In the tradition of everything barnestorming and brill, [dnrc] has reached a massive milestone, just one day after the completion of the EvilWealth Games: namely, its fiftieth release. In just over a year of operation, [dnrc], the record label set up and made famous by the hard-working, committed and just-a-little-bit-deluded maestro of the signature jarmy, Davey Dreamnation, has earnt a reputation for backing artists who have never been heard of, and then deleting their entire ouevre, to the chagrin of fans and the delight of rarity-obsessed collectors. Hence, releases by The Guide Ponies, The Cruns, Mead and (most recently) Super Grope, which could have garnered a massive listening audience, have instead been consigned to the dustbin marked “sad” and, on the other side, “deleted”. You may never hear these records out loud. However, you can be certain that the massive archiving effort that is the [dnrc] website will one day rival the one currently being set up by Snoogle and the Camp Davey Public Library. Impossibly seething, certainly deluded and caustically non-Romantic, Davey Dreamnation told reporters today that, had it not been for the so-called death of his close friend Stung (a fine Sting impersonator from New Zealand), and the emotional support provided by his muse, Scaramouche the llama, [dnrc] might never have even got off the ground. “That’s right,” the gifted flautist was quoted as saying, “just turn right at Swanston Street, cross the bridge and you’ll see the freaking fish on your left. Have a nice freaking day. Turkeys.”
Author: Davey Dreamnation (page 136 of 240)
Davey Dreamnation (1972–?) is an Australalian musician, vocalist, pirate and record-label owner who now lives 'in the third person'.
DNRC060 | CASSINGLE | 2006 Read more
It’s been a little while since I last had some poems online but as of today there’s two fresh ones at the PFS Post site, run by Philly poet Adam Fieled, entitled “Exes & Zeroes” and “Oh God!”.
I’ve also got two poems in a neat little journal called Luzmag run by Lars Palm in Spain, entitled “Maz” and “Three Generations”.
Finally, papertiger’s exceptionally cute webzine hutt, edited by Paul Hardacre, now features a poem called “Machines for Living In”.
These five poems were all written last year while I was on an Ozco new work grant, and are part of a loose collection about love and stuff tentatively called Loveship Demos. Some other poems from this group have already appeared (check out my full list of online publications here).
It’s kind of interesting to think that while I’ve had a number of poems in print mags, I’ve had far more in web journals and online poetry zines.
The attraction is obvious: the turnaround time for submissions is much shorter, the poems are far more likely to appear much quicker and (perhaps most vitally) online publication offers the chance of a greater number of poetential (sic) readers.
Of course, there’s a downside too: many of these publications would be seen by print mavens as having no relevance, or as being one-person shows; while I think this categorisation is unfair, it’s also true to say that a great number of poets would prefer to be published in Meanjin than, say, foam:e.
For me, however, online poetry is where it’s at: and I’m not saying that just because I’m also an editor of an online journal.
I’m interested in writing for and making connections with poets and editors who are utilising the potential of web-based communication.
There’s no point talking about “migrating” poets or readers to an online space—we’re already here! Get with the HTML program.
Funnily enough, also on the PFS Post site is a dialogue between Adam Fieled and Lars Palm, in which they make mention of Cordite and hutt, among other online magazines, and also discuss some of these very issues.
DNRC059 | LP | 1968/2006 Read more
DNRC058 | LP | 2006 Read more