen called Israeli soldiers, his brothers and the verse was gone. And he never forgave Leonard Cohen for it, for erasing that expression of tribal solidarity. And in fact, the years after the war, 1976, Cohen is playing the song in Paris, you can actually find this on YouTube. And he introduces the song to a French audience by saying, he admits that he wrote the song in the war in Sinai, and he says, he wrote the song for the Egyptians, and the Israelis, in that order. So he was very careful about, you know, where he placed himself, and he was a universal poet. He couldn't be on one side of a war, you couldn't be limited to any particular war, he was trying to address the human soul. And he was aware of that contradiction, which I think is a very Jewish contradiction. Is our Judaism best expressed by tribal solidarity, or is it best expressed in some kind of universal message about the shared humanity of anyone who might be reading a Leonard Cohen poem? So that tension is very much present for him and it's present for many of us. Manya Brachear Pashman: So he replaces the line though with watching the children, he goes down to watch the children fight. Matti Friedman: So before he erases the whole verse, he starts fiddling with it. And we can actually see this in the notebook because we can see him crossing out words and adding words. So he has this very strong sentence that says, I went down to the desert to help my brothers fight, which suggests active participation in this war and, and then we see that he's erase that line held my brothers fight, and he's replaced it with, I went on to the desert to watch the children fight. So now he's not helping, and it's not his brothers, he's kind of a parent at the sandbox watching some other people play in the sand. So he's taken a step back, he's taken himself out of the picture. And ultimately, that whole verse goes into the memory hold, and it only surfaces. When I found it, and I had the amazing experience of sending it to the soldier who'd heard it and didn't quite remember the words, he just remembered the word brothers. And over the years, I think he thought maybe he was mistaken, he wasn't 100% sure that he was remembering correctly and I had the opportunity to say, I found the verse, you're not crazy, here's the verse. It was quite a moment for him. Manya Brachear Pashman: Yeah, confirmation, validation. Certainly not an expression of solidarity anymore, but I read it as an expression of critique of war, right. Your government's sending sons and daughter's off to fight you know, that kind of critique, but it changes it when you know that he erased one sentiment and replaced it with another. Matti Friedman: Right, even finding the Yom Kippur War in the song now is very complicated, although when you know where it was written, then the song makes a lot more sense. When you think a song called Lover Lover Lover would be a love song, but it's not really if you listen to the lyrics. He says, “The Spirit of the song may rise up true and free. May be a shield for you, a shield against the enemy”. It's a weird lyric for a love song. But if you understand that he's writing for an audience of Israeli pilots are being absolutely shredded in the first week of the Yom Kippur War, it makes sense. The words start to make sense the kind of militaristic tone of the words and even the kind of rhythmic marching quality of the melody, it starts to make more sense, if we know where it was written, I think Cohen would probably deny. Cohen never wanted to be pinned down by journalism, you know, he wasn't writing a song about the Yom Kippur War. And I don't think he'd like what I'm doing, which is trying to pin him down and tie him to specific historical circumstances. But, that's what I'm doing. And I think it's very interesting to try to locate his art in a specific set of circumstances, which are, the Yom Kippur war, this absolute dark moment for Israel, a Jewish artist who's very preoccupied with his own Judaism, and who grows up in this really kind of rich and deep Jewish tradition in Montreal, and then kind of escapes it, but can never quite escape it and doesn't really want to escape it, or does he want to escape it and, and then here he is, in this incredible Jewish moment with the Israeli Army in 1973. And we even have a picture of him standing next to general Ariel Sharon, who is maybe the other symbolic Jew of the 20th century, right? You have Leonard Cohen, who is this universal artists, this kind of, you know, man of culture and a kind of a dissolute poet and and you have this uniform general, this kind of Jewish warrior, this kind of reborn new Jew of the Zionist imagination, and we have a photograph of them standing next to each other in the desert. I mean, it's quite an amazing moment. Manya Brachear Pashman: Yeah. I love that you use the word hallucinatory earlier to describe the soldier coming upon Leonard Cohen in the desert, because it reminded me that it was not Leonard Cohen's first tour of sorts in Israel. He had been in Israel the year before, 1972, gave a concert in Tel Aviv and Jerusalem, very different shows. Can you speak to that? Matti Friedman: So Cohen was here a year before the war. And what's amazing is that you can actually see the concerts because there was a documentary filmmaker with him named Tony Palmer. And there's a documentary that ultimately comes out very briefly, that is shelved because Cohen hates it, and then resurfaces a couple of decades later, it's called Bird on a Wire. And it's worth seeing. And you can see the concert in Tel Aviv. And then the concert in Jerusalem the next day, which are the end of this problematic European tour, which kind of goes awry, as far as Cohen is concerned. In Tel Aviv, they have to stop a concert in the middle because there's a riot in the audience and for kind of strange technical reason, which was that the arena in Tel Aviv had decided to keep the audience really far away from the stage and people tried to get close to Leonard Cohen and Cohen wanted them to come closer to the stage because they were absurdly far from the musicians and they tried to move closer but the security guards wouldn't let them and they start, you know, people start fighting, and Cohen's begging them to calm down. And you can see this in the, in the documentary and then ultimately he leaves the stage, he says, you know, it's just not I can't perform like this, and he and the whole band just walk off the stage, and you get the impression that this country is on the brink of total chaos, like it's a place that's out of control. And then the next day, he's in Jerusalem for the last concert of this tour. And the concert also goes awry. But this time, it's Cohen's fault. And he is onstage, and you can see that he can't focus, like he just can't put it together. And in the documentary, you can see that he took acid before the show. So it might have had something to do with that. But also, it's just the fact that he's in Jerusalem. And for him, that's a big deal. And he just can't treat it like a normal place. It's not a normal concert. So there's, there's so much riding on it, that it's too much for him, and he just stops playing in the middle of a concert. And he starts talking to the audience about the Kabbalah. And it's an amazing speech, it's totally off the cuff. It's not something that he prepared, but he starts to explain that, in the Kabbalistic tradition, in order for God to be seated on his throne, Adam and Eve need to face each other, or the man and the woman need to face each other in order for the divine presence to be enthroned. And he says, my male and female sides aren't facing each other, so I can't get off the ground. And it's a terrible thing to have happen in Jerusalem. That's what he says. And then he leaves, he says, I'm gonna give you your money back, and he leaves. And instead of rioting, which is what you'd expect them to do, or getting really angry, or leaving, the audience starts to sing, “Haveinu Shalom Alechem,” that song from summer camp that everyone knows, I think they just assume that he would know it. And in the documentary, you see him in the dressing room trying to kind of get himself together. And hears the audience singing, a couple thousand young Israelis singing the song out in the auditorium, and he goes back out on stage and kind of just beams at that. He just kind of can't believe it, and just smiling out at them. They're entertaining him, but he's on the stage. And they're singing to him, and then the band comes back on. And they give this incredible show that ends with everyone crying. You see Cohen's crying and the band's crying and he says later that the only time that something like that had ever happened to him before was in Montreal when he was playing a show for an audience that included his family. So there was a lot going on for Cohen in Israel, it wasn't a normal place. It wasn't just a regular gig. And that's all present in his brain when he comes back the following year for the war. Manya Brachear Pashman: Makes that weird decision to get on the ferry, and come to Israel make a little more sense. I had tickets to see Leonard Cohen in 2013. He was in Chicago, and Pope Benedict the 16th decided to resign. And as the religion reporter, I had to give up those tickets and go to Rome on assignment. And I really regret that because he died in 2016. I never got the chance to see him live. Did you ever get the chance to see him live? Matti Friedman: I wonder if we should add that to the long list of, you know, Jewish claims against Catholicism, but I guess we can let it slide. I never got to see him. And I regret it to this day, of course, when he came to Israel in 2009 for this great concert that ended up being his last concert here. I had twins who were barely a year old. And I was kind of dysfunctional and hadn't slept in a long time. And I just couldn't get my act together to go. And that's when I got the idea for this book for the first time. And I said, well, you know, just catch him the next time he comes. You know, the guy was in his late 70s. There wasn't gonna be a next time. So it was a real lapse of judgment, which I regret of course. Manya Brachear Pashman: I do wonder if I should have gone to Rome for that unprecedented moment in history to cover that, kind wish I had been at the show. So you do think that the Jerusalem show played a role in him returning to Israel when it was under attack? Matti Friedman: Yeah, absolutely. Absolutely. I mean, he had this very again, complicated, powerful, not entirely positive experience in Israel. And he'd also met a woman here. And that also became clear when I was researching the book that there was, there was a relationship that began when he was here in 1972, and continued. He had a few contacts here, and it wasn't a completely foreign place. And he had some memory of it and some memory of it being a very powerful experience. But when he came in ‘73, he wasn't coming to play. So he didn't come with his guitar. He didn't bring any instruments. He didn't come with anyone. He came by himself. So there is no band. There's no crew, there's no PR people. He understands that there's some kind of crisis facing the Jewish people and he needs to be here. Manya Brachear Pashman: I interviewed Mishy Harman yesterday about the Declaration of Independence, the series that [the I`srael Story podcast] are doing, and he calls it one of Israel's last moments of consensus. We are at a very historic moment right now. How much did this kind of centrifugal force of the Yom Kippur War, where everybody was kind of scattered to different directions, very different ways of soul searching, very Cohen-esque. How much of that has to do with where Israel is now, 50 years later? Matti Friedman: That's a great question. The Yom Kippur war is this moment of crisis that changes the country and the country is a different place after the Yom Kippur War. So until 73, it's that old Israel where the leadership is very clear. It's the labor Zionist leadership. It's the founders of the country, Ben Gurion and Golda Meir, and the people who kind of willed this country into existence against long odds and won this incredible victory in the 1967 War. And then it's all shattered by this catastrophe in 1973. And even though Israel wins the war and the end, it's a victory that feels a lot like a defeat, and 2600 soldiers are killed in three weeks in a country of barely 3 million people and many more wounded and the whole country is kind of shocked. And it takes a few years for things to play out. But basically, the old Israeli consensus is shattered. And within a few years within the war, the Likud wins an election victory for the first time. And it's a direct result of, of a loss of faith and leadership after the Yom Kippur War. That's 1977. And then you have all kinds of different voices that emerge in Israel. So you have, you know, you have Likud. You have the voice of Israelis, who came from the Arab world who didn't share the background of, you know, Eastern Europe and Yiddish and who had a different kind of Judaism and a different kind of Zionism and they begin to express themselves in a more forceful way and you have Israelis who are demanding peace now. You know, on the left, and you have a settlement movement, the religious settlement movement really kind of becomes empowered and emboldened after the Yom Kippur War after the labor Zionist leadership loses its confidence and that's when you really start seeing movements like Gush Emunim pop up in the West Bank with this messianic script and so, so the the fracturing of that that consensus really happens in wake of Yom Kippur war and you can kind of see it in in the music, which is an interesting way of looking at it because the music until 73 had really been this folk music that still maybe the only place that still sees it as Israeli music might be American Jewish summer camp, where it kind of retains its, its, its hold and yeah, that those great old songs that were sung around the campfire and the songs of early Israel and that was very much the music that dominated the airwaves. After the Yom Kippur War, it's different, the singers start expressing themselves a lot less in the collective we and much more in using the word I and talking about their own soul and you hear a lot more about God after 73 than you did before. And the country really becomes a much more heterogeneous place and a much more difficult place, I think, to run and with that consensus, you're talking about the Declaration of Independence. And that series, by the way, Israel Story, which I highly recommend, it's a wonderful series about an incredible document, which we still should be proud of, and which we should pay much more attention to than we do. But when do we have consensus, when we're under incredible pressure from the outside. The Declaration of Independence is signed, you know, as we face the threat of invasion by fighter armies. So that's basically what it takes to get the Jews to sit down and agree with each other. And, you know, there are these years of crisis and poverty after the 48 war into the 60s. And that kind of keeps the consensus more or less in place, and then it fractures. And we're in a country where it's much easier to be many different things, you know, you can be ultra-Orthodox, and you can be Mizrachi, and you can be gay, and you can be all kinds of things that you couldn't really be here in the 60s. But at the same time, the consensus is so fractured, that we can barely, you know, form a coherent political system that works to solve the problems of the public. And we're really saying that in a very dramatic and disturbing way in the dysfunction, in the Knesset and in our political system, which is, you know, has become so extreme. The political system is simply incapable of a constructive role in the society and has moved from solving the problems of the society to creating problems for a society that probably doesn't have that many problems. And it's all a reflection of this kind of fracturing of the consensus and this disagreement on what it means to be Israeli what the meaning of the state is, once you don't have those labor Zionists saying, you know, we are a part of a global proletarian revolution, and the kibbutz is at the center of our national ethos. Okay, we don't have that. But then what is this place? And if you grab 10 Israelis on the street outside the studio, they'll give you 10 different answers. And increasingly, the answers are, are at odds with each other, and Israelis are at odds with each other. And the government instead of trying to ease those divisions, is exacerbating them for political gain. So you're right, this is a very important and I think, very dark moment for the society. Manya Brachear Pashman: And do you trace it back to that kind of individualistic approach that Cohen brought with him, and that the war, not that he introduced it to Israel, and it's all his fault, that the war, and its very dark outcome, dark victory, if you will, produced? Matti Friedman: I don't want to be too deterministic about it. But definitely, that is the moment of fracture. The old labor Zionist leadership would have faded anyway. And just looking at the world, that kind of ethos, and that ideology is kind of gone everywhere, not just in Israel. But definitely the moment that does it here is that war, and we're very much in post-1973 Israel. Which in some ways is good, again, a more pluralistic society is good. And I'm happy that many identities that were kind of in the basement before ‘73 are out of the basement. But we have not managed to find a replacement for that old unifying ideology. And we're really feeling it right now. Manya Brachear Pashman: Thank you so much, Matti, for joining us. Matti Friedman: Thank you very, very much. That was great.
Welcome back to the 122nd episode of The Cup which is our a weekly (give or take, TBD, these are unprecedented times) performing arts talk show presented by Cup of Hemlock Theatre. With the theatres on a come back we offer a mix of both reviews of live shows we've seen and continued reviews of prophet productions! For our 122nd episode we bring you a duet review of Things I Know To Be True, written by Andrew Bovell, as it was just presented in Toronto by Mirvish, directed by Philip Riccio, starring Tom McCamus and Seana McKenna. Join Mackenzie Horner and Ryan Borochovitz, as they discuss family drama, Famous Blue Raincoat, and (you guessed it!) Fiddler on the Roof. CONTENT WARNING: This review contains discussions of transphobia (especially from [01:05:09] to [01:28:00]) and drug abuse. Viewer discretion is strongly advised. Less importantly, this review contains many SPOILERS for Things I Know to be True. It will begin with a general non-spoiler review until the [00:20:40] mark, followed by a more in depth/anything goes/spoiler-rich discussion. Although the Mirvish production has ended, you may nonetheless wish to avoid spoilers if you intend to see another production, read the published script … or maybe one day watch a TV miniseries produced by Nicole Kidman. If so, proceed at your own risk. Follow our panelists: Mackenzie Horner (Before the Downbeat: A Musical Podcast) – Instagram/Facebook: BeforetheDownbeat Apple Podcasts: https://apple.co/3aYbBeN Spotify: https://spoti.fi/3sAbjAu Ryan Borochovitz – [Just send all that love to CoH instead; he won't mind!] Follow Cup of Hemlock Theatre on Instagram/Facebook/Twitter: @cohtheatre --- Support this podcast: https://podcasters.spotify.com/pod/show/cup-of-hemlock-theatre/support
Show #967 The Originals 01. Bob Dylan - Everything Is Broken (3:15) (Oh Mercy, Columbia Records, 1989) 02. Ray Charles - Hard Times (No One Knows Better Than I) [1955] (2:55) (The Genius Sings The Blues, Atlantic Records, 1961) 03a. Ray Charles - Mess Around (2:39) (45 RPM Single, Atlantic Records, 1953) 03b. Charles 'Cow Cow' Davenport - Cow Cow Blues (3:09) (78 RPM Shellac, Vocalion Records, 1928) 04. Fabulous Thunderbirds - Full Time Lover (4:43) (Girls Go Wild, Takoma Records, 1979) 05. Al Green - Love And Happiness (5:07) (I'm Still In Love With You, Hi Records, 1972) 06. Dire Straits - Money For Nothing (8:26) (Brothers In Arms, Vertigo Records, 1985) 07a. Screamin' Jay Hawkins - I Put A Spell On You (3:31) (45 RPM Single, Okeh Records, 1956) 07b. Screamin' Jay Hawkins - I Put A Spell On You (2:52) (Unreleased, Grand Records, 1955) 08. Sonny Boy Williamson II - Don't Start Me Talking (2:35) (45 RPM Single, Checker Records, 1955) 09. Atlanta Rhythm Section - So In To You (4:16) (A Rock And Roll Alternative, Polydor Records, 1976) 10. ZZ Top - Tush (2:14) (Fandango!, London Records, 1975) 11. Mothers Of Invention - Trouble Comin' Every Day (5:47) (Freak Out!, Verve Records, 1966) 12. Son House - Grinnin' In Your Face (2:07) (Father Of Folk Blues, Columbia Records, 1965) 13. Lynyrd Skynyrd - Gimme Three Steps (4:24) (Lynyrd Skynyrd, MCA Records, 1973) 14. Elvis Presley - Heartbreak Hotel (2:09) (45 RPM Single, RCA Victor, 1956) 15. Neville Brothers - Yellow Moon (3:58) (Yellow Moon, A&M Records, 1989) 16. Little Feat - Spanish Moon (4:50) (Waiting For Columbus, Warner Bros Records, 1978) 17a. Peggy Lee & Benny Goodman Orchestra - Why Don't You Do Right (3:14) (78 RPM Shellac, Columbia Records, 1942) 17b. Harlem Hamfats - Weed Smoker's Dream (3:17) (78 RPM Shellac, Decca Records, 1936) 17c. Lil Green - Why Don't You Do Right (3:00) (78 RPM Shellac, Bluebird Records, 1941) 18. Prince & the Revolution - Kiss (3:38) (Parade, Paisley Park/Warner Bros Records, 1986) 19. Fenton Robinson - Somebody (Loan Me A Dime) (2:23) (45 RPM Single, Palos Records, 1967) 20. Jimi Hendrix - Voodoo Child (Slight Return) (5:12) (Electric Ladyland, Polydor Records, 1968) 21. Tampa Red - It Hurts Me Too (2:28) (78 RPM Shellac, Bluebird Records, 1940) 22a. Leonard Cohen - First We Take Manhattan (5:58) (I'm Your Man, Columbia Records, 1988) 22b. Jennifer Warnes - First We Take Manhattan (3:47) (Famous Blue Raincoat, Cypress Records, 1986) 23. Albert King - Oh Pretty Woman (2:47) (Born Under A Bad Sign, Stax Records, 1967) 24. Fleetwood Mac - Black Magic Woman (2:49) (45 RPM Single, Blue Horizon Records, 1968) Bandana Blues is and will always be a labor of love. Please help Spinner deal with the costs of hosting & bandwidth. Visit www.bandanablues.com and hit the tipjar. Any amount is much appreciated, no matter how small. Thank you.
In concert legendar dal grond chantautur e poet canadais. En l'Artg musical dad oz udis la segunda part dal concert da Leonard Cohen, registrà il 2013 a Dublin. Cohen – naschì il 1934 e mort il 2016 cun 82 onns – è stà in dals pli gronds poets e chantauturs. El ha cumponì e chantà classichers sco «Suzanne», «Im your man», «Famous Blue Raincoat» e «Hallelujah», ed ha fascinà cun sia vusch bassa e vibranta che ha procurà per pel-giaglina. In fil cotschen tras sia musica è adina er stada la melancolia profunda, sia confruntaziun cun la disperaziun, la depressiun e l'esser uman cun ses limits e la mort.
Questions from the Instagram ~ 1. Famous Blue Raincoat (11 May 2009 - London, ENG) 2. Secret Spell (9 June 2015 - Helsinki, FIN) 3. Cars & Guitars (7 June 2005 - Glasgow, SCO) 4. Beauty Queen / Horses (11 October 2001 - New York City, NY) 5. Beauty of Speed (24 November 2017 - Seattle, WA) 6. Way Down / Suede (4 October 2011 - Luxembourg) 7. Spark (31 October 2011 - Essen, GER) 8. Star Whisperer (16 December 2011 - Oakland, CA) 9. Fearlessness (29 November 2011 - Atlanta, GA) 10. Gold Dust (21 December 2002 - San Francisco, CA) 11. China (13 August 2005 - Cary, NC) 12. Cornflake Girl (1 April 1994 - Atlanta, GA) 13. Bells For Her (10 November 1996 - Boulder, CO) 14. Lovesong (20 September 1996 - Rockford, IL) 15. Professional Widow / Blood Roses (13 May 1996 - New York City, NY) 16. Losing My Religion (13 December 1996 - Los Angeles, CA)
Everybody knows Cyndi Lauper's big hit, “Girls Just want to have Fun”, but not so well-known is her career since then - a star-turn on “We are the World”, a string of great albums including Billboard's Blues Album of the Year, and writing “Kinky Boots”, a hit Broadway musical, all contribute to her story. Our album "To Listen To Before You Die" this week – Leonard Cohen's “Songs of Love and Hate” - is chock-full of understated songs and amazing turns of phrase. Show regulars will know that Mick loves it, and Jeff not so much. Tune in to find out why. Jeff takes a look at Extreme Ironing as an up-and-coming sport, and the boys look at how one of Elon Musk's batteries could boost tourism to Central Australia by allowing a pizza shop and ice-creamery to open in the country's most remote parts. References: “1001 Albums You Must Hear before You Die” Robert Dimery, Leonard Cohen, Songs of Love and Hate, Jennifer Warnes, Paul Buckmaster, Elton John, “Hallelujah”, ”Famous Blue Raincoat”, Lloyd Cole, “Avalanche”, Nick Cave, “From Her to Eternity”, “There's a crack in everything / That's how the light gets in”, “The Young Ones”, 70's British comedy, Rick Mayall, Adrian Edmondson, Nigel Planer, Polydor Records, Portrait Records, David Thornton, Patti Smith, Debbie Harry, Eurythmics, Annie Lennox, Rolling Stone's 500 Greatest Albums of All Time, Sinead O'Connor, Prince, Masturbation, Donny Sutherland's “Sounds”, “She's So Unusual”, The Hooters, Eric Bazilian, ”We are the World”, Quincy Jones, Memphis Blues, Yoko Ono, John Lennon, “Working Class Hero”, “Life with Mikey”, “Mad About You”, The Simpsons, "Wild Barts Can't Be Broken", “Cyndi Lauper: A Memoir” By Cyndi Lauper with Jancee Dunn, Richmond Hill High School in Queens, Broadway, “Kinky Boots”, 2013 Tony Awards, Best Musical, Best Actor, first woman to win solo Best Original Score Tony Award, Mattel, Cyndi Lauper Barbie Doll Extreme Ironing Around the World Extreme Ironing Skysurf Playlist
In this episode, the 38th overall and the second from the show's seventh season, Kevin chops it up with a renaissance woman—Michelle Morgan is a radio DJ, a fiber artist, a writer, a record collector, and somehow still has time for her dayjob at Yale. That right you fucking poors, YALE! And Michelle selected 10 diverse tunes for the program, and shares the story behind each of them in an absolutely delightful exchange. For more information about the "award winning" music criticism site, Anhedonic Headphones, click here! To learn more about Michelle Morgan's various endeavours, visit her website. Episode Musical Credits Intro Music: "Brooklyn Zoo (instrumental)," written by Russell Jones, Dennis Coles, and Robert Diggs; originally performed by Ol' Dirty Bastard. Taken from the Get On Down reissue of Return to The 36 Chambers: The Dirty Version, 2011. Outro Music: "What Does Your Soul Looks Like (Part 4)," performed by DJ Shadow. Endtroducing..., Mo Wax, 1996. "Burning Down The House," written by David Byrne, Chris Frantz, Jerry Harrison, and Tina Weymouth; performed by Talking Heads. Speaking in Tongues, Sire, 1983. "Dude (Looks Like A Lady)," written by Desmond Child, Steven Tyler, and Joe Perry; performed by Aerosmith. Permanent Vacation, Geffen, 1987. "Bata Motel," written and performed by Crass. Penis Envy, Crass Records, 1981. "Paper Bag," written and performed by Fiona Apple. When The Pawn..., Clean Slate/Epic, 1999. "Famous Blue Raincoat," written and performed by Leonard Cohen. Songs of Love and Hate, Columbia, 1971. "Where Gravity is Dead," written and performed by Laura Veirs. Year of Meteors, Nonesuch, 2005. "Wolf Like Me," written by Tunde Adebimpe, David Sitek, Kyp Malone, Jaleel Bunton, and Gerard Smith; performed by TV on The Radio. Return to Cookie Mountain, 4AD, 2006. "Wish You Were Here," written by by Roger Waters and David Gilmour; performed by Lia Ices. Originally included on the Mojo Magazine tribute to Pink Floyd, Jagjaguwar, 2014. "Cloudbusting," written and performed by Kate Bush. Hounds of Love, EMI, 1985. "Not," written by Adrianne Lenker; performed by Big Thief. Two Hands, 4AD, 2019.
If you are an artist or a creative person, Artist, consultant and curator of experiences, Laura Noonan is from Cork, Ireland. Having relocated to Canada in 2014, Laura lives and works in East Vancouver. She is a creative, resourceful, results-driven professional with an overarching commitment to activate awareness and curate engaging opportunities within the arts. Her defiant fine art project Bordolle photography series will exhibit as part of Art Vancouver from May 5-8, 2022 at Vancouver Convention Centre. If you have ever thought of doing a side gig business off the side of your desk, you absolutely need to hear Laura's story!! She shares openly about the ups and downs of what it took to become as successful as an entrepreneur as she was as an employee. How Laura achieved high level success as a multi-faceted creative artist will blow you away! Enjoy the show!Laura's Favourite album: Famous Blue Raincoat by Leonard Cohen
توی این اپیزود بهتون یاد میدم چطوری یه کتاب زبان اصلی رو بررسی، خرید و بخونید!موزیک پایانی: کاور خودم از آهنگFamous Blue Raincoat by Leonard Cohenوبسایت بلینکیست برای خلاصه کتاب:وبسایت گود ریدز:پشتیبانی مالی ازمنhttps://idpay.ir/monashabanpourشبکه های اجتماعی و راههای ارتباطی با منhttps://zil.ink/monashabanpourتمام لینک های پادکست مانوhttps://zil.ink/maanopodcastپادکست اول من، فرکستhttps://zil.ink/fercastpod Our GDPR privacy policy was updated on August 8, 2022. Visit acast.com/privacy for more information.
توی این اپیزود بهتون یاد میدم چطوری یه کتاب زبان اصلی رو بررسی، خرید و بخونید!موزیک پایانی: کاور خودم از آهنگFamous Blue Raincoat by Leonard Cohenوبسایت بلینکیست برای خلاصه کتاب:وبسایت گود ریدز:پشتیبانی مالی ازمنhttps://idpay.ir/monashabanpourشبکه های اجتماعی و راههای ارتباطی با منhttps://zil.ink/monashabanpourتمام لینک های پادکست مانوhttps://zil.ink/maanopodcastپادکست اول من، فرکستhttps://zil.ink/fercastpod Our GDPR privacy policy was updated on August 8, 2022. Visit acast.com/privacy for more information.
نوشتن ایمیل رسمی برای پیدا کردن کار و اپلای کردن برای خارج از کشور یکی از مهمترین مهارتاس. توی این اپیزود نکته هایی از همین دست بهتون یاد میدم.موزیک پایانی: کاور خودم از آهنگFamous Blue Raincoat by Leonard Cohenنمونه نامه های اداری به زبان انگلیسیوبسایتی که برای نوشتن ایمیل به کمکتون میادhttps://www.prepostseo.comپشتیبانی مالی ازمنhttps://idpay.ir/monashabanpourشبکه های اجتماعی و راههای ارتباطی با منhttps://zil.ink/monashabanpourتمام لینک های پادکست مانوhttps://zil.ink/maanopodcastپادکست اول من، فرکستhttps://zil.ink/fercastpod Our GDPR privacy policy was updated on August 8, 2022. Visit acast.com/privacy for more information.
نوشتن ایمیل رسمی برای پیدا کردن کار و اپلای کردن برای خارج از کشور یکی از مهمترین مهارتاس. توی این اپیزود نکته هایی از همین دست بهتون یاد میدم.موزیک پایانی: کاور خودم از آهنگFamous Blue Raincoat by Leonard Cohenنمونه نامه های اداری به زبان انگلیسیوبسایتی که برای نوشتن ایمیل به کمکتون میادhttps://www.prepostseo.comپشتیبانی مالی ازمنhttps://idpay.ir/monashabanpourشبکه های اجتماعی و راههای ارتباطی با منhttps://zil.ink/monashabanpourتمام لینک های پادکست مانوhttps://zil.ink/maanopodcastپادکست اول من، فرکستhttps://zil.ink/fercastpod Our GDPR privacy policy was updated on August 8, 2022. Visit acast.com/privacy for more information.
.توی این اپیزود صحبت های ضبط شده ی خودم که به صورت ولاگ کست بود رو مورد برسی قرار میدم و مثل یه استاد اشتباهاتشو باهم دیگه مرور می کنیماینجوری شماهم می تونید دانشتونو بسنجید.موزیک پایانی: کاور خودم از آهنگFamous Blue Raincoat by Leonard Cohenپشتیبانی مالی ازمنhttps://idpay.ir/monashabanpourشبکه های اجتماعی و راههای ارتباطی با منhttps://zil.ink/monashabanpourتمام لینک های پادکست مانوhttps://zil.ink/maanopodcastپادکست اول من، فرکستhttps://zil.ink/fercastpod Our GDPR privacy policy was updated on August 8, 2022. Visit acast.com/privacy for more information.
.توی این اپیزود صحبت های ضبط شده ی خودم که به صورت ولاگ کست بود رو مورد برسی قرار میدم و مثل یه استاد اشتباهاتشو باهم دیگه مرور می کنیماینجوری شماهم می تونید دانشتونو بسنجید.موزیک پایانی: کاور خودم از آهنگFamous Blue Raincoat by Leonard Cohenپشتیبانی مالی ازمنhttps://idpay.ir/monashabanpourشبکه های اجتماعی و راههای ارتباطی با منhttps://zil.ink/monashabanpourتمام لینک های پادکست مانوhttps://zil.ink/maanopodcastپادکست اول من، فرکستhttps://zil.ink/fercastpod Our GDPR privacy policy was updated on August 8, 2022. Visit acast.com/privacy for more information.
He's been our man for some time (well, one of them), so it only made sense that for our season finale, we would dream up an imaginary dinner party for Leonard Cohen. With a Montreal-and-Hydra inspired menu and some rags, feathers, and pinstripes (maybe a Famous Blue Raincoat, why not), we plan a soirée that you won't want to miss. We have the honour and pleasure of sitting down for a glass of Chateau Latour and a hot banana pepper with Denise Donlon, a friend and colleague of the late Cohen's. As a host, producer, and record executive, including in her role as former President of Sony Music Canada, the author of Fearless as Possible (Under the Circumstances) worked closely with Leonard over many years. If all goes well, and with Denise's help, we'll stay up talking all night, and the famously thoughtful Leonard will make us a plate of scrambled eggs in the morning...Show notes:Leonard Cohen playlistHenry Ainley Wikipedia I'm Your Man: The Life of Leonard Cohen, by Sylvie Simmons (The biography Emma mentions repeatedly and quotes from)The BBC Interview we mentionLeonard Cohen nicknames Former Vogue UK Editor in Chief Alexandra Shulman on Leonard Cohen: Suzanne was the Ideal of the Age Pinstripe suits (the Italian brand Monica mentions): Giuliva Heritage Htipiti (roasted red pepper + feta dip) recipe Cooking with Akis PetretzikisDenise Donlon's memoir, Fearless as Possible (Under the Circumstances)Marianne & Leonard: Words of Love — documentaryThank you so much for listening, friends. We'd love to hear from you: fanfarefanmail@gmail.com.Thank you to our producers Joel Grove and Matt Bentley-Viney. Our GDPR privacy policy was updated on August 8, 2022. Visit acast.com/privacy for more information.
سلام من مونا هستم و این قسمت 17 مانو هست. توی این اپیزود از اصول صحیح پاراگراف نویسی در زبان مقصد واستون صحبت کردم. تکنیکایی که توی دانشگاه یادشون گرفتم و هیچ کس دیگه ای به من نگفت! موزیک پایانی: کاور خودم از آهنگ Famous Blue Raincoat by Leonard Cohen پشتیبانی مالی ازمن https://idpay.ir/monashabanpour شبکه های اجتماعی و راههای ارتباطی با من https://zil.ink/monashabanpour تمام لینک های پادکست مانو https://zil.ink/maanopodcast پادکست اول من، فرکست https://zil.ink/fercastpod Our GDPR privacy policy was updated on August 8, 2022. Visit acast.com/privacy for more information.
سلام من مونا هستم و این قسمت 17 مانو هست. توی این اپیزود از اصول صحیح پاراگراف نویسی در زبان مقصد واستون صحبت کردم. تکنیکایی که توی دانشگاه یادشون گرفتم و هیچ کس دیگه ای به من نگفت! موزیک پایانی: کاور خودم از آهنگ Famous Blue Raincoat by Leonard Cohen پشتیبانی مالی ازمن https://idpay.ir/monashabanpour شبکه های اجتماعی و راههای ارتباطی با من https://zil.ink/monashabanpour تمام لینک های پادکست مانو https://zil.ink/maanopodcast پادکست اول من، فرکست https://zil.ink/fercastpod Our GDPR privacy policy was updated on August 8, 2022. Visit acast.com/privacy for more information.
Hace poco Tamara retomó la guitarra y comenzó a escribir canciones. Nos contó de su experiencia creando con amigas, de enfrentarse a los límites que impone el instrumento y de persistir en algo hasta llegar a disfrutarlo. Hablamos de aprender a aprender, de cómo las reglas y las consignas activan la creatividad y de lo que ganan las personas que escriben y se permiten hacer música. También hablamos de la postura y la escoliosis, de la cumbia argentina y de Charly García. A Tamara la encuentran en Instagram y Twitter como @tamtenenbaum. Pueden encontrarnos en su aplicación de podcasts favorita, o como @expertosdesillon en Instagram, @ExpertoSillon en Twitter o también pueden escribirnos a expertosdesillon[arroba]gmail.com. Nos sostenemos gracias a sus oyentes como ustedes. Si quieren apoyarnos, pueden unirse a nuestro grupo de Patreons en patreon.com/expertosdesillon. Expertos de Sillón es un podcast donde conversamos con nuestros invitados e invitadas sobre sus grandes obsesiones, sus placeres culposos o sus teorías totalizantes acerca de cómo funciona el mundo. Es un proyecto de Sillón Estudios. Conducen Alejandro Cardona y Sebastián Rojas. Produce Sara Trejos. REFERENCIAS La profesora de Tamara es la guitarrista y compositora Loli Molina (@lolimolinamusica). Tamara mencionó las afinaciones alternativas de Joni Mitchell, a Tamara Kamenszein y las canciones Todas las cosas que no tienen nombre de Gabo Ferro, Famous Blue Raincoat de Leonard Cohen, Demoliendo hoteles y Promesas sobre el bidet de Charly García.
Neil Strauss reflects on his friendship with the late Chuck Berry and his book, The Game, a chronicle of his journey and encounters in the seduction community. Neil also talks to Tom about his favourite songs: The Beach Boys - "God Only Knows", Harry Nilsson - "One", Leonard Cohen - "Famous Blue Raincoat", Louis Armstrong, - "St James Infirmary, Johnny Cash - "Father & Son”, Cesária Évora - “Petit Pays”, The Louvin Brothers - "Knoxville Girl", The Beatles - "The Long and Winding Road", The Kinks - "Waterloo Sunset", The Rolling Stones - "Wild Horses”, Crosby, Stills & Nash - “Our House", The Beatles - "While My Guitar Gently Weeps", Lefty Frizzell - "Long Black Veil", Chris Bell - "I Am the Cosmos", Sam Cooke - "Chain Gang", Lucinda Williams - "Drunken Angel", Vanilla Fudge - "Keep Me Hanging On", Soul Clan - "That's How It Feels", Marmalade - "Reflections of My Life", Gram Parsons/Emmylou Harris - “Love Hurts” and Bob Marley - “Redemption Song”. This episode is brought to you by Lumie, the original inventors of wake-up lights, whose Bodyclock Luxe 750DAB wake-up light mimics a natural sunrise and sunset. Shown to improve quality of sleep and to boost productivity in clinical trials, this remarkable device also features high quality audio with DAB+ radio, Bluetooth speakers, USB port and a selection of over 20 sleep/wake sounds. The Lumie Bodyclock Luxe 750DAB can transform the way you start and end your day, especially if you struggle to wake up in the morning and/or get to sleep at night - it certainly did for me. Go to lumie.com to find out more. This episode is brought to you by Modal Electronics, who make beautiful, innovative and powerful synthesisers. You can enjoy vibrant wavetable patches with their ARGON8 series. You can produce state-of-the-art analogue-style synth textures with their COBALT8 series. Go to modalelectronics.com to check out their incredible array of synthesisers.
Last time I saw you, you looked so much older | Famous Blue Raincoat (18 December 2002 - Los Angeles, CA)
Con temáticas más profundas que sus producciones anteriores, el artista canadiense ofreció uno de los álbumes más oscuros de su catálogo y, de paso, nos entregó clásicos de su repertorio como “Joan of Arc” y “Famous Blue Raincoat”.
WHAT WOULD LEONARD COHEN DO? : If you’re a hardworking creative soul striving to continue doing the work of the expressive imagination, striving to honor an authentic vision that resists the forces of market optimization, you could do a lot worse than immerse yourself in Leonard Cohen’s corpus and give this question your consideration: What would Leonard do? Mentioned in this episode: Leonard Cohen; Cohen's "Hallelujah"; Songs of Leonard Cohen; Cohen's 1963 debut novel The Favorite Game; CBC Television; Cohen's novel Beautiful Losers; Cohen's performance style; Bob Dylan; Cohen's "Famous Blue Raincoat"; Zen; Mount Baldy; Leonard Cohen world tour; skipping at age 78; Cohen's album You Want It Darker; Cohen's album Thanks for the Dance; Feist; Beck; Damien Rice. This episode reprised from the ITA archives. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/in-the-atelier/support
If you’re a hardworking creative soul striving to continue doing the work of the expressive imagination, striving to honor an authentic vision that resists the forces of market optimization, you could do a lot worse than immerse yourself in Leonard Cohen’s corpus and give this question your consideration: What would Leonard do? Mentioned in this episode: Leonard Cohen; Cohen's "Hallelujah"; Songs of Leonard Cohen; Cohen's 1963 debut novel The Favorite Game; CBC Television; Cohen's novel Beautiful Losers; Cohen's performance style; Bob Dylan; Cohen's "Famous Blue Raincoat"; Zen; Mount Baldy; Leonard Cohen world tour; skipping at age 78; Cohen's album You Want It Darker; Cohen's album Thanks for the Dance; Feist; Beck; Damien Rice. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/in-the-atelier/message Support this podcast: https://anchor.fm/in-the-atelier/support
"A great interview with David Goodwillie (Author of KINGS COUNTY) on my other BTRtoday podcast “Book Talk,” had me feeling very nostalgic for nights in Manhattan. The opening lines of decker. take me there. Not to be too bleak though, the show picks up with some N’awlins-inspired jazz and ends with a long live Jam from SCI. 00:00 - Show Opening 00:51 - Episode Intro 02:38 - Famous Blue Raincoat - decker. 07:03 - Badlands Here We Come - Chris Robinson Brotherhood 12:38 - Mic Break 13:30 - One Of Us Should Go - Heidi Lynn Gluck 16:42 - Over Over And - Elephant Revival 19:54 - Mic Break 21:21 - Broke Down - The California Honeydrops 26:15 - Get Greasy - Lettuce 30:41 - Providence of Compromise - Mike Montrey Band 37:18 - Mic Break 37:27 - This I know - moe. 41:52 - Overlude - moe. 47:15 - Mic Break 48:12 - Black Clouds - String Cheese Incident 58:30 - Episode Outro 58:54 - Finish "
Charles Claymore spoken word; from the Sybaritic Press anthology: Rubicon: Words & Art Inspired by Oscar Wilde's De Profundis; Marie Lecrivain, Ed.#NeonHole
Jennifer Warrens: Jenny sings Lenny in her version of Leonard's Famous Blue Raincoat - followed by Leonard Cohen singing his song by himself - enjoy. --- Send in a voice message: https://anchor.fm/peter-smith05/message
Siden teenagetiden har ‘Rockhistoriers' værter med betagelse oplevet Cohens værk foldet ud for ørerne af dem. I denne omgang underkaster de derfor den første del af Leonard Cohens pladeproduktion som sanger og sangskriver en kærlig undersøgelse. Fra debuten ‘Songs of Leonard Cohen' (1967) og de efterfølgende syv albums frem til ‘Various Positions', udsendt i 1984, hvor hans karriere befandt sig på et kommercielt (om end ikke kunstnerisk) nulpunkt. Sange som ‘Bird on a Wire', ‘Famous Blue Raincoat og ‘Dance Me to the End of Love' er tatoveret ind i både Klaus og Henriks DNA, men repertoiret er bredere end som så, og der kommes ud i hjørnerne i denne podcast.Den Leonard Leonard Cohen, der lp-debuterede i 1967, var 33 år gammel og havde en produktiv karriere som digter og forfatter bag sig med udgangspunkt i hjemlandet Canada – fire digtsamlinger og to romaner var det allerede da blevet til. Sangerinden Judy Collins indspillede i 1966 som den første et par af hans sange, hvilket førte til en solokontrakt med Columbia Records og resten er – som man siger – historie. Judy Collins: Suzanne (1966)The Stranger Song (1967)Sisters of Mercy (1967)Bird on the Wire (1969)Seems So Long Ago, Nancy (1969)Avalanche (1971)Famous Blue Raincoat (1971)Story of Isaac – Live (1973)A Singer Must Die (1974)Who by Fire (1974)True Love Leaves No Traces (1977)Memories (1977) Came so Far for Beauty (1979)The Gypsy’s Wife (1979)Dance Me to the End of Love (1984)Foto: Sony Music
Thanks for the trouble you took from her eyes
********TRIGGER WARNING********* This interview delves into Perry Johnson’s cancer treatments and its impacts on his and Lindsay’s marriage. Also, if you are triggered by crying, avoid the intro and outro (see show notes for audio tags) the interview itself has no tears. If this episode is too much for you personally, please consider sharing it widely as it will more likely land in the podcatcher of someone who needs to hear it. Do include a trigger warning as well I think. Kay, back to the show! ::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::: Welcome friends and family of Perry and Lindsay Johnson. This is the interview that Matt Sanderson recorded with them Aug 28th 2018. It was 3 months into Perry’s treatments and the outlook at that time was tentatively optimistic as that very day they received some good news about his treatments. We talked about this at the end, but I decided to remove it (it is saved for Lindsay later), though I could not bring myself to delete anything in this interview because of the present circumstances, I did not want to lose any of either of their voices. What you are about to hear is a completely unedited conversation between the three of us all about cancer and the caregiver relationship. I would like to thank them again for saying yes to my interview request and for opening up and being painfully honest, something all their fans and friends especially appreciate. Show Notes Matt kicks things off by sobbing through some prepared remarks, after which he plays the full Perry and Lindsay Johnson interview recorded in Late Aug 2018 (9:02). After the conversation, Matty the sad sack Sanderson busts back in with some more crying and closing remarks (1:19:06) which includes the saddest possible song he could think to sing; Famous Blue Raincoat by Leonard Cohen (1:21:13). Got nothing else to say other than…Talk to Y’all Soon, ya Hear! Links Hello Life WTF The Podstuff podcast Nooks and Crannies The Go Fund Me link in support of the Johnson’s
1 Treaty 2 Going Home 3 Famous Blue Raincoat 4 Dance Me to the End of Love (Live) 5 If I Didn't Have Your Love 6 Never Any Good 7 You Want It Darker 8 It Seemed the Better Way 9 On That Day 10 Everybody Knows 11 Suzanne 12 Darkness 13 Tower of Song 14 Closing Time 15 Anthem 16 So Long, Marianne 17 If It Be Your Will 18 Steer Your Way 19 Hallelujah 20 In My Secret Life 21 Lullaby 22 Leaving the Table 23 The Future 24 I'm Your Man 25 Hey, That's No Way to Say Goodbye 26 Take This Waltz
In the Under the Pink Season Finale, Efrain & Danny pay tribute to the late, great Leonard Cohen via Tori's cover of Famous Blue Raincoat, including rare sound bites, interesting covers, and contributions from Leonard Cohen fans across the country. Plus an in-depth interview with Cohen fan Naomi Booth, a special Hallelujah Tribute Mix by Efrain, and the end-of-season UTP Sealed Vinyl Contest. This episode will dance you to the end of love. Sincerely, eef and Danny. - - - EPISODE PLAYLIST - - - Famous Blue Raincoat by Leonard Cohen | Famous Blue Raincoat by Tori Amos | Suzanne by Leonard Cohen | Suzanne by Judy Collins | Anthem by Leonard Cohen | Famous Blue Raincoat by Joan Baez | Famous Blue Raincoat (6 May 1994 - London, ENG) by Tori Amos | Famous Blue Raincoat (31 August 1994 - San Francisco, CA) by Tori Amos | Famous Blue Raincoat (8 June 1996 - Milwaukee, WI) by Tori Amos | Famous Blue Raincoat (20 September 1998 - Santa Barbara, CA) by Tori Amos | Famous Blue Raincoat (28 September 1998 - Albuquerque, NM) by Tori Amos | Famous Blue Raincoat (6 November 2001 - Salt Lake City, UT) by Tori Amos | Famous Blue Raincoat (13 December 2002 - La Jolla, CA) by Tori Amos | Famous Blue Raincoat (14 July 2010 - Zurich, SWI) by Tori Amos | Famous Blue Raincoat (12 June 2014 - Warsaw, POL) by Tori Amos | Hallelujah (31 October 2011 - Essen, GER) by Tori Amos | Suzanne (19 April 2005 - Denver, CO) by Tori Amos | Joan of Arc by Anna Calvi | Everybody Knows by Concrete Blonde | Dance Me to the End of Love by Madeline Peyroux | Chelsea Hotel No. 2 by Lana Del Rey | Bird on a Wire by Johnny Cash | If It Be Your Will by Anohni | Suzanne by Aretha Franklin | Suzanne by Nina Simone | Oprah Winfrey by Wendy Ho | - - - Hallelujah Megamix | Hallelujah by Leonard Cohen | Hallelujah by Selevasio Tu'ima | Hallelujah by Jeff Buckley | Hallelujah by Allison Crowe | Hallelujah by Justin Timberlake and Matt Morris | Hallelujah by Damien Rice | Hallelujah by Regina Spektor | Hallelujah by Imogen Heap | Hallelujah by Kate McKinnon | Hallelujah by Tori Amos |
Leonard Cohen died last week, so I saw fit to have a tribute to him on today's show. Thanks to all those who phoned in. So many songs I had to omit: "The Partisan," "Lady Midnight," I'm Your Man," Famous Blue Raincoat," "Waiting For the Miracle," "Blessed is the Memory" and many more. That catalogue runs deep. Also, while I love Jeff Buckley's cover of "Hallelujah," he really set the conditions for the awful glut of covers of that song.Co-sign Luke's sentiment in the ep. Included is a snippet from David Remnick's interview and a clip from the NFB's 1965 film "Ladies and Gentlemen... Mr Leonard Cohen." I highly recommend seeking out both the film (it's on YouTube) and Remnick's profile in the Oct 17th, 2016 issue of the New Yorker.
The Immortals look for a place where everyone knows their name. Whether that is wartime Poland or a bar in Boston. Either way, they're going to drink. They also eat the most definitive cheese imaginable, earn their Bro statuses, uncover the mystery of a musical letter and try to figure out if “cosmic rock” is even a thing. Also Pedro gives out his first iTunes review compliment. Get excited! Intro / Old Business, New Henges 0:00 – 6:38 Ashes and Diamonds 6:38 – 31:00 Grievous Angel 31:00 – 38:26 Gruyere 38:26 – 46:10 Famous Blue Raincoat 46:10 – 57:08 Anancy Spiderman 57:08 – 1:06:12 Cheers 1:06:12 – 1:35:04 Outro 1:35:04 – 1:43:45 --Our next bonus episode will come out on Monday to discuss “I Am the Resurrection” and “No More Tears”. TheImmortalsPodcast@gmail.com Twitter.com/TheImmortalsPod Join us Thursday next as we discuss more things. Until then, email or tweet us your thoughts, leave a review on iTunes and other crap every podcast asks you to do. (But we love that you do it!) Artwork by Ray Martindale
Enjoying the show? Please support BFF.FM with a donation. Playlist 1′43″ Exordium by Wax Tailor on Dusty Rainbow From the Dark (Lab'Oratoire) 6′38″ She's a Rainbow by The Rolling Stones on Their Satanic Majesties Request (ABKCO Records) 10′33″ Pale Blue Eyes by The Velvet Underground on The Velvet Underground (verve) 16′07″ True Colors by Cyndi Lauper on True Colors (Sony) 24′38″ Too Hot by CSS on Planta (SQE) 28′04″ Purple Yellow Red & Blue by Portugal. The Man on Evil Friends (Atlantic Records) 32′07″ Cherry Red by Ida Maria on Katla (Mercury Records) 37′58″ Blue Orchid by The White Stripes on Get Behind Me Satan (V2) 40′21″ Red Flags and Long Nights by She Wants Revenge on She Wants Revenge (Flawless / Geffen) 45′22″ White Knuckles by Ok Go on Of the Blue Colour of the Sky (Paracadute) 53′27″ Sound of Silver by LCD Soundsystem on Sound of Silver (DFA) 60′09″ Yellow Flicker Beat (From The Hunger Games: Mockingjay Part 1) by Lorde on Yellow Flicker Beat (From The Hunger Games: Mockingjay Part 1) (Republic Records) 64′03″ Gold by Sir Sly on Gold (Interscope) 71′41″ Blue I'm Blue by The Ditty Bops on The Color Album (Ditty Bops Music) 73′32″ Shades of Gray by David & Loren Laue on Braving Pulp & Ink (570022 Records DK) 77′24″ Hi, Hey There, Hello by The Mowglii's on Waiting for the Dawn (Photofinish Records) 85′34″ Black Night by The Dodos on No Color (Frenchkiss Records) 89′39″ White Lies by Milo Greene on White Lies (Elektra) 92′43″ Gold - feat.Eighty4 Fly by Macklemore & Ryan Lewis on The Heist (Macklemore, LLC) 101′30″ Yellow by Coldplay on Parachutes (Parlophone) 105′35″ Orange Sun by The Ditty Bops on The Color Album (Ditty Bops Music) 108′30″ Famous Blue Raincoat by Leonard Cohen on Songs of Love and Hate (sony) 116′15″ A Lack of Color by Death Cab for Cutie on Transatlanticism (Barsuk) 119′37″ White Lies by Max Frost on White Lies (Atlantic)
But you came home alone, without LilliMarlene……".歌声悠悠传来，把人的思绪一下子带到了遥远的年代：灰色的背景中犹如上演着一部老式黑白电影。 朦胧的人群，阴郁的天空似二战电影中某个生离死别的场景---车轮滚滚，火车在隆隆声中逐渐远去，留下站台上伤心欲绝的情人。
Music from artists who perform at South Kingsville's finest cafe/bar/lounge, Famous Blue Raincoat.
Fresh from The Famous Blue Raincoat, South Kingsville's finest cafe/bar/lounge. Come visit us at www.famousblueraincoat.com.au
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