And the White Man Dancing…. A Hermeneutic Reading of Leonard Cohen’s ‘The Future’

“Within the matrix of ancient religions and philosophies, life was seen as part of an endless cycle of birth and death; time was like a wheel, spinning irrevocably until ancient Jews began to see time differently, as a narrative whose triumphant conclusion would come in the future.”
Thomas Cahill, The Gifts of the Jews
Generally anyone who attempts to critique Jewish influence on Western culture, from Kevin MacDonald, to Douglas Reed’s Controversy of Zion, to David Duke, usually adopts a strategy of referencing and insisting upon utilizing primarily Jewish sources to validate the ‘perspective of subversion’ or ‘group evolutionary strategy,’ as MacDonald aptly labeled it. Not only because Jews often understand and can give a more accurate and politically acceptable voice to their own behaviors than Gentiles, but also non-Jewish writers on the topic tend to be obsequious so as not to be perceived as ‘anti-Semitic’ take Cahill’s The Gifts of the Jews. Although this might seem redundant, even with those who are familiar with the above mentioned perspectives, I would like to apply an esoteric or rather a hermeneutic analysis of the Canadian-Jewish poet/musician Leonard Cohen’s song and music video for The Future, in the wake of his passing.

When I was younger and much more naïve, in my days as an undergraduate, I was introduced to Leonard Cohen’s poetry and music by a girl who adored him. Fact is as a lover of poetic expression, form, and the written word generally, aesthetically and emotionally, there are elements and fragments that are particularly talented. It is ideologically that today I find divergence and even “malice” in his works; his voice today often strikes me as particular or even alien (but strangely modernism has made us all sympathetically Jewish to some degree and thus receptive to their perspective). As I watched the music video for his song The Future, it struck me as supremely telling, so as to deserve further examination and analysis.
Now to break it down, line by line, stanza by stanza:


Give me back my broken night
my mirrored room, my secret life
it’s lonely here there’s no one left to torture
Give me absolute control
over every living soul
And lie beside me baby, that’s an order!
The first lines denote the aspiration for alienation merging with desire. “Broken night” may allude to the experience of the Kristallnacht, or the Night of the Broken Glass. The “mirrored room”, reaffirms the connection with glass or reflective imagery but also refers to a place of reflection of the self, this can also be a sense of the self which is reaffirmed in a community which ‘mirrors’ a sense of identity upon its members, its in-group. This mirrored room in-group membership is an experience of a “secret life” for many Jews, who even today often have Jewish names for their Jewish community and Gentile names adapted to fit whatever culture they are operating in. The “secret life” may refer to a broader sense of insulated Jewish identity outside of the Western Civilization. Cohen, who strongly self-identified as a Jew, certainly feels this sense of double or fractured identity, having grown up in Catholic Quebec.
Various analyses of the song are available online, one by Heidi Hochenedel, Ph.D, gives an example of a good politically correct academic reading but does not ascribe Cohen’s voice properly as that of the aliened and loathing Jew – even when Cohen explicitly identifies himself as “The Jew,” which we will see is really identifiable to the figure of “the eternal Jew”. Nevertheless, Hochenedel asks good questions such as: “Why does the speaker want these things (division, alienation, and a sense of self) restored to him?” Her answer, however, is surface level – she says he wants these things restored to him simply because they have been taken away from him in ‘the future’ which is true, but is not a thorough reading of the lyrics.   Because Cohen himself in the next line answers the why: “It’s lonely here there’s no one left to torture.”
This denotes the lack of separation in the future, when cultural-historical-biological identity has been erased in the future there is no longer any division or diversity – if everyone is an interchangeable part of the social experiment of modernism the individual becomes further atomized and feels a sense of acute anomie. Jewish identity needs division in order to make sense of the world as much as any other group, but possibly it is solely the Jew who requires division in order to have someone “to torture.” For the Jew without ‘torture’ life is “lonely,” – the Jew needs his ghetto and his West Bank, his Palestinians, and Europeans, Pharos and Monarchs, his stock markets and pyramid schemes he needs his superiority reflected back to him by pandering politicians beating their heads on the wailing wall in Jerusalem. One is tempted here to speak as someone such as William Pierce, who might in venomous diction relate that the Jew lives off other civilizations as a vampire, playing with his victim, by transforming his victims mind to fit his mold, changing the culture to adapt to his predatory nature – in a sense, a very sophisticated form of torture mastered over centuries. This sophisticated form of torture was exactly what audiences of the Weimar era saw in the Doctor Mabuse films, meant to be seen as an allegory for the inflation of the Depression. German audiences instead read the film as an anti-Semitic metaphor for the “torture” affecting Germany. Like Cohen’s protagonist in the Future, Mabuse wears many masks “his roles as a psychoanalyst, as a banker in the stock market, as a revolutionary in the workers’ pub and most obviously as the Jewish peddler (Widdig, 122).” A national socialist reviewer of the character describes it as such: “This is the image of the Eternal Jew… marching through the centuries, always with one goal in mind: mastery over the world, even if entire nations perish (quoted in Widdig, 122).”
Thus, the next line: “give me absolute control over every living soul…” This corresponds to a rabbinical Jewish mandate of the chosen or elect, who should rule over other nations by the providence of the covenant with god. Without wallowing too deeply into the following line “And lie beside me baby, that’s an order!” which denotes sadistic Jewish sexual control over the female most likely a Gentile. This has historical reverberations since the Jews historically have been associated with the sex industry in European prostitution rings and the Jews are the primary peddlers of the contemporary multibillion dollar pornography industry, there is also the current sex slave trade into Israel from European countries, mainly the former Soviet Bloc controlled by the Jewish Mafia.  In Germany “liberal” attitudes towards sexuality from Sigmund Freud to the lascivious Babylonian chaos of the Weimar Republic’s sexologists Magnus Hirschfeld and Ivan Bloch was always spearheaded by a Jewish effort to undermine traditional European sexual mores – “if you knew what to look for, you could find anything, anything known to man in the sexual world was available in Berlin,”  indeed you could find the equivalent of:
Give me crack and anal sex
Take the only tree that’s left
and stuff it up the hole in your culture
Give me back the Berlin wall
give me Stalin and Saint Paul
I’ve seen the future brother:
It is murder.
Here Cohen identifies the modern aliments of low brow culture and primitive sexualization that have become “the culture industry.” The symbolism of the tree here is not to be confused with an environmental concern, the tree is the symbol of life of a people, tied to its soil by its roots – by taking that tree and “stuffing it up” Cohen is explaining a process of deracination, or removing it from its roots – while the Jew demands “crack and anal sex.” Singing the perversions of Weimar Germany. Here Cohen is calling forth destruction upon the host culture. Filling it with drugs and lewd sexuality, Sumner Redstone’s MTV or the Weimar years in Germany? He then wishes to take the only tree left and stuff it up the hole in the culture. A soft reading of this passage, such as by Hochenedel, interprets this stanza as a resignation for the decline of civilization, and most importantly for ecology. But that is not at all what Cohen is actually saying, for resignation nor repentance is what he had in mind, but like Mabuse the narrator is defiant and recalcitrant; in fact he instead shows resolute devilment in the disorder, calling forth more disorder. The narrator asks for the Berlin wall, Stalin and Saint Paul, calling forth more division and disorder, he welcomes it, because it restores to him his “mirror-room and secret life”.
Both Stalin and the Berlin Wall were products of Marxist Communism, a messianic Jewish-lead utopianism that divided and killed its host population and scores of Europeans, setting up a rigid totalitarian police state, its dividing walls pitted Europeans against each other. St. Paul, who was Saul of Tarus, the ‘converted’ Pharisee who became “enlightened” on the road to Damascus and began converting Jews and Gentiles to the new Utopianism of Christianity in the Ancient Roman Empire, also has his part to play in the temporary destruction of the West. “Give me back the Berlin Wall, give me Stalin and St. Paul, I’ve seen the future brother, it is murder.”
The Berlin Wall, divided Germany from itself and Europe from itself as a whole, Stalin as an agent of Marxist-Leninism which is the ideological tool of creating division in society. St. Paul, the Christian proselytizing Jew created division in Europe again by agitating the lower classes to revolt in the name of equality. All three things lead to the murder of the white race.
The symbolism of the tree here is important; the tree is a symbol of rootedness of connectedness to the soil, to a particular place, where we have history and roots. The tree is also a primary symbol of growth and life itself. The tree is therefore a symbol of its people, of its continuation and renewal that is why we graphically represent our linage with family trees, for example, or why Christmas trees mark the end of the winter-solstice, to a time when life can grow again, to the return of the rising sun gods, Ra, Horus, Sol, Helios and Apollo. As, Europeans, our trees are dying as our solar deities have died before them and it is through this poisonous culture that our arborescence and ourselves are being deracinated. Cohen and his ilk want to facilitate that process; they want to watch us die slowly or live languidly as a fungus living on a host. As they did in the Soviet Gulag, or when slave turned on master in Roman times and the Christians killed the Pagans and burnt the library of Alexandria “I’ve seen the future brother: It is murder.” For both the Christians and the Communists love as the engine fueling murder – for each the believer was “brother” or comrade but the non-believer was not even regarded as worthy of life, both vehicles having been infused with Judaic intolerance. Nietzsche is not alone in his theorizing for the turning over of values resulting from a Christianized Rome that lead to its collapse, historian Edward Gibbon, famously theorized that Christianity was a catalyst for the fall of the Empire – Cohen and company give lip service to universalisms like “brother” and “comrade” like a Christian or a Communist, but what they mean is “murder” and “slave” like their bloodthirsty and vengeful god Yahweh promised them. Saul or Paul, like Marx, the son of a rabbi was a “Hebrew of Hebrews” a Pharisee, like Cohen, who grew up with messianic tales of brining a descent of the royal line of Aaron.
Things are going to slide in all directions
Won’t be nothing
Nothing you can measure anymore
The blizzard of the world has crossed the threshold
and it has overturned the order of the soul
When they said REPENT I wonder what they meant
Here we see what Zygmunt Bauman following Marx’s insights, among others, has termed “liquid modernity” as a self-referring product of modernity that destroys distinctions between things. In contrast to the arborescent (hierarchic and tree-like) structures of order and knowledge, leftist theorists Deleuze and Guattari introduced the concept of the rhizome and the rhizomatic to describe the new forms of theory that “on the contrary, mark a horizontal and non-hierarchical conception, where anything may be linked to anything else, with no respect whatsoever for specific species: rhizomes are heterogeneous links between things that have nothing to do between themselves.”

Organic society vs. Multicultural society?

Disconnected with from the tree-like structure of organic society and infiltrated by the Jew, who has at times found affinity with the unwanted garden weed, everything becomes everything else thereby becoming nothing particular – gender fluidity, up is down, man is women, there is no Jew or Gentile in “the blizzard of the world.” This ‘post-modern’ deracinated world of “crack” and “anal sex”, has so “overturned the order of the soul” meaning the traditional soul of Europe or what Cohen later calls “the ancient western code.” As the Ancient Western Code becomes overturned, measurement becomes impossible because everyone and everything is dwindled down to a consumer and practitioner of the total leveling falsity of democracy. Within the world of the egalitarian last men, hierarchies are considered evil, measurement of a people or civilization is considered narrow-minded, Eurocentric, and racist. To measure, is to validate, is to discern, is to discriminate, is to hierarchize, and to do so would mean implementing order. In ‘liquid modernity’ one must allow the predatory banks to engage in Ponzi schemes, to defraud hundreds of millions of dollars, because a call to measure or to order would be “fascist.” Herein, the boundaries between self and other, between identity and non-identity, between Europeans and non-Europeans, between civilization and its “discontents” become blurred. Order demands, hierarchies; it demands boundaries, distinctions, validations and discriminations in order to be stabilized. Finally, like Evola’s warriors standing among the ruins, when European man finally points the finger at the Hebraic Svengalis and demands repentance the tribe does not even understand the notion, “what do you mean, you don’t like your liberalized, free-market, multicultural, consumerist wasteland? We are helping you become more ‘human,’ we are a light onto nations!” They sneer and laugh in the privacy of their mirrored rooms, in their knowledge and cronyism, in “their secret lives,” when they say “repent, I wonder what they meant.”
Then Cohen, high priest of the tribe, really shows his hand, seals the deal as they say, in the next lines:

You don’t know me from the wind
you never will, you never did
I’m the little Jew
who wrote the bible
Here Cohen is showing his hand, identifying with his race and history as an ethereal almost elemental (“the wind)”  purveyor of  confusion (“I’m the little Jew who wrote the bible”), the bible here is the old and new testaments, and Cohen is not referring to old testament or “the Torah.” Here Cohen equates himself with “the little Jew who wrote the Bible” which is a reference to Saul of Tarsus who became St. Paul, but it is more than that, it is the figure of the relentless subversive eternal Jew that Cohen is conjuring. “This is the image of the Eternal Jew… marching through the centuries, always with one goal in mind: mastery over the world, even if entire nations perish (quoted in Widdig, 122).”
I’ve seen the nations rise and fall
I’ve heard their stories heard them all
but love’s the only engine of survival
Your servant here, he has been told
to say it clear to say it cold:
It’s over, it ain’t going any further
And now the wheels of heaven stop
and you feel the devil’s riding crop
Get ready for the future it is murder.
Is the song, along with the music video, Cohen seems to be addressing T.S. Eliot’s accusation in Gerontion: “My house is a decayed house, And the Jew squats on the window sill, the owner.” For the video indeed shows Cohen fixing his attire, throughout he adjusts his black suit and tie with a white shirt, (a sort of modernist rabbi costume, “dress British, think Yiddish”), all done in the remains of Eliot’s dilapidated and flooded house. While, it T_S_Eliot_Simon_Fieldhouse.jpgsinks to ruins, the Jew, who has “seen the nations rise and fall…heard their stories heard them all” fixes himself to presentability in order to maintain appearances.
“Love’s the only engine of survival” – Cohen wrote a book of poetry called Flowers for Hitler, published in 1964. The book’s title obviously uses the idea of hippy ‘flower-power’ love against a tyrannical evil foe. Cohen here offers a purely simplistic Manichean-Judaic-Christian divide between good and evil, love and hate, floral botany and Hitlerism. “Love’s the only engine of survival” – is this Christian humanist love? Or Communist workers love? Or the liberal universal love of human rights? Love in all these guises disguises Jewish supremacy. Love indeed has been the basis of Jewish survivalism, preach love and leech. How can a Christian defend the Roman Empire? Don’t you know you must love your enemy? Turn the other cheek, the one with the painted flower. The rest of this stanza seems to rhyme in apocalyptic drivel tied to Cohen’s celebratory death of the West. Created is a simplistic narrative of “Love vs. Hate” that is prominent today, which all the postmodern morons can easily understand and stand behind:
There’ll be the breaking of the ancient western code
Your private life will suddenly explode
There’ll be phantoms, there’ll be fires on the road
and the white man dancing
You’ll see your woman hanging upside down
her features covered by her fallen gown
and all the lousy little poets coming round
trying to sound like Charlie Manson.
Here Cohen is directly addressing Nietzsche: “There’ll be the breaking of the ancient western code” which can only refer to aristocratic morality. The ancient Western code is what built Europe, as Europe, it survived in muted forms under Christendom, within the virility of the Renaissance, or even the energies of warfare, in Aetius, the last Roman, and in the Ghibellines, in various imperialisms, in the Order of the Teutonic Knights, in the conquistadors, in the hundreds of recurrences of the primal energies of Zeus, Jove, and Odin, in the Classical forms. When the West completely loses its character, its code, it becomes part of everything else – everything morphs into a “flat world” as Milton Freidman calls it, without summits and peaks, without shallows, and groves, everything merges into everything else, one homogenous-international-social-welfare state-governmental-bureaucracy, people deracinated and expendable, community based on the transcendental universalism of love and the market, and the earth (like the internationalist ecological movement) stuffed up the hole where culture and people used to be, no more boarders, freedom of mobility, atomized individuals free at last at the end of Marx and Hegel’s history.
While, this new dystopian paradise positions itself, here in the video Cohen mimics a dance with a slight smirk on his face (“you wouldn’t know him from the wind”), both to signify that he is confused with and identified as a white man and to show the part that the Jews play in the Cultural industry which pushes the “crack and anal sex” of contemporary entertainment, which keeps the white man dancing instead of politically engaged against the destruction of the “ancient western code.” I want to focus on the prophetic line “your private life will suddenly explode” in relation to the notion of the postmodern total surveillance society’s panopticon. Technological innovation involving interoperability (the seamless synchronized interplay of data and software function between multiple hardware devices), as well as the socialized Web2.0 – Google+ and Facebook, for example who want to know all aspects of your personality and your online activity. But beyond the virtual world, the information and technological revolutions is resulting in ubiquitous computing data-mining that is right in your homes. The private life can also be conceived of Western Civilization as such, exploding, with non-white immigration, multiculturalism and postmodern social theories. Liberal values that center on the individual as a post-historic consumer involves a centripetal process away from the Traditional center, and can be metaphorically envisioned as an explosion of the private lives of communities – Deleuze and Guattari’s rhizome. “They’ll be phantoms – there’ll be fires on the road and the white man dancing.”
As our civilizations become dominated by the rising tide of color and the notion of the political falls into the decaying and simplistic emotionalisms of secular Christianity – Love vs. Hate.
Love vs Hate.jpg
Any Idiot can get behind love right?

The private life of people and individuals will explode into a borderless world; houses will become transparent, as in Yevgeny Zamyatin’s We. LOVE will rein triumphant in all its diaphanous glory. Only HATE hides behind walls! Through your Web2.0 anonymous message boards, we have your IP addresses! A reckoning of LOVE is coming! What do you mean you don’t accept Christ (LOVE) as your salvation, burn the witch! Burn the heretic! Burn THE HATERS and THE RACISTS!
Through it all the Jew will sit above as a managerial directing group, in their black and white suits making sure dystopia runs smoothly this time, “some animals are more equal than others.”
These HATERS, are the “phantoms” and “fires on the road” to the new glorious REVOLUTION of LOVE, to the DISSOLUTION of boarders! They need to accept the new world order, or be LOVED to SUBMISSION.
Here in the music video you see a white man drowning and blood rising. And again Cohen sings, “the white man dancing.” Video cuts are interspersed of white people swimming in purple filtered water, ending with a white male drowning in blood. The camera zooms into a close-up of Cohen’s face as he stares menacingly and unemotionally at the camera… “You’ll see your woman hanging upside down.” Your woman in reference to the white man dancing, the white man’s woman, will be hanging upside down, as he says that line he walks past a classical almost roman painting of a white woman in the background – the imagery of her hanging upside down like a satanic pentagram means that she will not be lead not by her reason, or her heart but by her lower strata. “Her features covered by her fallen gown.” The fallen gown imagery denotes a kind of sexual transgression – her now socially acceptable miscegenation will distort her phenotype, her distinctive features and those of her womb will be covered or washed over. The blending of the races into one homogenous people, here the images change to a well-dressed drowning white man, symbolizing the death of the race through inbreeding.

and all the lousy little poets coming round
trying to sound like Charlie Manson.
Here again Cohen displays his cunning, knowing full well that few could even grasp the meaning of his lyricism, and given the prophetic apocalyptic imagery, his brooding voice and the dark gospel sound of the song most would assume that he is talking eschatological madness. But also he is commenting on how disengaged the poets are from what is befallen Western civilization, they are instead concerned like a Bukowski or a Ginsberg on garnishing attention by being shocking and outrageous like Charlie Manson, instead of those like Eliot or Pound who were indignant over what was happening to our civilization.
Through it all you get more obscurantism, more artists’ vying for the spotlight through extremism, violence and madness to garner attention. Here he suspects that the vast majority who will not understand his meaning will think that he is perhaps being playfully self-deprecated by referring to himself as a ‘lousy little poet, trying to sound like Charlie Mason,’ what with the apocalyptic themes of the song, when in fact he knows full well that he is an accomplished, competent poet, whose every line has a meaning and the meaning is very clear when you know what to listen and look for. These poets and the rest of the cultural industry’s circus of glitz, glamour, horror, lack of substance and depth, keep “the white man dancing,” while the image of the music video shows a white man drowning and blood ascending in the water from what appears to be his lifeless body. Finally the last image of the video, after he mocks the camera with his stone-cold contempt for repentance one last time, is Cohen hunched over the watered floor, spinning his finger around in it. Again recalling T.S. Eliot’s imagery of the squatting Jew in the white man’s decaying house.
The “New Manicheans”
Widdig, Bernd. Culture and inflation in Weimar Germany. Berkeley: University of California Press, 2001. Print.

6 thoughts on “And the White Man Dancing…. A Hermeneutic Reading of Leonard Cohen’s ‘The Future’

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