For decades, the poets of Watts and Liemert Park have responded to anti-Blackness with Black excellence.
and Terrace Martin, emerged as influential leaders in the national jazz and hip-hop scenes.
The cross-pollination between musicians and poets is one of the most generative aspects of the movement. Jazz musicians, with their rigorous practice routines, have heavily influenced the World Stage’s culture of workshop discipline. Its well-known tough-love approach is rooted in a deep respect for craft that emerges from aggressive revising and fearless feedback.
Not everyone feels that way. More than a few L.A. poets have complained that World Stage poets act like “poetry police”: gatekeepers who get to decide what good poetry is. Some poets come to the workshop once and never return. World Stage Workshop members wear this as a badge of honor, a mark of excellence passed down from the elders in that photo across my desk to generations to come. We feel a responsibility to maintain their rigorous tradition — and yes, a sense of triumph in competition. In our 20s, we used to argue over which of us was most like specific Watts poets — just as playground ballers would yell, “I’m Jordan,” while shooting a jump shot.
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