Normally, in white culture, artists have to die before they get lavished with the kind of affection only white people can provide. Death is pretty much the only way to ensure that one’s legacy remains intact. Vincent Van Gogh sold but one painting is his life before dying tragically guaranteed that posters of “Starry Starry Night” would witness hundreds and hundreds of white college students’s dorm room deflowerings. However, sometimes an artist is lucky enough to be inundated with praise without meeting his or her maker. This is the case with Leonard Cohen – white culture’s poet rock star.
Cohen has returned to touring after a long fifteen year absence. Given his 40 plus year career, the crowds at his recent concerts have certainly been multi-generational. They have probably not, on the other hand, been multicultural. In fact, it’s safe to assume the colour wheel at his shows range from mother of pearl to ecru. Like Mos Def, Leonard Cohen encapsulates so much that white people hold dear. He is Canadian, bilingual, writes poetry and novels, is vaguely ethnic (i.e. sort of Jewish), and practices Eastern religions. What makes Cohen especially irresistible to white people is that a lot people find his music to be depressing and his voice to be sub-Dylan. This only adds to his white appeal because it gives white people what they have really always wanted: a sense of superiority. Those who don’t appreciate Cohen simply don’t get it.
Unfortunately, Cohen’s devotion to Buddhism allowed his manager to steal most of his retirement nest egg during a five year stay as a Zen Monk on Mt. Baldy. Well, Buddhism’s loss is white culture’s gain since Cohen has to tour at the ripe old age of 73 in order to recoup his losses. White people have never been so glad to see an old man go bankrupt. Hallelujah!
No comments:
Post a Comment