{"id":11382,"date":"2021-04-22T13:47:34","date_gmt":"2021-04-22T12:47:34","guid":{"rendered":"https:\/\/cassandravoices.com\/?p=11382"},"modified":"2021-04-22T13:47:34","modified_gmt":"2021-04-22T12:47:34","slug":"the-other-great-troubadour","status":"publish","type":"post","link":"https:\/\/casswp.eutonom.eu\/index.php\/2021\/04\/22\/the-other-great-troubadour\/","title":{"rendered":"The Other Great Troubadour"},"content":{"rendered":"

Unlike Bob Dylan<\/span> who is still actively making music, Leonard Cohen has not released a new song from beyond the grave. Cohen is dead. Of course he was from an older generation than Dylan. <\/span><\/p>\n

If Dylan represents the Baby Boomers then the Canadian national poet and songster represents the preceding Beat or Beatnik generation of Kerouac and Ginsberg, which he, and Dylan, reference frequently.<\/span><\/p>\n

Cohen and Dylan are the two central figures of a movement in popular, or folk, music, which morphed into cultural commentary and public intellectualism. Thus, the troubadour or bardic poet jumped the tramlines from pop musician into serious art. Dylan was rewarded with a Nobel Prize, but many thought it should have gone to Cohen. While Dylan is a poet in a minor key dedicated to the craft of songwriting, Cohen was a major poet, who learned his trade, and novelist \u2013 Beautiful Losers<\/em><\/a><\/span> (1965) is a hidden treasure \u2013 and that poetic sensibility is reflected in his measured songwriting.<\/p>\n