how does he perform his poems?
His still-radical performances of 'The Mysterious Cat', 'The Flower-Fed Buffaloes' and parts of 'The Congo' exhibiting a fiery and furious, zany, at times incoherent delivery.
Vachel Lindsay
This is evidenced by the 1931 recording he made just before his suicide, his still-radical performances of 'The Mysterious Cat', 'The Flower-Fed Buffaloes' and parts of 'The Congo' exhibiting a fiery and furious, zany, at times incoherent delivery that appears to have owed more to jazz than poetry, though the highly religious Lindsay was always reluctant to align himself thus.

who was the vice president that served under the following two presidents UNANSWERABLE who was john c. calhoun? He was an American statesman and political theorist from South Carolina what was his rhetorical style? He was not known for charisma. He was often seen as harsh and aggressive with other representatives. what was the affair with regards to petticoat about? It involved lower-ranking executive officials and their wives seeming to contest his ability to choose whomever he wanted for his cabinet. what reputation did he hold? He is often remembered for his defense of minority rights, in the context of defending white Southern interests from perceived Northern threats, by use of the "concurrent majority." were there any monuments built as an act of honor for him? No, but many different places, streets, and schools were named after hi, such as, Springfield, Illinois and Jackson County, Kansas. what business ventures are seen in the former region that was named after him? Some retail and wholesale stores. how is this place related to utopia? Local poet Vachel Lindsay's notions of utopia were expressed in his only novel, "The Golden Book of Springfield" (1920). which poetry was this poet famous for? "The Congo". does he have any unique style of writing poems? He is considered a founder of modern "singing poetry".
wiki:5276511
Vachel Lindsay [SEP] Poetry as performance
Part of the success and great fame that Lindsay achieved—albeit briefly—was due to the singular manner in which he presented his poetry "fundamentally as a performance, as an aural and temporal experience...meant...to be chanted, whispered, belted out, sung, amplified by gesticulation and movement, and punctuated by shouts and whoops." [2] His best-known poem, "The Congo," exemplified his revolutionary aesthetic of sound for sound's sake. It imitates the pounding of the drums in the rhythms and in onomatopoeic nonsense words. At parts, the poem ceases to use conventional words when representing the chants of Congo's indigenous people, relying just on sound alone.