matthew levinson

March 12, 2009

Faces and places

I was out doing an ‘observational exercise’ on Monday night as part of my uni class. Standing about in Chinatown, wandering down to Sussex and later Pitt streets, it made me realise how little time I spend just hanging out, soaking things in. Really enjoyed it.

Anyway, the aim was a couple of short profiles, potential introductions to a magazine feature. A place and a face. Here’s what I came up with.

Faces

There’s no entourage to speak of, but she’s the star.

He pulls his backpack around and crouches in front of the Oporto restaurant. Green-striped polo shirt – collar up – and baggy jeans, he takes a camera from the bag, pulling the Canon E.O.S. strap over his short brown hair and suede tennis visor. He checks something in the viewfinder, presses a button and adjusts the lens.

She’s about the same height, approx. 170cm, dressed in a fawn jumper, snug over red shirt and blue jeans. Brown discus-shaped handbag. He snaps a picture as she curves her head around to him like a model. Eyes sparkling, teeth glinting. Her eyebrows arch, but she holds them smooth. She giggles with the pose. It’s a funny smile, like a recreation of something she’s seen.

He snaps. She reaches to see the preview, then steps back into position. Carefully pats her shoulder length straight brown hair, parting the fringe across her face. He looks past her, at the backdrop of light rail cables stretching back to a horizon of George Street and the glitzy Guys And Dolls billboard at the Capitol Theatre behind. Needs to get the composition right. He’s done this before.

She flashes that smile. He snaps, laughs, picks up a red Esprit shopping bag, and they’re off to rejoin their friends.

Places

Around the corner from Chinatown, at Hay and Harbour streets, a squat McDonald’s restaurant squeezes out beneath the Entertainment Centre. The hulking venue’s like a Millenium Falcon: futuristic ’80s, washed out, unwashed. Street lights, a big red sign to “Darling Harbour”; decades of intersecting dreams for the city.

A girl steps past the monorail, scooping ice from a Gloria Jeans frappe. The empty train has a full-length hoarding for Pom-brand juice – “Health’s Angel” – moments later, the light rail trundles parallel to Paddy’s Market, also empty.

Two mid-30s men talk too loudly at each other. One leaves, the other asks people in the square for money. Actually, it’s more like a triangle. 500 metres on each side: McDonald’s and Oporto sentry to Paddy’s, 100 years old this year. The market itself bares the scars of several rounds of reno’s.

A man in a square, grey suit swings his arms robotically, striding towards a row of three phone booths. There are specks of rubbish everywhere: cigarette stubs, broken plastic spoons, discarded wrappers. Chicken burger wrappers and napkins wedged into the old train track sleepers, the randomly placed seats. Plenty of pigeons and sea gulls. Two bins. A skateboarder’s oasis, if it wasn’t for the uneven paving.

January 31, 2009

Leonard Cohen triggers wave of spontaneous ovations

Filed under: General — Tags: , , , — matt @ 2:40 am

I don’t think I ever expected to see Leonard Cohen on a stage. So I can understand when the crowd spontaneously stands, cheering, as the 75 year old leaps onto the stage at Sydney’s Entertainment Centre.

Cohen was the first musician I obsessed over. I bought most of his records at the second hand shop between my high school cafe job at The Three Sisters and Katoomba train station. I borrowed his novels and books of poetry from a friend (still have them).

We make a bit of an effort to get him on the radio show. But apparently he’s not giving interviews this time – Radio National plays an interview from his last tour in ‘83 or ‘84. I’m glad we didn’t get him, to be honest, I can imagine sitting across in the studio, starstruck.

Anyway, at the Ent Cent. The band isn’t too far from Brian Wilson’s Weekend At Bernie’s/Late Show troupe of session musicians, and includes long time collaborator Sharon Robertson and back up vocals from the Webb Sisters. Cohen, dressed in pin-stripe suit, collared shirt, cowboy string tie and bull-tie clip, couldn’t be more different from Wilson though, he alludes to drugs but isn’t damaged, he’s sharp, articulate. He’s 75!

Still you can’t miss the age, as Cohen introduces the band, twice, right down to the wording: “prince of precision” (the drummer), “architect of arpeggio” (keys), etc – still, as someone else says, if I’m awake for 3 hours straight (and leaping about on stage) when I’m his age I’ll consider it an accomplishment.

He jaunts through hotel lobby band versions of ‘Ain’t No Cure For Love,’ ‘The Future,’ and ‘Everybody Knows.’ ‘Chelsea Hotel No.2′ kicks off unaccompanied:

I remember you well, in the Chelsea Hotel,
you were talking so brave and so sweet,
giving me head on the unmade bed

There is a gasp of recognition as the audience picks up the line. Then laughs as it sinks in. There are so many punchlines in Cohen’s songs. I know them so well.

I find myself wishing there was less sax, less keys and less electric guitar. No solos. Love the flamenco guitar though. Having said that, most of his records (’70s onward) have kitsch accompaniments. But especially on the early songs, at the Ent Cent it really swamps the simple lyrics.

Five per cent of the audience sport fedora hats. I feel like one of the youngest in the audience. The guy next to me keeps yelling out “Bravo.” Cohen doesn’t talk much between songs, and when he does it’s lines I’ve read about him saying at other shows:

Last time I was on a stage, I was 15 years younger. Just a crazy kid with a dream.

Boom, boom.

I’ve never seen a show quite like this. The sax solos, the band, the soft pastel lights – the Ent Cent for god’s sake – it feels like 1987. Every time someone solos the crowd jumps up. The spontaneous ovations are driving me crazy, especially on a truly awful ‘Bird On The Wire.’

‘Hey That’s No Way To Say Goodbye’ was great.

The crowd evacuates at interval for ice creams and coffee. They return, and there’s another ovation as Cohen skips onto the stage like a spritely leprechaun.

He plays a rinky dink melody on his Technics keyboard. Another spontaneous cheer. He laughs self consciously, lifts his hand and says: “One hand.” It’s actually one of the highlights, a great version of ‘Tower of Song.’

Recent songs ‘Where Is My Gypsy Wife,’ ‘My Secret Life,’ and especially ‘Boogie Street’ are diabolically bad. Terrible. We tune out. Another solo. Another cheer.

‘A Partisan’ is actually a relief. The band’s pared back to a driving drum beat. It’s strident, terrific. ‘Hallelujah’ is nothing like John Cale’s version, it’s just like the original. It’s obviously why most of the audience is in the Entertainment Centre, and starting without fanfare it takes a verse for the audience to work out what’s happening. Still, another ovation.

He plays a sultry ‘I’m Your Man,’ leaving us wondering how he’ll encore. “If you want to take me for a ride, you know you can… I’m your man.” The tone’s resigned rather than defiant. It’s almost three hours into the show.

‘1000 Kisses Deep’ starts off suddenly. It’s a poem, but most of the audience cheers after a couple of lines, I guess assuming it’s an aside. Another cheer at the end of the verse, but after that most people realise it’s a poem.

Back for an encore, ‘So Long Marianne’ is seriously disappointing. Kinda wish he didn’t play that. ‘Famous Blue Raincoat’ gets a run too. The Webb Sisters do ‘If It Be Your Will,’ which brings back memories of Antony’s swirling maelstrom of a version at the Cohen tribute Come So Far For Beauty at the Sydney Opera House several years ago. The show finishes with ‘Democracy,’ which gets a cheer with its line about “democracy coming, to the USA.”

Overcooked, these songs aren’t. Whether it’s Choir of Hard Knocks or John Cale doing ‘Hallelujah’ (both amazing) or Nick Cave doing ‘Tower of Song,’ Cohen’s songs have been perfect cover material for a long time. Perhaps most because (at least since the ’70s) his records are so kitsch. Live, he’s witty and self-deprecating, touching, a bit sleazy at times and at others a funny old man. There’s a fervour to his songs, a transcendent quality. Most of all, it’s funny.

A show quite unlike any other.

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