I call this “Smash Poetry” to define this poetic art because I do not see myself as a musician; I see myself as a lyricist. I cannot sing, and I am not trying to sing. I did not want to use artificial intelligence to create artificial music as many have recently done. I could not find anyone who would accept my lyrics and sing them, so I began to dictate these poems over instrumentals in order for them to be positively received by people.
Smash Poetry represents a deliberate fusion where political spoken word meets appropriate instrumentals, not as background music, but as a collision with an aggressive voice delivery, politically charged lyrics, and with timed instrumentals.
It exists as revolutionary lyricism rather than traditional music, fundamentally shaping the work’s identity. The word “smash” reflects multiple aspects: smashing together poetic verse and popular beats, smashing through conventional genre boundaries, and delivering an aggressive tone with politically charged content.
The structure is hybrid, borrowing strong writing architecture and repeated chorus hooks while maintaining poetic flexibility. It emphasizes infuriatingly aggressive delivery and a confrontational performance style that prioritizes impact over melody or traditional poetic cadence, with a rhyme sequence that is not traditional. This is not rock or rap; it is a revolutionary thunderclap.
Unlike general spoken word poetry, Smash Poetry centers political provocation as its core purpose, where aggression serves the urgency of the message. It stands as its own manifestation, distinct from existing forms of art.
Smash Poetry is not a widely recognized genre with a fixed definition. There is no direct equivalent genre such as slam or spoken word, as its structure differs from formal poetic forms by incorporating elements of musical songwriting, including recurring choruses. Calling it Smash Poetry defines its amalgamation of poetic and musical elements into one cohesive form.
I’m just one man and do not have the finances to create unique instrumentals for my lyrics. I also believe instrumentals that have a profound influence over the population would be more beneficial to utilize than unknown instrumentals. So, I used “borrowed” instrumentals from well-known artists especially instrumentals from a wide array of genres; in order for these Smash Poems to resonate with the populous. A previous mentor, whose J3wish wife robbed me and helped put me in severe debt, ruining one of my business ventures once said to me that “bad publicity is good publicity”. Those words have stayed in my mind, and I believe that the bad publicity of me utilizing these well-known instrumentals will help accelerate good publicity. I have given credit to the instrumentals that I have used. I thank the artists for their work. Perhaps a few will not appreciate my use of their works, but I believe the importance of this message is paramount. I hope most of these artists will appreciate the work I have done.
