"Hallelujah" Gets Enlisted in the War for a Christian Christmas

Leonard Cohen’s “Hallelujah” has had a weird history. From the schmaltzy (but great!) original recording through John Cale’s lyrical rearrangement and Jeff Buckley’s radical reduction, it’s become an object of abstract emotional grammar, used less for its words than for its gestalt feeling and its ability to convey meaningfulness even in the absence of actual meaning. Its aesthetic beauty feels so timeless that it’s like being in the same room with the Mona Lisa: you just sense you’re in the presence of something important, and you should pay attention, even if you miss the point of the original object. I had always thought that this progression represented a kind [...]
