Several months ago, I wrote a piece on the condition of the Spoken Word scene in Atlanta. I received tons of feedback from artists, including comments from some who felt that my “research” was too inadequate to submit an “informed” opinion on an art form which has been extremely popular as part of Atlanta’s thriving arts scene.
The article highlighted some of the reasons why many feel that the art of spoken word has been slightly “watered” down in the metro Atlanta community. Concepts such as the Over-worked Topic and The Copycat Poet made the list of things that some say have contributed to the art form’s “decline.” Many people debate over spoken word as a cultural expression, claiming that in a lot of ways this art form has opened doors for political and social change. Some argue that the art form is important because it provides an alternate medium of expression for those who feel oppressed by their own emotional turmoil. I learned from writing the article, “Five Reasons Why The Spoken Word Scene in Atlanta is Dead”, that regardless of the genre’s official purpose, there is a definite agreement that some spoken word pieces are hailed masterpieces, while others are characterized with much less enthusiasm. I started thinking about the kinds of spoken word pieces that I’ve admired the most. And I’ve come up with a few ideas…
The Delivery
This may sound strange, but I have noticed that in the poetry scene, many people deliver their pieces on stage with the same staccatoed-inflection as the three poets prior. For some reason, it became trendy to…be heard……while……pausing for——dramatic effect. ~sigh~ Those who have graced the dozens of poetry venues in metro Atlanta will understand how this inflection sounds when uttered.
At any rate, I believe it is safe to assume that if everyone has a different voice, then that voice should be heard on stage during the performance. I do not wish to hear eight poets in a row who all happen to sound completely alike. The point of spoken word is to affect the listener’s intellect or emotions while using his or her own voice. It is absolutely wonderful to experience the rhyming (or non rhyming) talents of an individual who can tell a story with passion and originality. For instance, Australian spoken word artist, Ratsack first captured my heart years ago with his endearing accent, and penchant for an off-beat storytelling style. As one of the underground’s few white spoken word artists, he made a name for himself with his clever brand of originality.
Other artists like Cola Rum, with his husky delivery, and sardonic yet insightful haikus, and Focus, with his brand of jazz-influenced social pieces, offer the underground community examples of how an original voice can propel budding artists to virtual stardom.
Real Issues
Several poems heard in Atlanta’s underground scene revolve around either erotica or social issues, mainly in the black community. I have always been a firm believer in using art as a catalyst for change. But I realize that sometimes people simply want to be entertained. This means that a variant of topics should also make the spoken word list. But this does not mean that the discussion of serious topics cannot be thoroughly engaging. For instance, many poets have written pieces about the horrors of police corruption. But underground artist Tommy Bottoms has provided explicit examples of these practices in his “Crime Does Pay” piece. Outlining the many ways that simple traffic violations benefit the judicial system, Bottoms comically eschews the pitfalls of addressing these topics in the exact manner as his predecessors.
Another example is New York bred spoken word mastermind, Eryk Moore who has also graced underground stages in Atlanta’s poetry scene, and is known for his lightning-quick delivery, and his very direct approach to sensitive spoken word topics. Reviews of the 2006 release “This Man’s Life” on CDBaby.com reveal that he has amassed the respect of fans both inside and outside of his social circles.
What’s Your “Thing”?
Any successful advertising executive will tell you that to make a name for yourself in Corporate America, your product must stand out from all the others. The same concept applies where it regards any artistic form of expression. Mentioned in the comments of the “Spoken Word is Dead…” article, was the fact that what’s missing from the spoken word scene in Atlanta, is originality. Quite frankly, some artists have expressed a certain disappointment in the fact that poets following them have developed strangely “similar” styles.
Much like the comedy scene, it’s literally impossible to keep other hungry artists from stealing your “shtick.” The only way to prevent this from happening, however, is to create a shtick that is “unstealable.” This means that spoken word artists must find ways to infuse who they are into their performances. I once used to see a popular female poet who performed frequently in Atlanta venues. Her spit-fire style was unmistakable; in one breath she could let off a string of zany, yet potent ideas…all of which rhymed. Not even a year later, a few other female poets popped up on the scene with the very same rapid-fire delivery, only their topics were slightly lackluster.
Frankly, there is no real formula for becoming a great spoken word artist. Much of the work is half delivery and half life-experience. Blending those two elements can be be beautiful if a little care is taken to present the work in an original way. As with any other art form, the poetry scene can most defiinitely be exploited for ill intent. But the true pioneers of the genre will prove time and time again, that genius can never be duplicated.
