Cohen pursued a career as a poet and novelist during the 1950s and early 1960s; he did not launch a music career until 1967, at the age of 33. His first album, Songs of Leonard Cohen (1967), was followed by three more albums of folk music: Songs from a Room (1969), Songs of Love and Hate (1971) and New Skin for the Old Ceremony (1974). His 1977 record Death of a Ladies' Man, co-written and produced by Phil Spector, was a move away from Cohen's previous minimalist sound. In 1979, Cohen returned with the more traditional Recent Songs, which blended his acoustic style with jazz, Oriental, and Mediterranean influences. Perhaps Cohen's most famous song, "Hallelujah", was first released on his studio album Various Positions in 1984. I'm Your Man in 1988 marked Cohen's turn to synthesized productions and remains his most popular album. In 1992, Cohen released its follow-up, The Future, which had dark lyrics and references to political and social unrest.
Cohen returned to music in 2001 with the release of Ten New Songs, which was a major hit in Canada and Europe. His 11th album, Dear Heather, followed in 2004. Following a successful string of tours between 2008 and 2013, Cohen released three albums in the final four years of his life: Old Ideas (2012), Popular Problems (2014) and You Want It Darker (2016), the last of which was released three weeks before his death.
Leonard Cohen was born into a middle-class Jewish family in Westmount, Quebec, on September 21, 1934. His Lithuanian mother, Marsha Klonitsky ("Masha"; 1905–1978), was the daughter of a Talmudic writer, Rabbi Solomon Klonitsky-Kline, and emigrated to Canada in 1927. His paternal grandfather, whose family had moved from Poland to Canada, was Lyon Cohen, the founding president of the Canadian Jewish Congress. His father, Nathan Bernard Cohen (1891–1943), who owned a substantial clothing store, died when Cohen was nine years old. The family observed Orthodox Judaism, and belonged to Congregation Shaar Hashomayim, to which Cohen retained connections for the rest of his life. On the topic of being a Kohen, Cohen told Richard Goldstein in 1967, "I had a very Messianic childhood. I was told I was a descendant of Aaron, the high priest."
Cohen attended Roslyn Elementary School and completed grades seven through nine at Herzliah High School, where his literary mentor Irving Layton taught, then transferred in 1948 to Westmount High School, where he studied music and poetry. He became especially interested in the poetry of Federico García Lorca. Cohen involved himself actively beyond Westmount's curriculum, in photography, on the yearbook staff, as a cheerleader, in the arts and current events clubs, and even served in the position of president of the Students' Council while "heavily involved in the school's theater program". During that time, Cohen taught himself to play the acoustic guitar, and formed a country–folk group that he called the Buckskin Boys. After a young Spanish guitar player taught him "a few chords and some flamenco", Cohen switched to a classical guitar. He has attributed his love of music to his mother, who sang songs around the house: "I know that those changes, those melodies, touched me very much. She would sing with us when I took my guitar to a restaurant with some friends; my mother would come, and we'd often sing all night.
Cohen frequented Saint Laurent Boulevard for fun and ate at such places as the Main Deli Steak House. According to journalist David Sax, Cohen and one of his cousins would go to the Main Deli to "watch the gangsters, pimps, and wrestlers dance around the night". Cohen enjoyed the formerly raucous bars of Old Montreal as well as Saint Joseph's Oratory, which had the restaurant nearest to Westmount, for him and his friend Mort Rosengarten to share coffee and cigarettes. When Cohen left Westmount, he purchased a place on Saint-Laurent Boulevard, in the previously working-class neighbourhood of Little Portugal. He would read his poetry at assorted nearby clubs. In that period and that place, Cohen wrote the lyrics to some of his most famous songs.
Chelsea Hotel # 2
Leonard Cohen Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
You were talking so brave and so sweet
Giving me head on the unmade bed
While the limousines wait in the street
Those were the reasons and that was New York
We were running for the money and the flesh
And that was called love for the workers in song
Probably still is for those of them left
Ah, but you got away, didn't you babe?
You just turned your back on the crowd
You got away, I never once heard you say
I need you, I don't need you
I need you, I don't need you
And all of that jiving around
I remember you well in the Chelsea Hotel
You were famous, your heart was a legend
You told me again you preferred handsome men
But for me you would make an exception
And clenching your fist for the ones like us
Who are oppressed by the figures of beauty
You fixed yourself, you said, "well, never mind
We are ugly but we have the music"
And then you got away, didn't you baby?
You just turned your back on the crowd
You got away, I never once heard you say
I need you, I don't need you
I need you, I don't need you
And all of that jiving around
I don't mean to suggest that I loved you the best
I can't keep track of each fallen robin
I remember you well in the Chelsea Hotel
That's all, I don't even think of you that often
In this song, Leonard Cohen reflects on his past relationship with a woman he met at the Chelsea Hotel in New York City. He remembers her fondly and describes intimate moments they shared in the hotel room. The two were young and living in New York City, running after opportunities for money and physical pleasure. Cohen's use of the phrase "love for the workers" implies that their relationship may not have been built on true love, but rather a mutual desire to survive in the world. The woman eventually left the city, turning her back on the lifestyle they had been living, and although Cohen did not express his need for her, he still remembers her and the time they spent together.
The second verse describes the woman's fame and how she preferred handsome men, but was willing to make an exception for Cohen. She had a sharp wit and an appreciation for the music they were creating, which helped them bond despite their "ugly" appearances. Cohen realizes that the woman has moved on from him and no longer needs him in her life. He acknowledges that he may not have loved her the best, but he remembers her fondly nonetheless.
Line by Line Meaning
I remember you well in the Chelsea Hotel
I have vivid memories of meeting you in the Chelsea Hotel
You were talking so brave and so sweet
You were brave and charming in your conversation
Giving me head on the unmade bed
Performing oral sex on me on an unmade bed
While the limousines wait in the street
Limousines are waiting outside on the street
Those were the reasons and that was New York
Our desire for money and pleasure were what brought us to New York
We were running for the money and the flesh
We were chasing after wealth and physical pleasure
And that was called love for the workers in song
Our desire for money and pleasure was seen as love in songs meant for the working class
Probably still is for those of them left
This notion is likely still prevalent among the remaining working-class population
Ah but you got away, didn't you babe
You managed to leave our relationship and escape the public eye
You just turned your back on the crowd
You left the public life behind
You got away, I never once heard you say
You left without ever expressing your feelings to me
I need you, I don't need you
You were unclear about your feelings towards me
And all of that jiving around
All of the dancing and excitement that surrounded us
You were famous, your heart was a legend
You were a well-known figure and had a reputation for having a captivating personality
You told me again you preferred handsome men
You expressed your preference for attractive men
But for me you would make an exception
You were willing to make an exception for me, despite my physical appearance
And clenching your fist for the ones like us
You were frustrated on behalf of those of us who are oppressed due to our physical appearance
Who are oppressed by the figures of beauty
Those who do not possess conventional beauty are oppressed by societal norms
You fixed yourself, you said, "Well never mind,
You consoled yourself by saying that it didn't matter
We are ugly but we have the music."
Despite not being physically attractive, we still have our music to offer
I don't mean to suggest that I loved you the best
I am not saying that I loved you more than anyone else did
I can't keep track of each fallen robin.
I cannot keep account of all those I have loved and lost
That's all, I don't even think of you that often.
Those are all my thoughts about you and I don't think of you much now
Lyrics © BMG Rights Management, Warner Chappell Music, Inc.
Written by: Leonard Cohen
Lyrics Licensed & Provided by LyricFind
@arcadia8057
I remember you well in the Chelsea Hotel
You were talkin' so brave and so sweet
Givin' me head on the unmade bed
While the limousines wait in the street
Those were the reason an' that was New York
We were runnin' for the money and the flesh
And that was called love for the workers in song
Probably still is for those of them left
Ah, but you got away, didn't you, baby?
You just turned your back on the crowd
You got away, I never once heard you say
I need you, I don't need you
I need you, I don't need you
And all of that jiving around
I remember you well in Chelsea Hotel
You were famous, your heart was a legend
You told me again you preferred handsome men
But for me you would make an exception
And clenching your fist for the ones like us
Who are oppressed by the figures of beauty
You fixed yourself, you said: Well, never mind
We are ugly but we have the music
And you got away, didn't you, baby?
You just turned your back on the crowd
You got away, I never once heard you say
I need you, I don't need you
I need you, I don't need you
And all of that jiving around
I don't mean to suggest that I loved you the best
I can't keep track of each fallen robin
I remember you well in Chelsea Hotel
That's all, I don't even think of you that often
@paulojardel4871
remember you well in the Chelsea Hotel
You were talkin' so brave and so sweet
Givin' me head on the unmade bed
While the limousines wait in the street
Those were the reason an' that was New York
We were runnin' for the money and the flesh
And that was called love for the workers in song
Probably still is for those of them left
Ah, but you got away, didn't you, baby?
You just turned your back on the crowd
You got away, I never once heard you say
I need you, I don't need you
I need you, I don't need you
And all of that jiving around
I remember you well in Chelsea Hotel
You were famous, your heart was a legend
You told me again you preferred handsome men
But for me you would make an exception
And clenching your fist for the ones like us
Who are oppressed by the figures of beauty
You fixed yourself, you said: Well, never mind
We are ugly but we have the music
And you got away, didn't you, baby?
You just turned your back on the crowd
You got away, I never once heard you say
I need you, I don't need you
I need you, I don't need you
And all of that jiving around
I don't mean to suggest that I loved you the best
I can't keep track of each fallen robin
I remember you well in Chelsea Hotel
That's all, I don't even think of you that often
@stylianosisaakidis3565
she was a haunted soul,
deep into junkieland...
a haunted ,
deeply troubled soul,
and so very very talanted
to me Cohen was a kind of blase' womanizer,
maybe Janis,
for him was just another of so many young women,
much more talanted than most of them, for sure,
but still just another of so many...
@stylianosisaakidis3565
@@virupakshawalla5734
I'm not an expert, but...
I've known about Cohen for almost 40 years,
I've read about him,
I've listened to his songs...
for sure he was a poet, an artist, AND a womanizer...
He bedded to many women not to be characterized as such a one.
His meeting and fucking with Janis, at the Chelsea,
and connecting her name with the song wasn't to his favour ...
Where is the " total rubbish" in what I wrote ??
@philip_hees
@@stylianosisaakidis3565His confession is right here in this song:
"I don't mean to suggest that I loved you the best
I can't keep track of each fallen robin"
And yet, I wouldn't call him a womanizer. He was an artist, and it's just how it is for artists since forever.
That whole generation of folk artists was hooking up with each other, and then writing songs about each other after the inevitable breakup. They were drawn to each other's minds. If you are capable of writing songs like this, you'll fall hard for a kindred spirit.
Would you call Joni Mitchell a "manizer"? I think not.
@yogsenforfoth5948
Rest In Peace Leonard Cohen and Janis Joplin. ❤
@igorsamora5010
"we're ugly, but we have the music" :')
@barbarahalm2606
For me Leonard Cohen was one of the most handsome man ever...
@igorsamora5010
@@barbarahalm2606 agreed
@roffew.1065
The funniest thing ever written! :)
@adamturner1563
Nobody's ugly my brother. You are not and neither was Leonard. 👊!! ...
@diespeso804
"You told me again you preferred handsome men, but for me you would make an exception" hits too close to home
@d.leighannbatemon3192
The first great love of my life was not considered handsome, but I thought he was incredibly sexy with his passion and stringent adherence to justice. He was a punk rocker, and respected me and my boundaries. He set me up to expect respect in all future relationships. And for that, my current husband and children also respect him. There are more important things than physical attraction that safe people of value recognize and admire.
@magaleans
@@d.leighannbatemon3192 im very interested and curious about love stories. If i may ask, why didn't it worked out? And do you still think about him to this day?
@derekmcaleer2386
But it’s also so humorous… I mean he”s talking about JJ.