The Flame, Leonard Cohen’s last book of poetry (and more), arrives on Friday. I can’t wait to read it, especially after reading some of the poems in the sample. I got the hard cover because some books should be read in print.
I love that his songs started out as poems. My first song submitted for professional feedback to a NY Broadway composer started out as a poem and he led me down the path to making it a song.
In Nashville, “writing to title” co-write sessions are scheduled – they have nothing to do with poetry but the good news is everybody in the room gets songwriter credit. (Two NSAI mentors loved one of my “hooks” but somehow my story wasn’t the usual Nashville story and it didn’t go anywhere).
In Confessions of a Serial Songwriter by Shelly Peiken, she laments today’s songwriter in L.A. being relegated to “topliner” – the person who is called in to write the melody or lyric or maybe just a hook or phrase. The “producer” provides the “backing track” and gets 50% of writing credit and the rest is divvied up according to some sort of formula.
But you know what? This is what you get when a society decides that humans can be created the same way – sperm donor meets egg donor meets surrogate and somehow the couple who purchases all of this genetic material becomes the “parents” and a “family” is created.
I don’t see much difference in creating a human and in creating a song today. Very sad with many consequences with this type of thinking. But that’s the world people have shouted into being. At least for now. I pray that people will come to their senses some day.