Recent comments on here have indicated that there’s a perception that the world of spoken word has shifted dramatically toward reinforcing performance over writing as a poet’s first priority.
I agree.
I also agree that the average open mike has become a scene of public masturbation — plenty of people pleasing themselves in public with very little attention to the idea of what might please another.
Who are we to judge this?
We’re the folks who did this before doing this was just another moderately successful pop-culture trend.
I’m not sure that qualifies us for understanding where this scene has gone.
I’m not sure I belong here anymore.
The problem is, I don’t belong anywhere else just yet.
We are responsible for creating the next place — the place where the masturbators go to please others, or get kicked to the curb.
By the way: none of the masturbators know they are doing that. They think they’re pleasing us.
Just like sex, if we don’t tell them otherwise when it’s happening…
Recently someone here said (I truly don’t recall who) that no one should ever get a 2.7 for a score on a poem.
Bullshit. If I had my way, there would be a lot more 2.7s at slams.
Time for folks to wake up. The average slammer (open miker, academic, beat wanna be, etc., etc., etc…)
SUCKS OUT LOUD.
We need to change that if we dislike it. And part of that means telling folks they suck if they do. (In a loving and constructive way, of course.)
Dark Matter 
September 16th, 2004 at 3:53 pm
Re: SERIOUSLY
Because you borke the slam!
September 16th, 2004 at 3:53 pm
Re: SERIOUSLY
Because you borke the slam!
September 16th, 2004 at 3:53 pm
Re: SERIOUSLY
Because you borke the slam!
September 16th, 2004 at 3:53 pm
Re: SERIOUSLY
Because you borke the slam!
September 16th, 2004 at 3:53 pm
Re: SERIOUSLY
Because you borke the slam!
September 16th, 2004 at 3:53 pm
Re: SERIOUSLY
Because you borke the slam!
September 16th, 2004 at 3:53 pm
Re: SERIOUSLY
Because you borke the slam!
September 16th, 2004 at 3:52 pm
Re: “I really don’t think there is “the next place” for us…”
They are the two people I miss most from Mesa. Well, them and “The Emperor of the Known Universe.”
September 16th, 2004 at 3:52 pm
Re: “I really don’t think there is “the next place” for us…”
They are the two people I miss most from Mesa. Well, them and “The Emperor of the Known Universe.”
September 16th, 2004 at 3:52 pm
Re: “I really don’t think there is “the next place” for us…”
They are the two people I miss most from Mesa. Well, them and “The Emperor of the Known Universe.”
September 16th, 2004 at 3:52 pm
Re: “I really don’t think there is “the next place” for us…”
They are the two people I miss most from Mesa. Well, them and “The Emperor of the Known Universe.”
September 16th, 2004 at 3:52 pm
Re: “I really don’t think there is “the next place” for us…”
They are the two people I miss most from Mesa. Well, them and “The Emperor of the Known Universe.”
September 16th, 2004 at 3:52 pm
Re: “I really don’t think there is “the next place” for us…”
They are the two people I miss most from Mesa. Well, them and “The Emperor of the Known Universe.”
September 16th, 2004 at 3:52 pm
Re: “I really don’t think there is “the next place” for us…”
They are the two people I miss most from Mesa. Well, them and “The Emperor of the Known Universe.”
September 15th, 2004 at 5:21 pm
Re: SERIOUSLY
all of my comments are directed at mesa. i don’t want to change the world just the part i have to stand in. for the most part there is an ugly attitude in mesa that once you’ve been to the nationals, the local slam is not worth wasting your time on. there are few exceptions to this in mesa. and what is really strange as many “broke-ass poets” as we have, mesa throws out some impressive coin week and week out, just ask bill campana’s cd collection.
September 15th, 2004 at 5:21 pm
Re: SERIOUSLY
all of my comments are directed at mesa. i don’t want to change the world just the part i have to stand in. for the most part there is an ugly attitude in mesa that once you’ve been to the nationals, the local slam is not worth wasting your time on. there are few exceptions to this in mesa. and what is really strange as many “broke-ass poets” as we have, mesa throws out some impressive coin week and week out, just ask bill campana’s cd collection.
September 15th, 2004 at 5:21 pm
Re: SERIOUSLY
all of my comments are directed at mesa. i don’t want to change the world just the part i have to stand in. for the most part there is an ugly attitude in mesa that once you’ve been to the nationals, the local slam is not worth wasting your time on. there are few exceptions to this in mesa. and what is really strange as many “broke-ass poets” as we have, mesa throws out some impressive coin week and week out, just ask bill campana’s cd collection.
September 15th, 2004 at 5:21 pm
Re: SERIOUSLY
all of my comments are directed at mesa. i don’t want to change the world just the part i have to stand in. for the most part there is an ugly attitude in mesa that once you’ve been to the nationals, the local slam is not worth wasting your time on. there are few exceptions to this in mesa. and what is really strange as many “broke-ass poets” as we have, mesa throws out some impressive coin week and week out, just ask bill campana’s cd collection.
September 15th, 2004 at 5:21 pm
Re: SERIOUSLY
all of my comments are directed at mesa. i don’t want to change the world just the part i have to stand in. for the most part there is an ugly attitude in mesa that once you’ve been to the nationals, the local slam is not worth wasting your time on. there are few exceptions to this in mesa. and what is really strange as many “broke-ass poets” as we have, mesa throws out some impressive coin week and week out, just ask bill campana’s cd collection.
September 15th, 2004 at 5:21 pm
Re: SERIOUSLY
all of my comments are directed at mesa. i don’t want to change the world just the part i have to stand in. for the most part there is an ugly attitude in mesa that once you’ve been to the nationals, the local slam is not worth wasting your time on. there are few exceptions to this in mesa. and what is really strange as many “broke-ass poets” as we have, mesa throws out some impressive coin week and week out, just ask bill campana’s cd collection.
September 15th, 2004 at 5:21 pm
Re: SERIOUSLY
all of my comments are directed at mesa. i don’t want to change the world just the part i have to stand in. for the most part there is an ugly attitude in mesa that once you’ve been to the nationals, the local slam is not worth wasting your time on. there are few exceptions to this in mesa. and what is really strange as many “broke-ass poets” as we have, mesa throws out some impressive coin week and week out, just ask bill campana’s cd collection.
September 15th, 2004 at 4:59 pm
Re: SERIOUSLY
Beats the fuck outta me. I know we share a lot of the same views on this —
I think you put a lot of your comments into the framework of “observed in Mesa”. Maybe folks think you’re talking just locally. I know it’s universal, though.
September 15th, 2004 at 4:59 pm
Re: SERIOUSLY
Beats the fuck outta me. I know we share a lot of the same views on this —
I think you put a lot of your comments into the framework of “observed in Mesa”. Maybe folks think you’re talking just locally. I know it’s universal, though.
September 15th, 2004 at 4:59 pm
Re: SERIOUSLY
Beats the fuck outta me. I know we share a lot of the same views on this —
I think you put a lot of your comments into the framework of “observed in Mesa”. Maybe folks think you’re talking just locally. I know it’s universal, though.
September 15th, 2004 at 4:59 pm
Re: SERIOUSLY
Beats the fuck outta me. I know we share a lot of the same views on this —
I think you put a lot of your comments into the framework of “observed in Mesa”. Maybe folks think you’re talking just locally. I know it’s universal, though.
September 15th, 2004 at 4:59 pm
Re: SERIOUSLY
Beats the fuck outta me. I know we share a lot of the same views on this —
I think you put a lot of your comments into the framework of “observed in Mesa”. Maybe folks think you’re talking just locally. I know it’s universal, though.
September 15th, 2004 at 4:59 pm
Re: SERIOUSLY
Beats the fuck outta me. I know we share a lot of the same views on this —
I think you put a lot of your comments into the framework of “observed in Mesa”. Maybe folks think you’re talking just locally. I know it’s universal, though.
September 15th, 2004 at 4:59 pm
Re: SERIOUSLY
Beats the fuck outta me. I know we share a lot of the same views on this —
I think you put a lot of your comments into the framework of “observed in Mesa”. Maybe folks think you’re talking just locally. I know it’s universal, though.
September 15th, 2004 at 3:01 pm
Re: SERIOUSLY
Because you’re not as cute and loveable and just plain huggable.
September 15th, 2004 at 3:01 pm
Re: SERIOUSLY
Because you’re not as cute and loveable and just plain huggable.
September 15th, 2004 at 3:01 pm
Re: SERIOUSLY
Because you’re not as cute and loveable and just plain huggable.
September 15th, 2004 at 3:01 pm
Re: SERIOUSLY
Because you’re not as cute and loveable and just plain huggable.
September 15th, 2004 at 3:01 pm
Re: SERIOUSLY
Because you’re not as cute and loveable and just plain huggable.
September 15th, 2004 at 3:01 pm
Re: SERIOUSLY
Because you’re not as cute and loveable and just plain huggable.
September 15th, 2004 at 3:01 pm
Re: SERIOUSLY
Because you’re not as cute and loveable and just plain huggable.
September 15th, 2004 at 2:53 pm
SERIOUSLY
why is it that when you bring something like this up it inspires debate and rakes in 25 comments, but when i do it i am accused of driving people away from the scene?
September 15th, 2004 at 2:53 pm
SERIOUSLY
why is it that when you bring something like this up it inspires debate and rakes in 25 comments, but when i do it i am accused of driving people away from the scene?
September 15th, 2004 at 2:53 pm
SERIOUSLY
why is it that when you bring something like this up it inspires debate and rakes in 25 comments, but when i do it i am accused of driving people away from the scene?
September 15th, 2004 at 2:53 pm
SERIOUSLY
why is it that when you bring something like this up it inspires debate and rakes in 25 comments, but when i do it i am accused of driving people away from the scene?
September 15th, 2004 at 2:53 pm
SERIOUSLY
why is it that when you bring something like this up it inspires debate and rakes in 25 comments, but when i do it i am accused of driving people away from the scene?
September 15th, 2004 at 2:53 pm
SERIOUSLY
why is it that when you bring something like this up it inspires debate and rakes in 25 comments, but when i do it i am accused of driving people away from the scene?
September 15th, 2004 at 2:53 pm
SERIOUSLY
why is it that when you bring something like this up it inspires debate and rakes in 25 comments, but when i do it i am accused of driving people away from the scene?
September 15th, 2004 at 2:22 pm
Okay, I’ll definitely admit that the WAG was totally the wrong place to make the statement I did (I was one of the low-balling judges, but my scores stayed in the 4 range), but it honestly had nothing to do with the poetry.
The low scores were a comment on the slam process (I talked with two of the three slammers that night and apologized for being an ass — she was one of the slammers I talk to, and was also improvising the entire time — I’m thoroughly impressed).
It really doesn’t matter what the score is, but its relative placement to other scores.
In the first round, I gave out 8s and 9s (what I usually do). I realized this is not something that needs to be done (although I won’t give out low scores at a youth slam ever again, for other reasons).
In the second round, I gave a 4.5, a 4.6 and a 4.7. Not because the poems were bad, but to somehow show that the hard number doesn’t matter (and I admit it shows this poorly).
To me, the numbers mean I liked the third performer better than the second better than the first… that’s all.
September 15th, 2004 at 2:22 pm
Okay, I’ll definitely admit that the WAG was totally the wrong place to make the statement I did (I was one of the low-balling judges, but my scores stayed in the 4 range), but it honestly had nothing to do with the poetry.
The low scores were a comment on the slam process (I talked with two of the three slammers that night and apologized for being an ass — she was one of the slammers I talk to, and was also improvising the entire time — I’m thoroughly impressed).
It really doesn’t matter what the score is, but its relative placement to other scores.
In the first round, I gave out 8s and 9s (what I usually do). I realized this is not something that needs to be done (although I won’t give out low scores at a youth slam ever again, for other reasons).
In the second round, I gave a 4.5, a 4.6 and a 4.7. Not because the poems were bad, but to somehow show that the hard number doesn’t matter (and I admit it shows this poorly).
To me, the numbers mean I liked the third performer better than the second better than the first… that’s all.
September 15th, 2004 at 2:22 pm
Okay, I’ll definitely admit that the WAG was totally the wrong place to make the statement I did (I was one of the low-balling judges, but my scores stayed in the 4 range), but it honestly had nothing to do with the poetry.
The low scores were a comment on the slam process (I talked with two of the three slammers that night and apologized for being an ass — she was one of the slammers I talk to, and was also improvising the entire time — I’m thoroughly impressed).
It really doesn’t matter what the score is, but its relative placement to other scores.
In the first round, I gave out 8s and 9s (what I usually do). I realized this is not something that needs to be done (although I won’t give out low scores at a youth slam ever again, for other reasons).
In the second round, I gave a 4.5, a 4.6 and a 4.7. Not because the poems were bad, but to somehow show that the hard number doesn’t matter (and I admit it shows this poorly).
To me, the numbers mean I liked the third performer better than the second better than the first… that’s all.
September 15th, 2004 at 2:22 pm
Okay, I’ll definitely admit that the WAG was totally the wrong place to make the statement I did (I was one of the low-balling judges, but my scores stayed in the 4 range), but it honestly had nothing to do with the poetry.
The low scores were a comment on the slam process (I talked with two of the three slammers that night and apologized for being an ass — she was one of the slammers I talk to, and was also improvising the entire time — I’m thoroughly impressed).
It really doesn’t matter what the score is, but its relative placement to other scores.
In the first round, I gave out 8s and 9s (what I usually do). I realized this is not something that needs to be done (although I won’t give out low scores at a youth slam ever again, for other reasons).
In the second round, I gave a 4.5, a 4.6 and a 4.7. Not because the poems were bad, but to somehow show that the hard number doesn’t matter (and I admit it shows this poorly).
To me, the numbers mean I liked the third performer better than the second better than the first… that’s all.
September 15th, 2004 at 2:22 pm
Okay, I’ll definitely admit that the WAG was totally the wrong place to make the statement I did (I was one of the low-balling judges, but my scores stayed in the 4 range), but it honestly had nothing to do with the poetry.
The low scores were a comment on the slam process (I talked with two of the three slammers that night and apologized for being an ass — she was one of the slammers I talk to, and was also improvising the entire time — I’m thoroughly impressed).
It really doesn’t matter what the score is, but its relative placement to other scores.
In the first round, I gave out 8s and 9s (what I usually do). I realized this is not something that needs to be done (although I won’t give out low scores at a youth slam ever again, for other reasons).
In the second round, I gave a 4.5, a 4.6 and a 4.7. Not because the poems were bad, but to somehow show that the hard number doesn’t matter (and I admit it shows this poorly).
To me, the numbers mean I liked the third performer better than the second better than the first… that’s all.
September 15th, 2004 at 2:22 pm
Okay, I’ll definitely admit that the WAG was totally the wrong place to make the statement I did (I was one of the low-balling judges, but my scores stayed in the 4 range), but it honestly had nothing to do with the poetry.
The low scores were a comment on the slam process (I talked with two of the three slammers that night and apologized for being an ass — she was one of the slammers I talk to, and was also improvising the entire time — I’m thoroughly impressed).
It really doesn’t matter what the score is, but its relative placement to other scores.
In the first round, I gave out 8s and 9s (what I usually do). I realized this is not something that needs to be done (although I won’t give out low scores at a youth slam ever again, for other reasons).
In the second round, I gave a 4.5, a 4.6 and a 4.7. Not because the poems were bad, but to somehow show that the hard number doesn’t matter (and I admit it shows this poorly).
To me, the numbers mean I liked the third performer better than the second better than the first… that’s all.
September 15th, 2004 at 2:22 pm
Okay, I’ll definitely admit that the WAG was totally the wrong place to make the statement I did (I was one of the low-balling judges, but my scores stayed in the 4 range), but it honestly had nothing to do with the poetry.
The low scores were a comment on the slam process (I talked with two of the three slammers that night and apologized for being an ass — she was one of the slammers I talk to, and was also improvising the entire time — I’m thoroughly impressed).
It really doesn’t matter what the score is, but its relative placement to other scores.
In the first round, I gave out 8s and 9s (what I usually do). I realized this is not something that needs to be done (although I won’t give out low scores at a youth slam ever again, for other reasons).
In the second round, I gave a 4.5, a 4.6 and a 4.7. Not because the poems were bad, but to somehow show that the hard number doesn’t matter (and I admit it shows this poorly).
To me, the numbers mean I liked the third performer better than the second better than the first… that’s all.
September 15th, 2004 at 2:22 pm
Okay, I’ll definitely admit that the WAG was totally the wrong place to make the statement I did (I was one of the low-balling judges, but my scores stayed in the 4 range), but it honestly had nothing to do with the poetry.
The low scores were a comment on the slam process (I talked with two of the three slammers that night and apologized for being an ass — she was one of the slammers I talk to, and was also improvising the entire time — I’m thoroughly impressed).
It really doesn’t matter what the score is, but its relative placement to other scores.
In the first round, I gave out 8s and 9s (what I usually do). I realized this is not something that needs to be done (although I won’t give out low scores at a youth slam ever again, for other reasons).
In the second round, I gave a 4.5, a 4.6 and a 4.7. Not because the poems were bad, but to somehow show that the hard number doesn’t matter (and I admit it shows this poorly).
To me, the numbers mean I liked the third performer better than the second better than the first… that’s all.
September 15th, 2004 at 1:26 pm
true, very true. Hopefully she’ll walk away and come back a little better and figure out what she needs to do to improve her performance
September 15th, 2004 at 1:26 pm
true, very true. Hopefully she’ll walk away and come back a little better and figure out what she needs to do to improve her performance
September 15th, 2004 at 1:26 pm
true, very true. Hopefully she’ll walk away and come back a little better and figure out what she needs to do to improve her performance
September 15th, 2004 at 1:26 pm
true, very true. Hopefully she’ll walk away and come back a little better and figure out what she needs to do to improve her performance
September 15th, 2004 at 1:26 pm
true, very true. Hopefully she’ll walk away and come back a little better and figure out what she needs to do to improve her performance
September 15th, 2004 at 1:26 pm
true, very true. Hopefully she’ll walk away and come back a little better and figure out what she needs to do to improve her performance
September 15th, 2004 at 1:26 pm
true, very true. Hopefully she’ll walk away and come back a little better and figure out what she needs to do to improve her performance
September 15th, 2004 at 1:21 pm
You didn’t think it deserved the score. The judge obviously did. That’s the nature of slam. Subjective judging. It’s not meant to be fair, or objective.
I hate getting low scores too, but they come with the territory. It’s not like you have to believe them, or (more importantly) find your validation in high scores — they mean just as little.
September 15th, 2004 at 1:21 pm
You didn’t think it deserved the score. The judge obviously did. That’s the nature of slam. Subjective judging. It’s not meant to be fair, or objective.
I hate getting low scores too, but they come with the territory. It’s not like you have to believe them, or (more importantly) find your validation in high scores — they mean just as little.
September 15th, 2004 at 1:21 pm
You didn’t think it deserved the score. The judge obviously did. That’s the nature of slam. Subjective judging. It’s not meant to be fair, or objective.
I hate getting low scores too, but they come with the territory. It’s not like you have to believe them, or (more importantly) find your validation in high scores — they mean just as little.
September 15th, 2004 at 1:21 pm
You didn’t think it deserved the score. The judge obviously did. That’s the nature of slam. Subjective judging. It’s not meant to be fair, or objective.
I hate getting low scores too, but they come with the territory. It’s not like you have to believe them, or (more importantly) find your validation in high scores — they mean just as little.
September 15th, 2004 at 1:21 pm
You didn’t think it deserved the score. The judge obviously did. That’s the nature of slam. Subjective judging. It’s not meant to be fair, or objective.
I hate getting low scores too, but they come with the territory. It’s not like you have to believe them, or (more importantly) find your validation in high scores — they mean just as little.
September 15th, 2004 at 1:21 pm
You didn’t think it deserved the score. The judge obviously did. That’s the nature of slam. Subjective judging. It’s not meant to be fair, or objective.
I hate getting low scores too, but they come with the territory. It’s not like you have to believe them, or (more importantly) find your validation in high scores — they mean just as little.
September 15th, 2004 at 1:21 pm
You didn’t think it deserved the score. The judge obviously did. That’s the nature of slam. Subjective judging. It’s not meant to be fair, or objective.
I hate getting low scores too, but they come with the territory. It’s not like you have to believe them, or (more importantly) find your validation in high scores — they mean just as little.
September 15th, 2004 at 1:18 pm
Ugh.
Adam, I could no more do some of those things than I could be Daniel McLean.
As for the next place…well, I’m trying to create it — with SPEAK, with the column, with my own work, with my insistence on not dumbing down my expectations, and my insistence on not stepping away from new writers.
I may fail, but fuck…I will die trying.
September 15th, 2004 at 1:18 pm
Ugh.
Adam, I could no more do some of those things than I could be Daniel McLean.
As for the next place…well, I’m trying to create it — with SPEAK, with the column, with my own work, with my insistence on not dumbing down my expectations, and my insistence on not stepping away from new writers.
I may fail, but fuck…I will die trying.
September 15th, 2004 at 1:18 pm
Ugh.
Adam, I could no more do some of those things than I could be Daniel McLean.
As for the next place…well, I’m trying to create it — with SPEAK, with the column, with my own work, with my insistence on not dumbing down my expectations, and my insistence on not stepping away from new writers.
I may fail, but fuck…I will die trying.
September 15th, 2004 at 1:18 pm
Ugh.
Adam, I could no more do some of those things than I could be Daniel McLean.
As for the next place…well, I’m trying to create it — with SPEAK, with the column, with my own work, with my insistence on not dumbing down my expectations, and my insistence on not stepping away from new writers.
I may fail, but fuck…I will die trying.
September 15th, 2004 at 1:18 pm
Ugh.
Adam, I could no more do some of those things than I could be Daniel McLean.
As for the next place…well, I’m trying to create it — with SPEAK, with the column, with my own work, with my insistence on not dumbing down my expectations, and my insistence on not stepping away from new writers.
I may fail, but fuck…I will die trying.
September 15th, 2004 at 1:18 pm
Ugh.
Adam, I could no more do some of those things than I could be Daniel McLean.
As for the next place…well, I’m trying to create it — with SPEAK, with the column, with my own work, with my insistence on not dumbing down my expectations, and my insistence on not stepping away from new writers.
I may fail, but fuck…I will die trying.
September 15th, 2004 at 1:18 pm
Ugh.
Adam, I could no more do some of those things than I could be Daniel McLean.
As for the next place…well, I’m trying to create it — with SPEAK, with the column, with my own work, with my insistence on not dumbing down my expectations, and my insistence on not stepping away from new writers.
I may fail, but fuck…I will die trying.
September 15th, 2004 at 1:16 pm
It was me Tony (the 2.7). It didn’t deserve the score it got. It was by no means better then something along the lines of a 6 but also it was her first time out and she actually tried. Maybe I’m just soft and maybe it’s because i’ve been on the recieving end of shitty scores (who hasn’t?) and I hate the feeling of getting a very very low score…
September 15th, 2004 at 1:16 pm
It was me Tony (the 2.7). It didn’t deserve the score it got. It was by no means better then something along the lines of a 6 but also it was her first time out and she actually tried. Maybe I’m just soft and maybe it’s because i’ve been on the recieving end of shitty scores (who hasn’t?) and I hate the feeling of getting a very very low score…
September 15th, 2004 at 1:16 pm
It was me Tony (the 2.7). It didn’t deserve the score it got. It was by no means better then something along the lines of a 6 but also it was her first time out and she actually tried. Maybe I’m just soft and maybe it’s because i’ve been on the recieving end of shitty scores (who hasn’t?) and I hate the feeling of getting a very very low score…
September 15th, 2004 at 1:16 pm
It was me Tony (the 2.7). It didn’t deserve the score it got. It was by no means better then something along the lines of a 6 but also it was her first time out and she actually tried. Maybe I’m just soft and maybe it’s because i’ve been on the recieving end of shitty scores (who hasn’t?) and I hate the feeling of getting a very very low score…
September 15th, 2004 at 1:16 pm
It was me Tony (the 2.7). It didn’t deserve the score it got. It was by no means better then something along the lines of a 6 but also it was her first time out and she actually tried. Maybe I’m just soft and maybe it’s because i’ve been on the recieving end of shitty scores (who hasn’t?) and I hate the feeling of getting a very very low score…
September 15th, 2004 at 1:16 pm
It was me Tony (the 2.7). It didn’t deserve the score it got. It was by no means better then something along the lines of a 6 but also it was her first time out and she actually tried. Maybe I’m just soft and maybe it’s because i’ve been on the recieving end of shitty scores (who hasn’t?) and I hate the feeling of getting a very very low score…
September 15th, 2004 at 1:16 pm
It was me Tony (the 2.7). It didn’t deserve the score it got. It was by no means better then something along the lines of a 6 but also it was her first time out and she actually tried. Maybe I’m just soft and maybe it’s because i’ve been on the recieving end of shitty scores (who hasn’t?) and I hate the feeling of getting a very very low score…
September 15th, 2004 at 1:04 pm
“I really don’t think there is “the next place” for us…”
the next place is in the back of rose and chip’s van. baby, i am so there!
September 15th, 2004 at 1:04 pm
“I really don’t think there is “the next place” for us…”
the next place is in the back of rose and chip’s van. baby, i am so there!
September 15th, 2004 at 1:04 pm
“I really don’t think there is “the next place” for us…”
the next place is in the back of rose and chip’s van. baby, i am so there!
September 15th, 2004 at 1:04 pm
“I really don’t think there is “the next place” for us…”
the next place is in the back of rose and chip’s van. baby, i am so there!
September 15th, 2004 at 1:04 pm
“I really don’t think there is “the next place” for us…”
the next place is in the back of rose and chip’s van. baby, i am so there!
September 15th, 2004 at 1:04 pm
“I really don’t think there is “the next place” for us…”
the next place is in the back of rose and chip’s van. baby, i am so there!
September 15th, 2004 at 1:04 pm
“I really don’t think there is “the next place” for us…”
the next place is in the back of rose and chip’s van. baby, i am so there!
September 15th, 2004 at 1:03 pm
The best open mics I have seen / participated in were ones that borrowed a page from a slam — say, 3-4 minutes per poet and if we have time, then we can go another round. This cut down on soem self-indulgent types.
September 15th, 2004 at 1:03 pm
The best open mics I have seen / participated in were ones that borrowed a page from a slam — say, 3-4 minutes per poet and if we have time, then we can go another round. This cut down on soem self-indulgent types.
September 15th, 2004 at 1:03 pm
The best open mics I have seen / participated in were ones that borrowed a page from a slam — say, 3-4 minutes per poet and if we have time, then we can go another round. This cut down on soem self-indulgent types.
September 15th, 2004 at 1:03 pm
The best open mics I have seen / participated in were ones that borrowed a page from a slam — say, 3-4 minutes per poet and if we have time, then we can go another round. This cut down on soem self-indulgent types.
September 15th, 2004 at 1:03 pm
The best open mics I have seen / participated in were ones that borrowed a page from a slam — say, 3-4 minutes per poet and if we have time, then we can go another round. This cut down on soem self-indulgent types.
September 15th, 2004 at 1:03 pm
The best open mics I have seen / participated in were ones that borrowed a page from a slam — say, 3-4 minutes per poet and if we have time, then we can go another round. This cut down on soem self-indulgent types.
September 15th, 2004 at 1:03 pm
The best open mics I have seen / participated in were ones that borrowed a page from a slam — say, 3-4 minutes per poet and if we have time, then we can go another round. This cut down on soem self-indulgent types.
September 15th, 2004 at 12:56 pm
Re: books books books
I worry about it, too.
I like t read poems, and I like when people read my poems. In part, this is because my perfoirmance is so so, at best. Also, it’s because most of my stuff happens originally (and frequently primarily) on the page.
September 15th, 2004 at 12:56 pm
Re: books books books
I worry about it, too.
I like t read poems, and I like when people read my poems. In part, this is because my perfoirmance is so so, at best. Also, it’s because most of my stuff happens originally (and frequently primarily) on the page.
September 15th, 2004 at 12:56 pm
Re: books books books
I worry about it, too.
I like t read poems, and I like when people read my poems. In part, this is because my perfoirmance is so so, at best. Also, it’s because most of my stuff happens originally (and frequently primarily) on the page.
September 15th, 2004 at 12:56 pm
Re: books books books
I worry about it, too.
I like t read poems, and I like when people read my poems. In part, this is because my perfoirmance is so so, at best. Also, it’s because most of my stuff happens originally (and frequently primarily) on the page.
September 15th, 2004 at 12:56 pm
Re: books books books
I worry about it, too.
I like t read poems, and I like when people read my poems. In part, this is because my perfoirmance is so so, at best. Also, it’s because most of my stuff happens originally (and frequently primarily) on the page.
September 15th, 2004 at 12:56 pm
Re: books books books
I worry about it, too.
I like t read poems, and I like when people read my poems. In part, this is because my perfoirmance is so so, at best. Also, it’s because most of my stuff happens originally (and frequently primarily) on the page.
September 15th, 2004 at 12:56 pm
Re: books books books
I worry about it, too.
I like t read poems, and I like when people read my poems. In part, this is because my perfoirmance is so so, at best. Also, it’s because most of my stuff happens originally (and frequently primarily) on the page.
September 15th, 2004 at 12:26 pm
I’m not entirely sure I agree with you that public masturbation at the open mic is a recent event or even an evolution in the open mic scene at all. I know, compared to some poets on the scene, I haven’t been doing poetry for too long (six years in slam, a total of about thirteen years doing open mics), but I’ve always seen shitty poets taking up stage time to grandstand. Sure slam gives them points and small cash prizes that seem to enhance the glamor for poetasters but the fact is that most of these jerk-offs are happy to hog the spotlight just for the false belief that they have the adulation of even one pre-teen girl or has-been hack. And if they can’t find even one person to stroke their ego in a particular scene, they’re generally non-plussed to drive an hour or two down the road to find a community that will sate their ego. Does anyone remember Dan McLean driving from Cape Cod to The Providence Hope Street reading every week when cape Cod finally put their foot down and said “This scene is not about you, it’s about poetry, and if you can’t understand that, we’d like you to go somewhere else.”
Don’t get me wrong, I don’t enjoy going to open mics where sloganeering or just plain old shit poetry is being read every week. I’ve stopped attending The Cantab open mic, and the Lizard Lounge slam unless there’s a feature I like, or a friend of mine wants to be exposed to poetry. And while I often find myself irritated at a number of poets who take the stage; if I bring a friend who’s never been to an open mic or a slam before, they tend to have a great time.
I really don’t think there is “the next place” for us jaded performers/writers/slammers. Every community has its faults. There are just as many hack/spotlight hoggers in the academic “we don’t attend open mics because poetry is about the page, not the stage” community as there are in the slam community. They have different idiosyncrasies but they’re out there. Leaving a community for another, or even starting a new community just provides you with exposure to different types of masturbators, and it’s only a matter of time before those masturbators get on our nerves.
I find the best way to enjoy the open mics/slams/writers groups is to go with someone at least as jaded as I am, preferably more. We either pass notes or heckle during the slam, and then head to my house or wherever after the event to review the pros and cons of the evening. You think I spend so much time with Su Millerz for enlightening conversation about politics?
Find someone in your scene you can have fun with at the slam. Turn the misery into fun with things like slam bingo or start judging the slams yourself and give out those 2.7s that so many slammatasters so
richlypoorly deserve. If you can’t find anyone jaded enough in Worcester, c’mon out to Boston. I can’t speak for an entire scene, but I’d love to have another Waldorf to my Stadler. And, frankly, we could use the boost in the quality mean that your poetry would provide.September 15th, 2004 at 12:26 pm
I’m not entirely sure I agree with you that public masturbation at the open mic is a recent event or even an evolution in the open mic scene at all. I know, compared to some poets on the scene, I haven’t been doing poetry for too long (six years in slam, a total of about thirteen years doing open mics), but I’ve always seen shitty poets taking up stage time to grandstand. Sure slam gives them points and small cash prizes that seem to enhance the glamor for poetasters but the fact is that most of these jerk-offs are happy to hog the spotlight just for the false belief that they have the adulation of even one pre-teen girl or has-been hack. And if they can’t find even one person to stroke their ego in a particular scene, they’re generally non-plussed to drive an hour or two down the road to find a community that will sate their ego. Does anyone remember Dan McLean driving from Cape Cod to The Providence Hope Street reading every week when cape Cod finally put their foot down and said “This scene is not about you, it’s about poetry, and if you can’t understand that, we’d like you to go somewhere else.”
Don’t get me wrong, I don’t enjoy going to open mics where sloganeering or just plain old shit poetry is being read every week. I’ve stopped attending The Cantab open mic, and the Lizard Lounge slam unless there’s a feature I like, or a friend of mine wants to be exposed to poetry. And while I often find myself irritated at a number of poets who take the stage; if I bring a friend who’s never been to an open mic or a slam before, they tend to have a great time.
I really don’t think there is “the next place” for us jaded performers/writers/slammers. Every community has its faults. There are just as many hack/spotlight hoggers in the academic “we don’t attend open mics because poetry is about the page, not the stage” community as there are in the slam community. They have different idiosyncrasies but they’re out there. Leaving a community for another, or even starting a new community just provides you with exposure to different types of masturbators, and it’s only a matter of time before those masturbators get on our nerves.
I find the best way to enjoy the open mics/slams/writers groups is to go with someone at least as jaded as I am, preferably more. We either pass notes or heckle during the slam, and then head to my house or wherever after the event to review the pros and cons of the evening. You think I spend so much time with Su Millerz for enlightening conversation about politics?
Find someone in your scene you can have fun with at the slam. Turn the misery into fun with things like slam bingo or start judging the slams yourself and give out those 2.7s that so many slammatasters so
richlypoorly deserve. If you can’t find anyone jaded enough in Worcester, c’mon out to Boston. I can’t speak for an entire scene, but I’d love to have another Waldorf to my Stadler. And, frankly, we could use the boost in the quality mean that your poetry would provide.September 15th, 2004 at 12:26 pm
I’m not entirely sure I agree with you that public masturbation at the open mic is a recent event or even an evolution in the open mic scene at all. I know, compared to some poets on the scene, I haven’t been doing poetry for too long (six years in slam, a total of about thirteen years doing open mics), but I’ve always seen shitty poets taking up stage time to grandstand. Sure slam gives them points and small cash prizes that seem to enhance the glamor for poetasters but the fact is that most of these jerk-offs are happy to hog the spotlight just for the false belief that they have the adulation of even one pre-teen girl or has-been hack. And if they can’t find even one person to stroke their ego in a particular scene, they’re generally non-plussed to drive an hour or two down the road to find a community that will sate their ego. Does anyone remember Dan McLean driving from Cape Cod to The Providence Hope Street reading every week when cape Cod finally put their foot down and said “This scene is not about you, it’s about poetry, and if you can’t understand that, we’d like you to go somewhere else.”
Don’t get me wrong, I don’t enjoy going to open mics where sloganeering or just plain old shit poetry is being read every week. I’ve stopped attending The Cantab open mic, and the Lizard Lounge slam unless there’s a feature I like, or a friend of mine wants to be exposed to poetry. And while I often find myself irritated at a number of poets who take the stage; if I bring a friend who’s never been to an open mic or a slam before, they tend to have a great time.
I really don’t think there is “the next place” for us jaded performers/writers/slammers. Every community has its faults. There are just as many hack/spotlight hoggers in the academic “we don’t attend open mics because poetry is about the page, not the stage” community as there are in the slam community. They have different idiosyncrasies but they’re out there. Leaving a community for another, or even starting a new community just provides you with exposure to different types of masturbators, and it’s only a matter of time before those masturbators get on our nerves.
I find the best way to enjoy the open mics/slams/writers groups is to go with someone at least as jaded as I am, preferably more. We either pass notes or heckle during the slam, and then head to my house or wherever after the event to review the pros and cons of the evening. You think I spend so much time with Su Millerz for enlightening conversation about politics?
Find someone in your scene you can have fun with at the slam. Turn the misery into fun with things like slam bingo or start judging the slams yourself and give out those 2.7s that so many slammatasters so
richlypoorly deserve. If you can’t find anyone jaded enough in Worcester, c’mon out to Boston. I can’t speak for an entire scene, but I’d love to have another Waldorf to my Stadler. And, frankly, we could use the boost in the quality mean that your poetry would provide.September 15th, 2004 at 12:26 pm
I’m not entirely sure I agree with you that public masturbation at the open mic is a recent event or even an evolution in the open mic scene at all. I know, compared to some poets on the scene, I haven’t been doing poetry for too long (six years in slam, a total of about thirteen years doing open mics), but I’ve always seen shitty poets taking up stage time to grandstand. Sure slam gives them points and small cash prizes that seem to enhance the glamor for poetasters but the fact is that most of these jerk-offs are happy to hog the spotlight just for the false belief that they have the adulation of even one pre-teen girl or has-been hack. And if they can’t find even one person to stroke their ego in a particular scene, they’re generally non-plussed to drive an hour or two down the road to find a community that will sate their ego. Does anyone remember Dan McLean driving from Cape Cod to The Providence Hope Street reading every week when cape Cod finally put their foot down and said “This scene is not about you, it’s about poetry, and if you can’t understand that, we’d like you to go somewhere else.”
Don’t get me wrong, I don’t enjoy going to open mics where sloganeering or just plain old shit poetry is being read every week. I’ve stopped attending The Cantab open mic, and the Lizard Lounge slam unless there’s a feature I like, or a friend of mine wants to be exposed to poetry. And while I often find myself irritated at a number of poets who take the stage; if I bring a friend who’s never been to an open mic or a slam before, they tend to have a great time.
I really don’t think there is “the next place” for us jaded performers/writers/slammers. Every community has its faults. There are just as many hack/spotlight hoggers in the academic “we don’t attend open mics because poetry is about the page, not the stage” community as there are in the slam community. They have different idiosyncrasies but they’re out there. Leaving a community for another, or even starting a new community just provides you with exposure to different types of masturbators, and it’s only a matter of time before those masturbators get on our nerves.
I find the best way to enjoy the open mics/slams/writers groups is to go with someone at least as jaded as I am, preferably more. We either pass notes or heckle during the slam, and then head to my house or wherever after the event to review the pros and cons of the evening. You think I spend so much time with Su Millerz for enlightening conversation about politics?
Find someone in your scene you can have fun with at the slam. Turn the misery into fun with things like slam bingo or start judging the slams yourself and give out those 2.7s that so many slammatasters so
richlypoorly deserve. If you can’t find anyone jaded enough in Worcester, c’mon out to Boston. I can’t speak for an entire scene, but I’d love to have another Waldorf to my Stadler. And, frankly, we could use the boost in the quality mean that your poetry would provide.September 15th, 2004 at 12:26 pm
I’m not entirely sure I agree with you that public masturbation at the open mic is a recent event or even an evolution in the open mic scene at all. I know, compared to some poets on the scene, I haven’t been doing poetry for too long (six years in slam, a total of about thirteen years doing open mics), but I’ve always seen shitty poets taking up stage time to grandstand. Sure slam gives them points and small cash prizes that seem to enhance the glamor for poetasters but the fact is that most of these jerk-offs are happy to hog the spotlight just for the false belief that they have the adulation of even one pre-teen girl or has-been hack. And if they can’t find even one person to stroke their ego in a particular scene, they’re generally non-plussed to drive an hour or two down the road to find a community that will sate their ego. Does anyone remember Dan McLean driving from Cape Cod to The Providence Hope Street reading every week when cape Cod finally put their foot down and said “This scene is not about you, it’s about poetry, and if you can’t understand that, we’d like you to go somewhere else.”
Don’t get me wrong, I don’t enjoy going to open mics where sloganeering or just plain old shit poetry is being read every week. I’ve stopped attending The Cantab open mic, and the Lizard Lounge slam unless there’s a feature I like, or a friend of mine wants to be exposed to poetry. And while I often find myself irritated at a number of poets who take the stage; if I bring a friend who’s never been to an open mic or a slam before, they tend to have a great time.
I really don’t think there is “the next place” for us jaded performers/writers/slammers. Every community has its faults. There are just as many hack/spotlight hoggers in the academic “we don’t attend open mics because poetry is about the page, not the stage” community as there are in the slam community. They have different idiosyncrasies but they’re out there. Leaving a community for another, or even starting a new community just provides you with exposure to different types of masturbators, and it’s only a matter of time before those masturbators get on our nerves.
I find the best way to enjoy the open mics/slams/writers groups is to go with someone at least as jaded as I am, preferably more. We either pass notes or heckle during the slam, and then head to my house or wherever after the event to review the pros and cons of the evening. You think I spend so much time with Su Millerz for enlightening conversation about politics?
Find someone in your scene you can have fun with at the slam. Turn the misery into fun with things like slam bingo or start judging the slams yourself and give out those 2.7s that so many slammatasters so
richlypoorly deserve. If you can’t find anyone jaded enough in Worcester, c’mon out to Boston. I can’t speak for an entire scene, but I’d love to have another Waldorf to my Stadler. And, frankly, we could use the boost in the quality mean that your poetry would provide.September 15th, 2004 at 12:26 pm
I’m not entirely sure I agree with you that public masturbation at the open mic is a recent event or even an evolution in the open mic scene at all. I know, compared to some poets on the scene, I haven’t been doing poetry for too long (six years in slam, a total of about thirteen years doing open mics), but I’ve always seen shitty poets taking up stage time to grandstand. Sure slam gives them points and small cash prizes that seem to enhance the glamor for poetasters but the fact is that most of these jerk-offs are happy to hog the spotlight just for the false belief that they have the adulation of even one pre-teen girl or has-been hack. And if they can’t find even one person to stroke their ego in a particular scene, they’re generally non-plussed to drive an hour or two down the road to find a community that will sate their ego. Does anyone remember Dan McLean driving from Cape Cod to The Providence Hope Street reading every week when cape Cod finally put their foot down and said “This scene is not about you, it’s about poetry, and if you can’t understand that, we’d like you to go somewhere else.”
Don’t get me wrong, I don’t enjoy going to open mics where sloganeering or just plain old shit poetry is being read every week. I’ve stopped attending The Cantab open mic, and the Lizard Lounge slam unless there’s a feature I like, or a friend of mine wants to be exposed to poetry. And while I often find myself irritated at a number of poets who take the stage; if I bring a friend who’s never been to an open mic or a slam before, they tend to have a great time.
I really don’t think there is “the next place” for us jaded performers/writers/slammers. Every community has its faults. There are just as many hack/spotlight hoggers in the academic “we don’t attend open mics because poetry is about the page, not the stage” community as there are in the slam community. They have different idiosyncrasies but they’re out there. Leaving a community for another, or even starting a new community just provides you with exposure to different types of masturbators, and it’s only a matter of time before those masturbators get on our nerves.
I find the best way to enjoy the open mics/slams/writers groups is to go with someone at least as jaded as I am, preferably more. We either pass notes or heckle during the slam, and then head to my house or wherever after the event to review the pros and cons of the evening. You think I spend so much time with Su Millerz for enlightening conversation about politics?
Find someone in your scene you can have fun with at the slam. Turn the misery into fun with things like slam bingo or start judging the slams yourself and give out those 2.7s that so many slammatasters so
richlypoorly deserve. If you can’t find anyone jaded enough in Worcester, c’mon out to Boston. I can’t speak for an entire scene, but I’d love to have another Waldorf to my Stadler. And, frankly, we could use the boost in the quality mean that your poetry would provide.September 15th, 2004 at 12:26 pm
I’m not entirely sure I agree with you that public masturbation at the open mic is a recent event or even an evolution in the open mic scene at all. I know, compared to some poets on the scene, I haven’t been doing poetry for too long (six years in slam, a total of about thirteen years doing open mics), but I’ve always seen shitty poets taking up stage time to grandstand. Sure slam gives them points and small cash prizes that seem to enhance the glamor for poetasters but the fact is that most of these jerk-offs are happy to hog the spotlight just for the false belief that they have the adulation of even one pre-teen girl or has-been hack. And if they can’t find even one person to stroke their ego in a particular scene, they’re generally non-plussed to drive an hour or two down the road to find a community that will sate their ego. Does anyone remember Dan McLean driving from Cape Cod to The Providence Hope Street reading every week when cape Cod finally put their foot down and said “This scene is not about you, it’s about poetry, and if you can’t understand that, we’d like you to go somewhere else.”
Don’t get me wrong, I don’t enjoy going to open mics where sloganeering or just plain old shit poetry is being read every week. I’ve stopped attending The Cantab open mic, and the Lizard Lounge slam unless there’s a feature I like, or a friend of mine wants to be exposed to poetry. And while I often find myself irritated at a number of poets who take the stage; if I bring a friend who’s never been to an open mic or a slam before, they tend to have a great time.
I really don’t think there is “the next place” for us jaded performers/writers/slammers. Every community has its faults. There are just as many hack/spotlight hoggers in the academic “we don’t attend open mics because poetry is about the page, not the stage” community as there are in the slam community. They have different idiosyncrasies but they’re out there. Leaving a community for another, or even starting a new community just provides you with exposure to different types of masturbators, and it’s only a matter of time before those masturbators get on our nerves.
I find the best way to enjoy the open mics/slams/writers groups is to go with someone at least as jaded as I am, preferably more. We either pass notes or heckle during the slam, and then head to my house or wherever after the event to review the pros and cons of the evening. You think I spend so much time with Su Millerz for enlightening conversation about politics?
Find someone in your scene you can have fun with at the slam. Turn the misery into fun with things like slam bingo or start judging the slams yourself and give out those 2.7s that so many slammatasters so
richlypoorly deserve. If you can’t find anyone jaded enough in Worcester, c’mon out to Boston. I can’t speak for an entire scene, but I’d love to have another Waldorf to my Stadler. And, frankly, we could use the boost in the quality mean that your poetry would provide.September 15th, 2004 at 11:27 am
Funnily enough, I’m writing about this phenomenon myself right now.
Great minds think alike, and so do ours…
September 15th, 2004 at 11:27 am
Funnily enough, I’m writing about this phenomenon myself right now.
Great minds think alike, and so do ours…
September 15th, 2004 at 11:27 am
Funnily enough, I’m writing about this phenomenon myself right now.
Great minds think alike, and so do ours…
September 15th, 2004 at 11:27 am
Funnily enough, I’m writing about this phenomenon myself right now.
Great minds think alike, and so do ours…
September 15th, 2004 at 11:27 am
Funnily enough, I’m writing about this phenomenon myself right now.
Great minds think alike, and so do ours…
September 15th, 2004 at 11:27 am
Funnily enough, I’m writing about this phenomenon myself right now.
Great minds think alike, and so do ours…
September 15th, 2004 at 11:27 am
Funnily enough, I’m writing about this phenomenon myself right now.
Great minds think alike, and so do ours…
September 15th, 2004 at 10:56 am
Re: life inside slam
as a host, by having an extremely diverse collection of features. one of the things i used to really love about dc poetry, was the seemingly endless voices a person would be exposed to. that networking expanded to some of the local high schools and univerities. Henry Taylor (ret. American U) and professors in the creative writing department would invite local poets to meet with and perform for the undergrads.
before the revitalization of U Street, there used to be numerous workshops where some of the area’s most talented writers would read and share comments and advice. for some, life has taken over, but for many, they dont have the tolerance for a lot of what’s going on.
September 15th, 2004 at 10:56 am
Re: life inside slam
as a host, by having an extremely diverse collection of features. one of the things i used to really love about dc poetry, was the seemingly endless voices a person would be exposed to. that networking expanded to some of the local high schools and univerities. Henry Taylor (ret. American U) and professors in the creative writing department would invite local poets to meet with and perform for the undergrads.
before the revitalization of U Street, there used to be numerous workshops where some of the area’s most talented writers would read and share comments and advice. for some, life has taken over, but for many, they dont have the tolerance for a lot of what’s going on.
September 15th, 2004 at 10:56 am
Re: life inside slam
as a host, by having an extremely diverse collection of features. one of the things i used to really love about dc poetry, was the seemingly endless voices a person would be exposed to. that networking expanded to some of the local high schools and univerities. Henry Taylor (ret. American U) and professors in the creative writing department would invite local poets to meet with and perform for the undergrads.
before the revitalization of U Street, there used to be numerous workshops where some of the area’s most talented writers would read and share comments and advice. for some, life has taken over, but for many, they dont have the tolerance for a lot of what’s going on.
September 15th, 2004 at 10:56 am
Re: life inside slam
as a host, by having an extremely diverse collection of features. one of the things i used to really love about dc poetry, was the seemingly endless voices a person would be exposed to. that networking expanded to some of the local high schools and univerities. Henry Taylor (ret. American U) and professors in the creative writing department would invite local poets to meet with and perform for the undergrads.
before the revitalization of U Street, there used to be numerous workshops where some of the area’s most talented writers would read and share comments and advice. for some, life has taken over, but for many, they dont have the tolerance for a lot of what’s going on.
September 15th, 2004 at 10:56 am
Re: life inside slam
as a host, by having an extremely diverse collection of features. one of the things i used to really love about dc poetry, was the seemingly endless voices a person would be exposed to. that networking expanded to some of the local high schools and univerities. Henry Taylor (ret. American U) and professors in the creative writing department would invite local poets to meet with and perform for the undergrads.
before the revitalization of U Street, there used to be numerous workshops where some of the area’s most talented writers would read and share comments and advice. for some, life has taken over, but for many, they dont have the tolerance for a lot of what’s going on.
September 15th, 2004 at 10:56 am
Re: life inside slam
as a host, by having an extremely diverse collection of features. one of the things i used to really love about dc poetry, was the seemingly endless voices a person would be exposed to. that networking expanded to some of the local high schools and univerities. Henry Taylor (ret. American U) and professors in the creative writing department would invite local poets to meet with and perform for the undergrads.
before the revitalization of U Street, there used to be numerous workshops where some of the area’s most talented writers would read and share comments and advice. for some, life has taken over, but for many, they dont have the tolerance for a lot of what’s going on.
September 15th, 2004 at 10:56 am
Re: life inside slam
as a host, by having an extremely diverse collection of features. one of the things i used to really love about dc poetry, was the seemingly endless voices a person would be exposed to. that networking expanded to some of the local high schools and univerities. Henry Taylor (ret. American U) and professors in the creative writing department would invite local poets to meet with and perform for the undergrads.
before the revitalization of U Street, there used to be numerous workshops where some of the area’s most talented writers would read and share comments and advice. for some, life has taken over, but for many, they dont have the tolerance for a lot of what’s going on.
September 15th, 2004 at 10:32 am
Re: books books books
that’s cool too. but as a marketing tool, a few selected pieces from a live performance, i’ve no objection to it.
marketing wise, cds can be a means for a poet to ‘cross over’.
ever seen how small most poetry sections are in bookstores? here, they’re pretty meager.
September 15th, 2004 at 10:32 am
Re: books books books
that’s cool too. but as a marketing tool, a few selected pieces from a live performance, i’ve no objection to it.
marketing wise, cds can be a means for a poet to ‘cross over’.
ever seen how small most poetry sections are in bookstores? here, they’re pretty meager.
September 15th, 2004 at 10:32 am
Re: books books books
that’s cool too. but as a marketing tool, a few selected pieces from a live performance, i’ve no objection to it.
marketing wise, cds can be a means for a poet to ‘cross over’.
ever seen how small most poetry sections are in bookstores? here, they’re pretty meager.
September 15th, 2004 at 10:32 am
Re: books books books
that’s cool too. but as a marketing tool, a few selected pieces from a live performance, i’ve no objection to it.
marketing wise, cds can be a means for a poet to ‘cross over’.
ever seen how small most poetry sections are in bookstores? here, they’re pretty meager.
September 15th, 2004 at 10:32 am
Re: books books books
that’s cool too. but as a marketing tool, a few selected pieces from a live performance, i’ve no objection to it.
marketing wise, cds can be a means for a poet to ‘cross over’.
ever seen how small most poetry sections are in bookstores? here, they’re pretty meager.
September 15th, 2004 at 10:32 am
Re: books books books
that’s cool too. but as a marketing tool, a few selected pieces from a live performance, i’ve no objection to it.
marketing wise, cds can be a means for a poet to ‘cross over’.
ever seen how small most poetry sections are in bookstores? here, they’re pretty meager.
September 15th, 2004 at 10:32 am
Re: books books books
that’s cool too. but as a marketing tool, a few selected pieces from a live performance, i’ve no objection to it.
marketing wise, cds can be a means for a poet to ‘cross over’.
ever seen how small most poetry sections are in bookstores? here, they’re pretty meager.
September 15th, 2004 at 10:29 am
life inside slam
oh, definitely you’re right on there. There are many out here who never go outside the slam scene, simply because there’s so much of it, you can wear yourself out trying to hit all the good ones up here. there are two in SF, one in Oakland, one in Berkeley, and then there’s San Jose and Palo Alto and whatnot. Especially when people are trying to make a team, they don’t have time to go to anything else.
But how to break them out of that? I have no idea. My guess is there would have to be something really inspiring outside of slam for them to try to acheive.
September 15th, 2004 at 10:29 am
life inside slam
oh, definitely you’re right on there. There are many out here who never go outside the slam scene, simply because there’s so much of it, you can wear yourself out trying to hit all the good ones up here. there are two in SF, one in Oakland, one in Berkeley, and then there’s San Jose and Palo Alto and whatnot. Especially when people are trying to make a team, they don’t have time to go to anything else.
But how to break them out of that? I have no idea. My guess is there would have to be something really inspiring outside of slam for them to try to acheive.
September 15th, 2004 at 10:29 am
life inside slam
oh, definitely you’re right on there. There are many out here who never go outside the slam scene, simply because there’s so much of it, you can wear yourself out trying to hit all the good ones up here. there are two in SF, one in Oakland, one in Berkeley, and then there’s San Jose and Palo Alto and whatnot. Especially when people are trying to make a team, they don’t have time to go to anything else.
But how to break them out of that? I have no idea. My guess is there would have to be something really inspiring outside of slam for them to try to acheive.
September 15th, 2004 at 10:29 am
life inside slam
oh, definitely you’re right on there. There are many out here who never go outside the slam scene, simply because there’s so much of it, you can wear yourself out trying to hit all the good ones up here. there are two in SF, one in Oakland, one in Berkeley, and then there’s San Jose and Palo Alto and whatnot. Especially when people are trying to make a team, they don’t have time to go to anything else.
But how to break them out of that? I have no idea. My guess is there would have to be something really inspiring outside of slam for them to try to acheive.
September 15th, 2004 at 10:29 am
life inside slam
oh, definitely you’re right on there. There are many out here who never go outside the slam scene, simply because there’s so much of it, you can wear yourself out trying to hit all the good ones up here. there are two in SF, one in Oakland, one in Berkeley, and then there’s San Jose and Palo Alto and whatnot. Especially when people are trying to make a team, they don’t have time to go to anything else.
But how to break them out of that? I have no idea. My guess is there would have to be something really inspiring outside of slam for them to try to acheive.
September 15th, 2004 at 10:29 am
life inside slam
oh, definitely you’re right on there. There are many out here who never go outside the slam scene, simply because there’s so much of it, you can wear yourself out trying to hit all the good ones up here. there are two in SF, one in Oakland, one in Berkeley, and then there’s San Jose and Palo Alto and whatnot. Especially when people are trying to make a team, they don’t have time to go to anything else.
But how to break them out of that? I have no idea. My guess is there would have to be something really inspiring outside of slam for them to try to acheive.
September 15th, 2004 at 10:29 am
life inside slam
oh, definitely you’re right on there. There are many out here who never go outside the slam scene, simply because there’s so much of it, you can wear yourself out trying to hit all the good ones up here. there are two in SF, one in Oakland, one in Berkeley, and then there’s San Jose and Palo Alto and whatnot. Especially when people are trying to make a team, they don’t have time to go to anything else.
But how to break them out of that? I have no idea. My guess is there would have to be something really inspiring outside of slam for them to try to acheive.
September 15th, 2004 at 10:27 am
Re: books books books
I’m not even sure they should accompany one, to be honest.
I’m thinking about doing a CD with a local musician, qnd it would be completely different from a CD of my poetry…a thing written for itself.
September 15th, 2004 at 10:27 am
Re: books books books
I’m not even sure they should accompany one, to be honest.
I’m thinking about doing a CD with a local musician, qnd it would be completely different from a CD of my poetry…a thing written for itself.
September 15th, 2004 at 10:27 am
Re: books books books
I’m not even sure they should accompany one, to be honest.
I’m thinking about doing a CD with a local musician, qnd it would be completely different from a CD of my poetry…a thing written for itself.
September 15th, 2004 at 10:27 am
Re: books books books
I’m not even sure they should accompany one, to be honest.
I’m thinking about doing a CD with a local musician, qnd it would be completely different from a CD of my poetry…a thing written for itself.
September 15th, 2004 at 10:27 am
Re: books books books
I’m not even sure they should accompany one, to be honest.
I’m thinking about doing a CD with a local musician, qnd it would be completely different from a CD of my poetry…a thing written for itself.
September 15th, 2004 at 10:27 am
Re: books books books
I’m not even sure they should accompany one, to be honest.
I’m thinking about doing a CD with a local musician, qnd it would be completely different from a CD of my poetry…a thing written for itself.
September 15th, 2004 at 10:27 am
Re: books books books
I’m not even sure they should accompany one, to be honest.
I’m thinking about doing a CD with a local musician, qnd it would be completely different from a CD of my poetry…a thing written for itself.
September 15th, 2004 at 10:25 am
Re: The half life of a scene
Oh, and I understood completely what you meant about “generations”.
September 15th, 2004 at 10:25 am
Re: The half life of a scene
Oh, and I understood completely what you meant about “generations”.
September 15th, 2004 at 10:25 am
Re: The half life of a scene
Oh, and I understood completely what you meant about “generations”.
September 15th, 2004 at 10:25 am
Re: The half life of a scene
Oh, and I understood completely what you meant about “generations”.
September 15th, 2004 at 10:25 am
Re: The half life of a scene
Oh, and I understood completely what you meant about “generations”.
September 15th, 2004 at 10:25 am
Re: The half life of a scene
Oh, and I understood completely what you meant about “generations”.
September 15th, 2004 at 10:25 am
Re: The half life of a scene
Oh, and I understood completely what you meant about “generations”.
September 15th, 2004 at 10:24 am
Re: The half life of a scene
Yeah, you’re right, I think.
But I’ve also seen that as “slam” itself becomes more insular, it’s possible to live a life inside slam and be rewarded for your work without referencing a larger world…
Ah, well. People do what they do. I should be more worried about what I do, I think.
September 15th, 2004 at 10:24 am
Re: The half life of a scene
Yeah, you’re right, I think.
But I’ve also seen that as “slam” itself becomes more insular, it’s possible to live a life inside slam and be rewarded for your work without referencing a larger world…
Ah, well. People do what they do. I should be more worried about what I do, I think.
September 15th, 2004 at 10:24 am
Re: The half life of a scene
Yeah, you’re right, I think.
But I’ve also seen that as “slam” itself becomes more insular, it’s possible to live a life inside slam and be rewarded for your work without referencing a larger world…
Ah, well. People do what they do. I should be more worried about what I do, I think.
September 15th, 2004 at 10:24 am
Re: The half life of a scene
Yeah, you’re right, I think.
But I’ve also seen that as “slam” itself becomes more insular, it’s possible to live a life inside slam and be rewarded for your work without referencing a larger world…
Ah, well. People do what they do. I should be more worried about what I do, I think.
September 15th, 2004 at 10:24 am
Re: The half life of a scene
Yeah, you’re right, I think.
But I’ve also seen that as “slam” itself becomes more insular, it’s possible to live a life inside slam and be rewarded for your work without referencing a larger world…
Ah, well. People do what they do. I should be more worried about what I do, I think.
September 15th, 2004 at 10:24 am
Re: The half life of a scene
Yeah, you’re right, I think.
But I’ve also seen that as “slam” itself becomes more insular, it’s possible to live a life inside slam and be rewarded for your work without referencing a larger world…
Ah, well. People do what they do. I should be more worried about what I do, I think.
September 15th, 2004 at 10:24 am
Re: The half life of a scene
Yeah, you’re right, I think.
But I’ve also seen that as “slam” itself becomes more insular, it’s possible to live a life inside slam and be rewarded for your work without referencing a larger world…
Ah, well. People do what they do. I should be more worried about what I do, I think.
September 15th, 2004 at 10:22 am
Re: books books books
i like cds…..i think they should accompany a poetry book, not replace it.
but i also have this stupid thought that poets should be entitled to same benefits as other performers.
i’ve had many a gig where they tried to stiff or cut the poet, but will bend over backwards for the band.
in the end, if the words cant stand alone…
September 15th, 2004 at 10:22 am
Re: books books books
i like cds…..i think they should accompany a poetry book, not replace it.
but i also have this stupid thought that poets should be entitled to same benefits as other performers.
i’ve had many a gig where they tried to stiff or cut the poet, but will bend over backwards for the band.
in the end, if the words cant stand alone…
September 15th, 2004 at 10:22 am
Re: books books books
i like cds…..i think they should accompany a poetry book, not replace it.
but i also have this stupid thought that poets should be entitled to same benefits as other performers.
i’ve had many a gig where they tried to stiff or cut the poet, but will bend over backwards for the band.
in the end, if the words cant stand alone…
September 15th, 2004 at 10:22 am
Re: books books books
i like cds…..i think they should accompany a poetry book, not replace it.
but i also have this stupid thought that poets should be entitled to same benefits as other performers.
i’ve had many a gig where they tried to stiff or cut the poet, but will bend over backwards for the band.
in the end, if the words cant stand alone…
September 15th, 2004 at 10:22 am
Re: books books books
i like cds…..i think they should accompany a poetry book, not replace it.
but i also have this stupid thought that poets should be entitled to same benefits as other performers.
i’ve had many a gig where they tried to stiff or cut the poet, but will bend over backwards for the band.
in the end, if the words cant stand alone…
September 15th, 2004 at 10:22 am
Re: books books books
i like cds…..i think they should accompany a poetry book, not replace it.
but i also have this stupid thought that poets should be entitled to same benefits as other performers.
i’ve had many a gig where they tried to stiff or cut the poet, but will bend over backwards for the band.
in the end, if the words cant stand alone…
September 15th, 2004 at 10:22 am
Re: books books books
i like cds…..i think they should accompany a poetry book, not replace it.
but i also have this stupid thought that poets should be entitled to same benefits as other performers.
i’ve had many a gig where they tried to stiff or cut the poet, but will bend over backwards for the band.
in the end, if the words cant stand alone…
September 15th, 2004 at 10:21 am
The half life of a scene
as far as generations go, you know I’m talking about scene generations, right? around five years or so?
Like the half life of a scene is the amount of time for half the people in the scene to leave. In the bay, I’m thinking it’s around five years, maybe a little less.
regardless, the slammers I’ve seen, once they have a little success:
1) realize it’s not a big deal and quit.
2) want something more and push
a) to be “supported” by slam
b) to become a better writer
c) for a bigger audience.
September 15th, 2004 at 10:21 am
The half life of a scene
as far as generations go, you know I’m talking about scene generations, right? around five years or so?
Like the half life of a scene is the amount of time for half the people in the scene to leave. In the bay, I’m thinking it’s around five years, maybe a little less.
regardless, the slammers I’ve seen, once they have a little success:
1) realize it’s not a big deal and quit.
2) want something more and push
a) to be “supported” by slam
b) to become a better writer
c) for a bigger audience.
September 15th, 2004 at 10:21 am
The half life of a scene
as far as generations go, you know I’m talking about scene generations, right? around five years or so?
Like the half life of a scene is the amount of time for half the people in the scene to leave. In the bay, I’m thinking it’s around five years, maybe a little less.
regardless, the slammers I’ve seen, once they have a little success:
1) realize it’s not a big deal and quit.
2) want something more and push
a) to be “supported” by slam
b) to become a better writer
c) for a bigger audience.
September 15th, 2004 at 10:21 am
The half life of a scene
as far as generations go, you know I’m talking about scene generations, right? around five years or so?
Like the half life of a scene is the amount of time for half the people in the scene to leave. In the bay, I’m thinking it’s around five years, maybe a little less.
regardless, the slammers I’ve seen, once they have a little success:
1) realize it’s not a big deal and quit.
2) want something more and push
a) to be “supported” by slam
b) to become a better writer
c) for a bigger audience.
September 15th, 2004 at 10:21 am
The half life of a scene
as far as generations go, you know I’m talking about scene generations, right? around five years or so?
Like the half life of a scene is the amount of time for half the people in the scene to leave. In the bay, I’m thinking it’s around five years, maybe a little less.
regardless, the slammers I’ve seen, once they have a little success:
1) realize it’s not a big deal and quit.
2) want something more and push
a) to be “supported” by slam
b) to become a better writer
c) for a bigger audience.
September 15th, 2004 at 10:21 am
The half life of a scene
as far as generations go, you know I’m talking about scene generations, right? around five years or so?
Like the half life of a scene is the amount of time for half the people in the scene to leave. In the bay, I’m thinking it’s around five years, maybe a little less.
regardless, the slammers I’ve seen, once they have a little success:
1) realize it’s not a big deal and quit.
2) want something more and push
a) to be “supported” by slam
b) to become a better writer
c) for a bigger audience.
September 15th, 2004 at 10:21 am
The half life of a scene
as far as generations go, you know I’m talking about scene generations, right? around five years or so?
Like the half life of a scene is the amount of time for half the people in the scene to leave. In the bay, I’m thinking it’s around five years, maybe a little less.
regardless, the slammers I’ve seen, once they have a little success:
1) realize it’s not a big deal and quit.
2) want something more and push
a) to be “supported” by slam
b) to become a better writer
c) for a bigger audience.
September 15th, 2004 at 10:19 am
i tend to avoid judging, not so much that i worry about being despised, but because most dont want you to be honest. when i do judge, i keep a pad and pencil on hand to jot down thoughts when i’m listening. that way, when the slammer comes to me and asks me “what did you think?” or, “why did you give that score?” i hit them with the pros AND cons. But first, i always ask, do you want me to be polite, or do you want me to tell you the truth?
\they also take the scoring too seriously.
when i slammed, it was never about the score. it was about trying to get the audience to see and feel the piece they way that I felt it when it all came together.
the time limit and the scoring was amusing…like sprinkles on a cupcake.
dayum, i just realized how much i sound like my parents….“when i was your age…back in my day….”
eek!
September 15th, 2004 at 10:19 am
i tend to avoid judging, not so much that i worry about being despised, but because most dont want you to be honest. when i do judge, i keep a pad and pencil on hand to jot down thoughts when i’m listening. that way, when the slammer comes to me and asks me “what did you think?” or, “why did you give that score?” i hit them with the pros AND cons. But first, i always ask, do you want me to be polite, or do you want me to tell you the truth?
\they also take the scoring too seriously.
when i slammed, it was never about the score. it was about trying to get the audience to see and feel the piece they way that I felt it when it all came together.
the time limit and the scoring was amusing…like sprinkles on a cupcake.
dayum, i just realized how much i sound like my parents….“when i was your age…back in my day….”
eek!
September 15th, 2004 at 10:19 am
i tend to avoid judging, not so much that i worry about being despised, but because most dont want you to be honest. when i do judge, i keep a pad and pencil on hand to jot down thoughts when i’m listening. that way, when the slammer comes to me and asks me “what did you think?” or, “why did you give that score?” i hit them with the pros AND cons. But first, i always ask, do you want me to be polite, or do you want me to tell you the truth?
\they also take the scoring too seriously.
when i slammed, it was never about the score. it was about trying to get the audience to see and feel the piece they way that I felt it when it all came together.
the time limit and the scoring was amusing…like sprinkles on a cupcake.
dayum, i just realized how much i sound like my parents….“when i was your age…back in my day….”
eek!
September 15th, 2004 at 10:19 am
i tend to avoid judging, not so much that i worry about being despised, but because most dont want you to be honest. when i do judge, i keep a pad and pencil on hand to jot down thoughts when i’m listening. that way, when the slammer comes to me and asks me “what did you think?” or, “why did you give that score?” i hit them with the pros AND cons. But first, i always ask, do you want me to be polite, or do you want me to tell you the truth?
\they also take the scoring too seriously.
when i slammed, it was never about the score. it was about trying to get the audience to see and feel the piece they way that I felt it when it all came together.
the time limit and the scoring was amusing…like sprinkles on a cupcake.
dayum, i just realized how much i sound like my parents….“when i was your age…back in my day….”
eek!
September 15th, 2004 at 10:19 am
i tend to avoid judging, not so much that i worry about being despised, but because most dont want you to be honest. when i do judge, i keep a pad and pencil on hand to jot down thoughts when i’m listening. that way, when the slammer comes to me and asks me “what did you think?” or, “why did you give that score?” i hit them with the pros AND cons. But first, i always ask, do you want me to be polite, or do you want me to tell you the truth?
\they also take the scoring too seriously.
when i slammed, it was never about the score. it was about trying to get the audience to see and feel the piece they way that I felt it when it all came together.
the time limit and the scoring was amusing…like sprinkles on a cupcake.
dayum, i just realized how much i sound like my parents….“when i was your age…back in my day….”
eek!
September 15th, 2004 at 10:19 am
i tend to avoid judging, not so much that i worry about being despised, but because most dont want you to be honest. when i do judge, i keep a pad and pencil on hand to jot down thoughts when i’m listening. that way, when the slammer comes to me and asks me “what did you think?” or, “why did you give that score?” i hit them with the pros AND cons. But first, i always ask, do you want me to be polite, or do you want me to tell you the truth?
\they also take the scoring too seriously.
when i slammed, it was never about the score. it was about trying to get the audience to see and feel the piece they way that I felt it when it all came together.
the time limit and the scoring was amusing…like sprinkles on a cupcake.
dayum, i just realized how much i sound like my parents….“when i was your age…back in my day….”
eek!
September 15th, 2004 at 10:19 am
i tend to avoid judging, not so much that i worry about being despised, but because most dont want you to be honest. when i do judge, i keep a pad and pencil on hand to jot down thoughts when i’m listening. that way, when the slammer comes to me and asks me “what did you think?” or, “why did you give that score?” i hit them with the pros AND cons. But first, i always ask, do you want me to be polite, or do you want me to tell you the truth?
\they also take the scoring too seriously.
when i slammed, it was never about the score. it was about trying to get the audience to see and feel the piece they way that I felt it when it all came together.
the time limit and the scoring was amusing…like sprinkles on a cupcake.
dayum, i just realized how much i sound like my parents….“when i was your age…back in my day….”
eek!
September 15th, 2004 at 10:12 am
this here
Who are we to judge this?
We’re the folks who did this before doing this was just another moderately successful pop-culture trend.
“I’m not sure that qualifies us for understanding where this scene has gone.
I’m not sure I belong here anymore.
The problem is, I don’t belong anywhere else just yet.”
has been my issue.
“We are responsible for creating the next place — the place where the masturbators go to please others, or get kicked to the curb.”
bang.
September 15th, 2004 at 10:12 am
this here
Who are we to judge this?
We’re the folks who did this before doing this was just another moderately successful pop-culture trend.
“I’m not sure that qualifies us for understanding where this scene has gone.
I’m not sure I belong here anymore.
The problem is, I don’t belong anywhere else just yet.”
has been my issue.
“We are responsible for creating the next place — the place where the masturbators go to please others, or get kicked to the curb.”
bang.
September 15th, 2004 at 10:12 am
this here
Who are we to judge this?
We’re the folks who did this before doing this was just another moderately successful pop-culture trend.
“I’m not sure that qualifies us for understanding where this scene has gone.
I’m not sure I belong here anymore.
The problem is, I don’t belong anywhere else just yet.”
has been my issue.
“We are responsible for creating the next place — the place where the masturbators go to please others, or get kicked to the curb.”
bang.
September 15th, 2004 at 10:12 am
this here
Who are we to judge this?
We’re the folks who did this before doing this was just another moderately successful pop-culture trend.
“I’m not sure that qualifies us for understanding where this scene has gone.
I’m not sure I belong here anymore.
The problem is, I don’t belong anywhere else just yet.”
has been my issue.
“We are responsible for creating the next place — the place where the masturbators go to please others, or get kicked to the curb.”
bang.
September 15th, 2004 at 10:12 am
this here
Who are we to judge this?
We’re the folks who did this before doing this was just another moderately successful pop-culture trend.
“I’m not sure that qualifies us for understanding where this scene has gone.
I’m not sure I belong here anymore.
The problem is, I don’t belong anywhere else just yet.”
has been my issue.
“We are responsible for creating the next place — the place where the masturbators go to please others, or get kicked to the curb.”
bang.
September 15th, 2004 at 10:12 am
this here
Who are we to judge this?
We’re the folks who did this before doing this was just another moderately successful pop-culture trend.
“I’m not sure that qualifies us for understanding where this scene has gone.
I’m not sure I belong here anymore.
The problem is, I don’t belong anywhere else just yet.”
has been my issue.
“We are responsible for creating the next place — the place where the masturbators go to please others, or get kicked to the curb.”
bang.
September 15th, 2004 at 10:12 am
this here
Who are we to judge this?
We’re the folks who did this before doing this was just another moderately successful pop-culture trend.
“I’m not sure that qualifies us for understanding where this scene has gone.
I’m not sure I belong here anymore.
The problem is, I don’t belong anywhere else just yet.”
has been my issue.
“We are responsible for creating the next place — the place where the masturbators go to please others, or get kicked to the curb.”
bang.
September 15th, 2004 at 10:11 am
Re: books books books
I hope so, Bucky. But I’m not sure.
I worry about the trend to CDs versus books in our crowd. People seem more willing to enshrine the performance than the writing.
But if there’s a generational switch…maybe you’re right.
September 15th, 2004 at 10:11 am
Re: books books books
I hope so, Bucky. But I’m not sure.
I worry about the trend to CDs versus books in our crowd. People seem more willing to enshrine the performance than the writing.
But if there’s a generational switch…maybe you’re right.
September 15th, 2004 at 10:11 am
Re: books books books
I hope so, Bucky. But I’m not sure.
I worry about the trend to CDs versus books in our crowd. People seem more willing to enshrine the performance than the writing.
But if there’s a generational switch…maybe you’re right.
September 15th, 2004 at 10:11 am
Re: books books books
I hope so, Bucky. But I’m not sure.
I worry about the trend to CDs versus books in our crowd. People seem more willing to enshrine the performance than the writing.
But if there’s a generational switch…maybe you’re right.
September 15th, 2004 at 10:11 am
Re: books books books
I hope so, Bucky. But I’m not sure.
I worry about the trend to CDs versus books in our crowd. People seem more willing to enshrine the performance than the writing.
But if there’s a generational switch…maybe you’re right.
September 15th, 2004 at 10:11 am
Re: books books books
I hope so, Bucky. But I’m not sure.
I worry about the trend to CDs versus books in our crowd. People seem more willing to enshrine the performance than the writing.
But if there’s a generational switch…maybe you’re right.
September 15th, 2004 at 10:11 am
Re: books books books
I hope so, Bucky. But I’m not sure.
I worry about the trend to CDs versus books in our crowd. People seem more willing to enshrine the performance than the writing.
But if there’s a generational switch…maybe you’re right.
September 15th, 2004 at 10:08 am
If I had my way, there would be a lot more 2.7s at slams.
AMEN! Of course, that’s a big part of the reason I avoid judging slams. I would be universally despised for being honest. 🙂
September 15th, 2004 at 10:08 am
If I had my way, there would be a lot more 2.7s at slams.
AMEN! Of course, that’s a big part of the reason I avoid judging slams. I would be universally despised for being honest. 🙂
September 15th, 2004 at 10:08 am
If I had my way, there would be a lot more 2.7s at slams.
AMEN! Of course, that’s a big part of the reason I avoid judging slams. I would be universally despised for being honest. 🙂
September 15th, 2004 at 10:08 am
If I had my way, there would be a lot more 2.7s at slams.
AMEN! Of course, that’s a big part of the reason I avoid judging slams. I would be universally despised for being honest. 🙂
September 15th, 2004 at 10:08 am
If I had my way, there would be a lot more 2.7s at slams.
AMEN! Of course, that’s a big part of the reason I avoid judging slams. I would be universally despised for being honest. 🙂
September 15th, 2004 at 10:08 am
If I had my way, there would be a lot more 2.7s at slams.
AMEN! Of course, that’s a big part of the reason I avoid judging slams. I would be universally despised for being honest. 🙂
September 15th, 2004 at 10:08 am
If I had my way, there would be a lot more 2.7s at slams.
AMEN! Of course, that’s a big part of the reason I avoid judging slams. I would be universally despised for being honest. 🙂
September 15th, 2004 at 10:04 am
books books books
there’s been a few of the slammers in the Bay come to me recently with my new book and ask me how they can get one. they want to move past just performing, but don’t really have an example to follow.
I think the performance over content thing will swing the opposite way in the next generation of poets. Just my guess, though.
September 15th, 2004 at 10:04 am
books books books
there’s been a few of the slammers in the Bay come to me recently with my new book and ask me how they can get one. they want to move past just performing, but don’t really have an example to follow.
I think the performance over content thing will swing the opposite way in the next generation of poets. Just my guess, though.
September 15th, 2004 at 10:04 am
books books books
there’s been a few of the slammers in the Bay come to me recently with my new book and ask me how they can get one. they want to move past just performing, but don’t really have an example to follow.
I think the performance over content thing will swing the opposite way in the next generation of poets. Just my guess, though.
September 15th, 2004 at 10:04 am
books books books
there’s been a few of the slammers in the Bay come to me recently with my new book and ask me how they can get one. they want to move past just performing, but don’t really have an example to follow.
I think the performance over content thing will swing the opposite way in the next generation of poets. Just my guess, though.
September 15th, 2004 at 10:04 am
books books books
there’s been a few of the slammers in the Bay come to me recently with my new book and ask me how they can get one. they want to move past just performing, but don’t really have an example to follow.
I think the performance over content thing will swing the opposite way in the next generation of poets. Just my guess, though.
September 15th, 2004 at 10:04 am
books books books
there’s been a few of the slammers in the Bay come to me recently with my new book and ask me how they can get one. they want to move past just performing, but don’t really have an example to follow.
I think the performance over content thing will swing the opposite way in the next generation of poets. Just my guess, though.
September 15th, 2004 at 10:04 am
books books books
there’s been a few of the slammers in the Bay come to me recently with my new book and ask me how they can get one. they want to move past just performing, but don’t really have an example to follow.
I think the performance over content thing will swing the opposite way in the next generation of poets. Just my guess, though.