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Red Door 22

Red Door Magazine, issue # 22 Featuring the art of Andrej Konapek Interviews with: J. Edward Keyes, Editorial Director of Bandcamp Deborah Alma, Emergency Poet and founder of the Poetic Pharmacy Kultivera's interview with Dominic Williams An introduction to the Poetic Phonotheque, the new Patreon campaign, and much more! www.reddoormagazine.com

Red Door Magazine, issue # 22
Featuring the art of Andrej Konapek

Interviews with:

J. Edward Keyes, Editorial Director of Bandcamp

Deborah Alma, Emergency Poet and founder of the Poetic Pharmacy

Kultivera's interview with Dominic Williams

An introduction to the Poetic Phonotheque, the new Patreon campaign, and much more!

www.reddoormagazine.com

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SPRING 2020<br />

<strong>22</strong><br />

R E D D O O R<br />

The MEDIA issue<br />

ISSUE # <strong>22</strong> - MEDIA<br />

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R E D<br />

D O O R<br />

ISSUE # <strong>22</strong> SPRING 2020<br />

This <strong>22</strong>nd issue has been compiled in our current physical confinements... ahem, locations in<br />

Copenhagen, Denmark, with collaborations from Australia, New York and various other areas of the<br />

US, Canada, Spain, Serbia, England, and various other locations in Europe, during and in spite of<br />

the pandemic lockdown of 2020.<br />

Thank you for having us.<br />

www.reddoormagazine.com<br />

<strong>22</strong><br />

With the participation of: Andrej Konopek (Serbia), J.Edward Keyes (US), Deborah<br />

Alma (England), Melaine Knight (Australia), Frank Bergsten and the team at Kultivera<br />

(Sweden), Brandon Davis (Spain), and the following participants of the Poetic Phonotheque:<br />

Gary Barwin (Canada), Peter Nyberg (Sweden), Julia Lankl (Austria), Pablo Saborio<br />

(Denmark), Volker Regner (Germany), Mel Perry (Wales).<br />

Special thanks to David S. Miller, Samuel J Perkins, Melissa Albers, Anders O. Hansen, Uffe Lorenzen, Tamar<br />

Tkabladze & Jaider Torres, Dharma Agustina Padrón Daly, Camila Upegui, Vale Bechard, Myre Knudsen and<br />

Valeria Schapira, the first to say yes to the Patreon call and give a hand to this magazine, the podcast, the phonotheque,<br />

and all the poetic endeavors connected to the name of <strong>Red</strong> <strong>Door</strong>. GRACIAS!<br />

If you’d like to give a contribution, please consider joining them at patreon.com/madamneverstop<br />

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ISSUE # <strong>22</strong>: MEDIA<br />

Editor in Chief, MADHATTER,<br />

Design & Art Director:<br />

Elizabeth Torres (Madam Neverstop),<br />

Denmark<br />

THE LOCKDOWN ISSUE<br />

RED DOOR<br />

MAGAZINE<br />

Since 2009<br />

On this issue, <strong>Red</strong> <strong>Door</strong> Magazine is<br />

pleased to announce a new collaboration<br />

with Kultivera, a cultural organization<br />

based in Tranås, Sweden,<br />

which organizes various residency<br />

programs, a fringe festival, publications<br />

and other worldthreading projects.<br />

Learn more about kultivera here:<br />

www.kultivera.nu/<br />

EDITORIAL: Where do we go now? . . . . . . . . . 4 - 5<br />

FEATURED ARTIST: Andrej Konopek . . . . . . 6 - 15<br />

CUTTING THROUGH THE NOISE:<br />

A conversation with Bandcamp’s<br />

Editorial Director<br />

J. Edward Keyes . . . . . . . . . . . . . . . . . . . . . . . . . 16 - 17<br />

KULTIVERA: Language / Art Collaboration<br />

Interview with Dominic Williams<br />

by Frank Bergsten . . . . . . . . . . . . . . . . . . . . . . . 18 - 23<br />

A SPECIAL REQUEST:<br />

Supporting <strong>Red</strong> <strong>Door</strong><br />

via the Patreon Platform. . . . . . . . . . . . . . . . . .24 - 27<br />

RED TRANSMISSIONS PODCAST:<br />

Deborah Alma,<br />

The Emergency Poet<br />

& the Poetry Pharmacy. . . . . . . . . . . . . . . . . . . 28 - 29<br />

Cover art and featured art by<br />

Andrej Konopek<br />

Magazine designed on InDesign and<br />

Illustrated digitally by Eli<br />

www.madamneverstop.com<br />

Fonts: Aileron for text,<br />

Aktiv Grotesk for subtitles and titles<br />

HEX code: 008080 teal<br />

Tiffany light teal: 81D8d0<br />

NEON REBELLION:<br />

Houston, we have a problem . . . . . . . . . . . . .30 - 35<br />

BRANDON DAVIS:<br />

We are controlled by the media. . . . . . . . . . 36 - 37<br />

Introducing THE POETIC PHONOTHEQUE<br />

and a selection of poems<br />

from 6 artists participating<br />

in this project. . . . . . . . . . . . . . . . . . . . . . . . . . . . 38 - 45<br />

10...9....8...7...6...5...4...3...2...1<br />

ISSUE # <strong>22</strong> - MEDIA<br />

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WHERE DO WE GO NOW?<br />

(and other unanswered questions)<br />

EDITORIAL<br />

The way that we send and receive information<br />

is more important than the message<br />

itself. That’s the whole idea behind consumerist<br />

media. It’s what all of us who studied<br />

communications, media studies and journalism<br />

were taught, when trying to memorize<br />

the key points needed to properly deliver a<br />

message... the “secret sauce” that has built<br />

marketing giants and brought endless success<br />

to companies with simple products and<br />

big budgets.<br />

As we evolve into this “future” that we discussed<br />

in the previous issue, or as the future<br />

“evolves and dissolves” in us as it catches<br />

us completely by surprise, like a wave of unknown<br />

particles overtaking our planet and<br />

forcing us to remain home in our pajamas,<br />

one thing becomes strenuously clear:<br />

Where once the interaction and exchange<br />

between the messenger and the receiver allowed<br />

for a message, whether or not important,<br />

to be delivered unmodified, the way our<br />

communication style evolves (mainly on a<br />

digital scale), mimics a sort of overlapping<br />

television screens with unsynchronized news<br />

channels and cartoons playing endlessly<br />

and intertwinning into one another until all<br />

we hear, if we focus on the mumbled, tangled,<br />

fuzzed hum, is a combination of a newscast<br />

comedy and a commercial telethon.<br />

We did this to ourselves. We continue to do<br />

so every single day as we read headlines,<br />

scroll over, memorize half a concept, like a<br />

meme, share a GIF, and then enter into a discussion<br />

of politics that could win or lose us<br />

some likes, depending on how bored we are.<br />

It isn’t that those who ran away from Social<br />

Media are free, because we “share” openly<br />

offline, and spread and spread our misinformation,<br />

yes, like a virus, Burroughs said it before,<br />

our language being the virus that contaminates<br />

it all. We don’t do this intentionally<br />

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and we do not do this on our own, but we do<br />

it at a remarkable speed from our phones and<br />

computers, and it has now been proven that<br />

there’s companies who enjoy this chaos and<br />

benefit from it, organizations who profit from<br />

disinformation and who will happily add to<br />

the fire with fake videos, fake profiles, entire<br />

campaigns against a town, a country, an individual,<br />

or any law, concept or freedom, if the<br />

price is right.<br />

I am aware of how easy these lines can sound<br />

like the introduction of a paranoid sci-fi, but I<br />

speak to you from the most honest of places,<br />

trying to understand what we have done.<br />

On his book, the Medium is the Massage,<br />

Marshall Mc Luhan predicted it: “Electrical<br />

information devices for universal, tyrannical<br />

womb-to-tomb surveillance are causing a<br />

very serious dilemma between our claim to<br />

privacy and the community’s need to know”.<br />

Now we learn that during plague time, there<br />

really is such a thing as information overload,<br />

and I wonder of the consequences of covid19<br />

in our psyche - the remnants of trauma, boredom,<br />

anxiety, over-stimulation, uncertainty<br />

- and how these will reflect in the way our society<br />

evolves in the near future. During this<br />

waiting time, grief might have completely<br />

shut down your creative interests, or your current<br />

situations might not be prone to visits of<br />

inspired ideas at late-night hours. Our entire<br />

world is shifting, and whether we like it or not,<br />

we too are morphing.<br />

But if you remember anything from this message,<br />

I want you to remember this:<br />

The disconnection of what we say and how<br />

we say it can also be an art statement,<br />

a performance, a manifesto.<br />

Every action and every movement, every<br />

word and every role is as essential to this universe<br />

for it is part of a composition.


“It is impossible to understand<br />

social and cultural changes,<br />

without a knowledge of the<br />

workings of media.”<br />

-Marshall Mc Luhan, author of The Medium is the Massage.<br />

Choosing MEDIA as a subject for issue #<strong>22</strong> of <strong>Red</strong> <strong>Door</strong> was<br />

a decision made before lockdown times, but as in the past, I<br />

think this subject is incredibly relevant especially now where<br />

we are connected 24-7 to our electronic devices. I am curious<br />

about the art, poetry, music and film that will be brought to life<br />

after the chaos settles, and I am curious as to what that looks<br />

like for our daily realities... but I have stopped asking “how long<br />

for?” because I am not sure I personally understand the global<br />

scope of what is happening.<br />

Instead, I take turns creating in circles, like a ritual of repetition<br />

which is what my brain does most naturally when uncertain.<br />

Please understand the levels of discomfort in which this issue of the magazine was born, not just<br />

individually but by everyone involved either as a correspondent, an interviewee, a featured artist,<br />

and even a reader. All of us in perfect discomfort morphing as we give a little of us to this magazine,<br />

to this new day, to a brave new world. In circles, like a ritual of rebirth. Why not, right?<br />

When the leaders of countries behave like mediocre salesmen and unforgiving gossip columns<br />

feeding us lies on a screen while we wait for the cure to THAT virus, it is up to us, the people, to discern<br />

not just the truth from the noise, but also the path to move forward from THIS virus of contaminated<br />

language - a how to sharpen the signal so we can actually understand what we are saying<br />

- even if it seems unimportant.<br />

While everyone works hard to broadcast and livestream their views, trying to show to the rest of<br />

their network that they are utterly normal, we can set out as explorers of a new world, leaving everything<br />

we’ve ever known behind, including our most automated digital tendencies, on assignment<br />

to rewrite the report of what this period’s humanity leaves behind for the rest of the human species.<br />

And by exploring I am not encouraging you to leave the house before it’s safe, I am only implying<br />

that there is more we can do, and other ways we can come closer as a community.<br />

As Mc Luhan predicted in 1967, we are now an interconnected, interactive, global village. The real<br />

question is, what role do you play in this village? And how good are you at speaking the language<br />

of your people? What do the say? Where do we go now?<br />

My gratitude to everyone involved in this issue of the magazine, and to you, for your time here.<br />

Madam Neverstop.<br />

p.s: The revolution will not be livestreamed.<br />

ISSUE # <strong>22</strong> - MEDIA<br />

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FEATURED ARTIST<br />

ANDREJ<br />

KONOPEK<br />

Originally from Belgrade, Serbia, Konopek’s signature style is a contrasting<br />

dance of elongated figures illustrated on Bacon-esque backrounds,<br />

“making poetry through ink, like blood on a drawing” says the artist.<br />

In the following pages, an interview about the featured artist’s creative<br />

process, projects and vision, as well as a selection of his work.<br />

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What got you into making art? When did you start?<br />

So I can say that at the beginning it was for sure not the thought of making art… it was<br />

some strange joy of creating anything, like a kid’s feeling: some kind of revealing secret,<br />

something that I could not understand.<br />

There was meaning behind making things, not just drawing, every time I was making<br />

something from a piece of wood or some stone or mud, I had that feeling of closeness,<br />

that I reached at some strong point, which I sincerely do not understand even<br />

now after all these years… But it kept me going and pulled me into discovering the<br />

ways of looking and transforming, ways of understanding, its a kind of school I can<br />

say in wich I am my own pupil and teacher.<br />

What would you say are the benefits of art creation / and in your personal life,<br />

what have been the positive aspects of a life as an artist?<br />

Well, benefits probably are that I am constantly involved in my mind process, it’s quite<br />

restless to be honest, but benefits for me are in a form of awareness.<br />

Still I dont want to be at the same time too present, it has to be on both sides of the<br />

line, in this world and over the edge, and then what impression your rational mind<br />

draws on this side.<br />

Maybe its like a prayer, energy focused and channeled to be as true as possible.<br />

Would you tell us some milestones in your career?<br />

Certainly, academy was a good cooking point by meaning of dedicated working all<br />

day long. I could really tell that the more one is working, the closer one is to that center<br />

spot of existence, and here is why:<br />

Because the more you work you become more able to pass the line behind the<br />

mind-chattering.<br />

Another big step was the birth of my kids, when one becomes a parent,<br />

it requires a new process, a new discipline.<br />

What do you aspire to achieve with your work?<br />

I am trying to be as near as possible to the juices of life, (energy forces?) talk to them…<br />

it’s making me more alive, to learn from these processes.<br />

What do the characters in your work represent?<br />

The characters are mostly reflections of seen and rendered reality, to wich I attach<br />

some poetic position. Also, they serve the function of corresponding to all parts of the<br />

work, creating a visual engine.<br />

ISSUE # <strong>22</strong> - MEDIA<br />

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Tell us about your artistic process. What materials do you use, how long does it<br />

take you, and if you have any “rituals” you follow throughout the making of an<br />

art piece<br />

Process is offten that there is no process, that is where I am arriving to.<br />

I want to be as dettached to what has already been done as possible, but there is<br />

always the same line to which it is all stringed together.<br />

I work in circles with materials, also in layers, for me it is important to keep that fresh<br />

feeling of working, not to be sleepy. A dynamic process is important, think that in<br />

that manner impressions are transferred more strongly and truely.<br />

I rarely sit when I work, most of the time I am standing, luckily I have a desk that I can<br />

lift, which is good for my back.<br />

My process involves using lots of ink, drawing with pens, combining oil colors with<br />

dilluters also, as well as often oil with water-based colors, these two are not simillar<br />

ir compatible, but in that way I get some new visuals wich arouse and stimulate new<br />

stories and open new worlds for fresh works.<br />

Music is important.<br />

I am always listening music when working, I have the feeling that I am some instrument<br />

and the music is the musician, music is vibrating strings inside me, by that<br />

vibration I transfer seen reality.<br />

What advice would you give to people trying to make it in the<br />

art world?<br />

Light is the most important thing.<br />

A lot of work and patience is key, right opportunities will arrive for sure. I can say that<br />

if you want to make it you will, there is no ”fail”.<br />

Andrej’s artwork is featured on the front and back covers of this<br />

magazine, as well as on the following pages.<br />

Follow his work at:<br />

instagram.com/konopek_andrej.art/<br />

facebook.com/andrej.konopek<br />

ISSUE # <strong>22</strong> - MEDIA<br />

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Around fire / all of weight<br />

Deserted by everything<br />

Man and his snow.<br />

Snow is black, deep vastness.<br />

The ability of light is spirit.<br />

It does not illuminate existence,<br />

It makes a man capable for himself.<br />

Darkness frees the light,<br />

and men are their mountains,<br />

their tops are symbols of the heart.<br />

-Andrej Konopek.<br />

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ISSUE # <strong>22</strong> - MEDIA<br />

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CUTTING THROUGH<br />

THE NOISE<br />

INTERVIEW WITH J. EDWARD KEYES - BANDCAMP’S EDITORIAL DIRECTOR<br />

By Madam Neverstop<br />

On a regular day, over 200 albums arrive to<br />

J. Edward Keyes, pitching to be included in the<br />

popular Bandcamp Daily, an online music publication,<br />

which offers articles about artists on<br />

the platform, such as essential releases, lists,<br />

features and other editorial content. J. Edward<br />

Keyes shares with us what it’s like to be the Editorial<br />

Director of Bandcamp, his background,<br />

writing advice, and even predictions for the industry.<br />

Originally from Long Island, J moved to Philly<br />

when he got started writing and began acquiring<br />

the experience that led him to a life in New<br />

York playing an influential role in today’s music.<br />

When asked about his choice of combining<br />

Journalism and Music, J shares his past as part<br />

of an Evangelical/Christian home and community,<br />

studying to be a pastor and attending<br />

Bible College, and soon after realizing that his<br />

involvement in the documentation of Christian<br />

Punk, Rock and Alternative scene was more to<br />

his interest.<br />

J mentiones politcal, far-left bands with philosophies<br />

that led him to make his own zine, interviewing<br />

artists and doing album reviews. It was<br />

probably the free boxes of CDs, he jokes, that<br />

led him to pursue a career in music journalism.<br />

Soon after J had developed a very varied portfolio<br />

and began writing for the Philadolphia Weekly,<br />

and much later, as his background expanded,<br />

(and while doing other side jobs, including<br />

being a librarian), J finally was able to have a<br />

fulltime career writing for media such as Pitchfork,<br />

the Village Voice, Vice and Rolling Stone.<br />

When asked about Musical influences, as well<br />

as books or characters who inspired him as he<br />

built his career, J mentions two key influences.<br />

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A book titled “Lipstick Traces: A Secret History<br />

of the 20th Century” by Greil Marcus , as well as<br />

reading the critic Ann Powers, who at the time<br />

was writing for the NY Times, both who linked<br />

history, philosophy, contemporary happenings<br />

and politics to their writing about music, in a<br />

more connected style that felt real for him.<br />

Agreeing with the theory that music is one of<br />

the arts that is best left open for interpretation<br />

rather than presented as a canned-feeling that<br />

already is served explained to people, we move<br />

on to talking about Bandcamp and the relationship<br />

of artists with the now popular platform, as<br />

well as the new opportunities in the digital music<br />

industry. But we also discuss how to properly<br />

pitch one’s own music to the media:<br />

“Too often, foks try to chase down an album as<br />

if it were a specific mystery that needs unraveling,<br />

while being unable to support it with text<br />

when pitching it, making it difficult for people<br />

to be able to relate to how they promote their<br />

music.”<br />

In the past, he continues explaining, renown artists<br />

such as David Bowie and Patti Smith, among<br />

many others, achieved their mainstream success<br />

in part because all had connections and advantages<br />

that allowed them to promote their music,<br />

but now digital platforms give opportunities to<br />

folks who did not have such a chance before.<br />

As an example, J mentions Spelling, who put<br />

up her bandcamp and was listed as #4 album<br />

of 2017, soon after getting signed to Sacred<br />

Bones.<br />

In this part of the conversation it is important to<br />

note that 80% of the content received, however,<br />

might not be of high quality, but that there still<br />

are gems waiting to be found if one only takes<br />

the time to hear them.


A flipside of Bandcamp, J says, is that it has become<br />

easier to take art and artists for granted<br />

all the time, due to how much their products<br />

can cost compared to coffee, for example... so<br />

being able to take advantage of a profit-share<br />

model and decide on the value of their music<br />

themselves, allows independent artists to name<br />

their own price and reach their audience as<br />

they best see fit. And this is where Bandcamp’s<br />

Daily comes in:<br />

The main focus of Bandcamp’s Daily, as it was<br />

being designed, was to focus on a global audience<br />

, where everyone felt welcome, and content<br />

about music was written simply to honor<br />

the fact that their music is interesting.<br />

“The thing that keeps me up at<br />

night or (...) the thing that nags<br />

at me is the feeling that I could<br />

be missing something great.”<br />

Says J. Keeyes, when discussing his current<br />

role as Bandcamp’s Editorial Director, which he<br />

has fulfilled for the past 5 years.<br />

“I have all these playlists organized by when albums<br />

are coming out and who sent me what,<br />

I try to listen to them every day (...) keeping in<br />

mind the amount of music that needs to be<br />

heard, that’s what I think about the most. Well<br />

the thing that I love, honestly... We did a story on<br />

post-rock in Indonesia a while ago (...) and what<br />

I liked, was we saw, one of the bands tweeted<br />

the next day: ‘Never in a million years did I think<br />

our little band could be on the front page of<br />

Bandcamp’... and THAT makes it worth it. When<br />

you see somebody who’s that excited about<br />

getting featured, that’s worth all the stress”.<br />

On the 12th episode of <strong>Red</strong> Transmissions<br />

Podcast, J. Edward Keyes talks in detail about<br />

Bandcamp’s daily, the early-on ideas and musthaves<br />

that led them to the current internationally<br />

influencing content-filled site that introduces<br />

all sorts of music-related material, from must-listen-to<br />

lists to the up-and-coming independent<br />

artists all around the world (in a wide variety of<br />

genres) giving them a chance to be seen and<br />

sometimes signed by the music industry.<br />

From his home in Brooklyn, J. shared very informational<br />

clues about the behind-the-scenes<br />

production process and what goes on in Bandcamp,<br />

their online strategies and how him and<br />

his team are always finding new ways to promote<br />

independent under-the-radar artists to<br />

allow them to reach a more mainstream audience.<br />

After great advice for musicians and labels,<br />

we concluded the interview with a request for<br />

some musical recommendations:<br />

- A collition of musical genres: the label Principe,<br />

from Lisbon, Portugal.<br />

A label called: Orange Milk, whose cover art is<br />

so beautiful that it plays a role on drawing in its<br />

audience.<br />

-An artist shoutout: Old table, whose prolific<br />

creations and lyrical references create their<br />

own musical constellation.<br />

To finish up, a musical premonition? Pop music<br />

in general will begin to take on a more global<br />

sound, influenced by sounds from all over the<br />

world.<br />

“I am hopeful that this will continue, bringing all<br />

these styles and influences respectfully together<br />

to make great and challenging music”.<br />

Listen to the entire interview at:<br />

www.reddoormagazine.com/podcast<br />

or find the <strong>Red</strong> Transmissions Podcast on Spotify,<br />

iTunes, and most other podcast providers.<br />

To read the articles and other content written<br />

by J.Edward Keyes, visit:<br />

www.daily.bandcamp.com<br />

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ISSUE # <strong>22</strong> - MEDIA


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FRANK BERGSTEN - KULTIVERA / TRANÅS<br />

LANGUAGE / ART COLLABORATION<br />

INTERVIEW WITH DOMINIC WILLIAMS<br />

Dominic Williams is a Welsh poet who also runs the publishing company Three<br />

Throated Press from his hometown, Carmarthen. I first met Dominic a couple of years<br />

ago in my small hometown Tranås, when he was in town for ‘at the Fringe’, a thriving<br />

arts and literature-festival arranged by Kultivera, a very productive local cultural organization.<br />

He’s visited Tranås several times both as a poet at the literary residency<br />

arranged by Kultivera, and as a curator for various projects and workshops. He’s also<br />

been the MC for plenty of events like Passion for Words and Pilsnerpoesi, and works<br />

with Kultivera as the coordinator for the literary events at the Fringe every year, he’s<br />

more or less become synonymous with the festival.<br />

At the Fringe started out as a small festival 2014 but has since then been growing<br />

steadily every year. One of its cornerstones has always been open mindedness, the<br />

will to try something new, something different. That, combined with a cool, laidback<br />

attitude, has made it the exciting festival that it is, and more and more people come<br />

to visit every year.<br />

The festival’s will to push boundaries gave Dominic the opportunity to be a part of<br />

something new and exciting. At last year’s festival, he participated in a couple of performances<br />

with the dancer Stina Nilsson from Jönköping. I sat down and talked to<br />

him about the experience; working and collaborating with artists from other disciplines,<br />

and Dominic had lots to say about the subject.<br />

ISSUE # <strong>22</strong> - MEDIA<br />

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Dominic tells me that Stina had been<br />

improvising with painters and musicians,<br />

and she had asked if he was interested<br />

in doing something similar,<br />

but with dance combined with poetry.<br />

Even though he had not done anything<br />

like this before, he was intrigued<br />

when asked and they decided to have<br />

a go at it. During the festival they got<br />

access to a space to practice and to<br />

see if it worked out. Apparently, it<br />

worked out very well since they decided<br />

to perform the day after.<br />

They went through two performances,<br />

both completely improvised. Dominic<br />

says they only react to each other and<br />

the setting they’re in. What happens<br />

next, happens. Dominic responded to<br />

her dance, and she to his poetry. While<br />

he admits he was nervous since he’s<br />

never done anything like it, he says it<br />

was a fantastic experience. He says<br />

Stina taught him how to move around<br />

the stage and how to use his body,<br />

and told him not to be afraid of the silence.<br />

Let the silence speak instead.<br />

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He says the reactions have been very positive and many even believed they must<br />

have practiced before. Even though it’s flattering to hear, he emphasizes that everything’s<br />

completely improvised, nothing is rehearsed. The only thing that’s planned<br />

is the entrance and Dominic’s final words. Dominic tells me he spoke to lots of poets<br />

and no one has heard of anything quite like it. The collaboration with Stina has continued<br />

and has got a name: Your Strangest Friend.<br />

At the Fringe also has a filmsection and he got involved there as well. Laura Bianco,<br />

one of curators of the filmfestival, came up with the idea of letting some poets respond<br />

to the films with newly written poems. Here Dominic means lies a misconception<br />

what is meant by collaboration between artists. To write a poem in response to a<br />

film is just responding to another artist’s work it is not the same thing as a videopoem,<br />

for example. Real collaboration between artists means both starting from scratch and<br />

sharing the creative process.<br />

The film he wrote a poem to “Continents quiver as memories erupt into earthflames”<br />

- already had a verbal soundtrack, which didn’t work out at all for Dominic. Instead he<br />

wrote the poem by watching the film with no sound, just reacting to the pictures. The<br />

director Georg Koszulinski later told him that he edited out scenes from the movie<br />

that Dominic, oddly enough, still managed to include as images created in his poem.<br />

Dominic also mentions that all the poets; Dominic, Jonas Ellerström and Doreena<br />

Jennings, approached the movies in completely different ways. Doreena, for example,<br />

wrote her poem based on one single scene of the film. The event was very appreciated<br />

by the audience and poets, but perhaps most by the filmmakers.<br />

When Dominic sums up the experience he says the idea of collaboration between<br />

artists is very rewarding and the process of spontaneity and improvisation is a vital<br />

learning process. He wasn’t intimidated by it and would like to do it again. He says<br />

he also would like to try it with a musician. He’s already performed together with Jonas<br />

Ellerström, who’s not only a poet but also a guitarist in the band Blago Bung,<br />

although the musical element was improvised, it was in response to something that<br />

had already been written. That’s something he would like to elaborate further.<br />

ISSUE # <strong>22</strong> - MEDIA<br />

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<strong>22</strong><br />

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ARTICLE by Frank Bergsten<br />

Interview of Dominic Williams<br />

A collaboration between Tranås’ Kultivera<br />

and <strong>Red</strong> <strong>Door</strong> Magazine.<br />

Photo credits: Eda Emerdağ<br />

Learn more about Kultivera by visiting: https://www.kultivera.nu/hem<br />

Learn more about Dominic Williams by visiting: http://www.dominic.wales/<br />

23<br />

ISSUE # <strong>22</strong> - MEDIA


A SPECIAL REQUEST TO YOU:<br />

WILL YOU HELP KEEP RED DOOR ALIVE?<br />

Dear readers and supporters of <strong>Red</strong> <strong>Door</strong>,<br />

In 2009, <strong>Red</strong> <strong>Door</strong> was created as an initiative to connect the various communities I<br />

was encountering during my poetic adventures (festivals, performances, job-related<br />

trips, etc) in order to facilitate the creation of new projects and a richer cultural landscape<br />

without the need of huge galleries or sponsorships.<br />

My idea back then was that the magazine needed to be free so it could be equally<br />

accessible to all who heard of it or wanted to be a part of it, either as correspondents<br />

or featured content, and that it should be an online magazine, because it would save<br />

on a lot of expenses and paper and have a wider reach this way. During those years,<br />

people laughed at the fact that it was just a “virtual magazine” rather than a physical<br />

object, but here we are, still at it, in a world where most of our existence is now virtual.<br />

Since then, over 20 editions of the magazine have been published, and the <strong>Red</strong> <strong>Door</strong><br />

project has expanded to become a gallery in Copenhagen, a podcast titled <strong>Red</strong> Transmissions<br />

(also available for free in most podcast providers) and most recently, during<br />

this tragic pandemic that has overcome our planet, a Poetic Phonotheque , to bring<br />

poetry to homes everywhere in the voices of their authors, free of charge.<br />

The magazine collaborates with various collective projects and individuals, but has<br />

no sponsors nor commercial intentions. And here’s where the big however comes.<br />

Although it is a free project with no ads and no hidden charges, membership<br />

fees nor any grant or sponsor... It still costs money to produce and maintain.<br />

Actually, it costs a reasonable amount of money, which I, as the puppetteer behind<br />

the project, run from my own pocket, and have done so ever since it started.<br />

A second however appears here, because due to covid-19, I have had several event<br />

cancellations, book launch tours and projects, (as well as my job-job as a media manager<br />

in the travel industry, for obvious reasons) all disappear from under my boots.<br />

Ouch.<br />

And although my luck allows me to temporarily have a certain level of tranquility<br />

about my personal expenses for some months, (30 weeks, to be exact), it is not<br />

24<br />

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the case with the expenses that involve everything <strong>Red</strong> <strong>Door</strong> related, from hosting<br />

the website(s) to the design and audio software needed to create the magazine and<br />

podcast, and the memberships of the pages needed to host everything after. Then<br />

comes the gallery, which is meant to reopen this summer, to a crowd-less audience.<br />

The solution I have found is creating a page on Patreon, where I can invite my supporters<br />

to give a monthly amount of support for their subscription, and in exchange<br />

receive early access material (magazine, podcast, performances) and an early download<br />

of my new album “Transgressions for the Public Service” which will be released<br />

this June.<br />

Additionally, the tier levels you can choose to join, which start from $3usd a month,<br />

will give you access to live-streamed performances, Q&A sessions, step-by-step<br />

posts of my art, and physical goodies such as stickers, typewritten letters, postcards,<br />

prints, and even original art.<br />

The income raised from this, (after the patreon + paypal fees) will go directly to the<br />

expenses listed above and allow me to continue running <strong>Red</strong> <strong>Door</strong> projects for many<br />

years.<br />

So, my question is, will you help keep <strong>Red</strong> <strong>Door</strong> alive?<br />

Say YES to my invitation, click on the link below, and give a hand to all the creative<br />

projects that involve <strong>Red</strong> <strong>Door</strong> and its extensive artistic community.<br />

https://www.patreon.com/madamneverstop<br />

Your kindness is ever so much appreciated.<br />

Love and poetry,<br />

Elizabeth Torres / Madam Neverstop.<br />

Founder & Director of <strong>Red</strong> <strong>Door</strong> Magazine.<br />

Photo by Zarko Ivetic<br />

ISSUE # <strong>22</strong> - MEDIA<br />

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BUT WAIT, THERE’S MORE!<br />

The first 50 people to sign up on Patreon to support the magazine,<br />

will receive a download code for the early release of:<br />

TRANSGRESSIONS for the PUBLIC SERVICE<br />

coming out this June digitally via bandcamp and on tape,<br />

a selection of Experimental Poetry / noise / electronic music, created<br />

back and forth between Copenhagen and New York for the past<br />

8 years, and mastered by Dr. Hansen here in Dk.<br />

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ABOUT THE ALBUM:<br />

The music in “Transgressions for the Public Service” is influenced by the likes of Laurie Anderson and<br />

Carla Bozulich, and the poetry contained in the songs of this album is a combination of English and Spanish<br />

lyrics, whispered, sang, decreed in rhythmic convulsions, to create hypnotic melodies that are meant<br />

to represent the poem as a whole auditive experience. This is Madam Neverstop’s first album release,<br />

but she’s not new to the world of music and literature, having previously played in the bands Electric Set<br />

and Moon Mountain, and published over 20 books of poetry with which she has toured the world. All art,<br />

music and lyrics are a composition by the artist.<br />

“Transgressions for the Public Service” is meant as an offering to the altar of your restless mind.<br />

Get your record TODAY and sleep like a peaceful mountain tomorrow.<br />

(or simply become a patron so this is the first/last advertisement you ever see on the magazine).<br />

ISSUE # <strong>22</strong> - MEDIA<br />

27


INTERVIEW WITH DEBORAH ALMA:<br />

THE POETRY PHARMACY<br />

Interview by Madam Neverstop<br />

I have always believed that poetry has a<br />

healing effect on us. I can attest to it because<br />

in the past, poetry has many times saved<br />

and healed me, in very direct ways.<br />

But today I want to talk to you about a very<br />

special character who took this belief to a<br />

whole other level.<br />

Over eight years ago, English poet and editor<br />

Deborah Alma began to drive around on<br />

a poetic ambulance, helping heal people<br />

with poetry. As she became a known Emergency<br />

Poet, she attended many events, festivals<br />

and even hospitals, where she was invited<br />

to give consultations.<br />

That led to the arrival of the now internationally<br />

known Poetry Pharmacy, a physical<br />

location in Bishops Castle, Shropshire, England<br />

(the wild, wild, west of the UK, she explains)<br />

where poetry is often prescribed for<br />

modern day ailments (online consultations<br />

possible during this lockdown).<br />

You possibly already heard about Deborah<br />

Alma and her Poetry Pharmacy via social<br />

media, as six months ago there was an online<br />

campaign on kickstarter to help her and<br />

her partner, Dr James Sheard, creative writing<br />

professor at Keele University, to fund this<br />

project:<br />

The idea was to open up the physical location<br />

of the first-ever Poetry Pharmacy, where<br />

instead of sleeping pills and multivitamins,<br />

customers...ahem, patients, would instead<br />

be prescribed some of the healing words by<br />

Elizabeth Bishop or Derek Walcott, among<br />

many others.<br />

The campaign gave positive results, allowing<br />

them not just to buy the property and<br />

open up this beautiful location, but also to<br />

help cover some of the expenses of an otherwise<br />

impossible project, such as electricity<br />

and reconstruction of certain areas of<br />

the building. Because this, my dear readers,<br />

is not your typical visit-to-the-counter-only<br />

pharmacy. Here you can slowly sip your<br />

coffee as you savour the poem of the day,<br />

rejoice in the many volumes arranged in order<br />

of ailment (broken heart, anxiety, grief,<br />

joy, among other human conditions), or get<br />

a private consultation, where you put your<br />

feet up on a chaise and have a hand-picked<br />

poem read to you.<br />

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But due to the exquisite eye for detail, or care for<br />

her profession, Deborah’s “Apotek” (as we call<br />

pharmacies here in Denmark), also has a Distillery<br />

room for private events, book releases, frequent<br />

events such as workshops and talks, and<br />

one-time events by award-winning visitors...<br />

on non pandemic times, that is.<br />

Media such as BBC and The Guardian, among<br />

many other publications (including this now I<br />

guess) have been attracted to the charms of this<br />

Poetry Pharmacy, which, to complete the package,<br />

of course, has its own ambulance.<br />

This is when the pieces of the story begin to come<br />

together. Deborah has been teaching Creative<br />

Writing for many years, and in doing so worked<br />

with people with dementia, which somehow led<br />

to her acquiring her very own ambulance.<br />

During our interview for the <strong>Red</strong> Transmissions Podcast, Deborah shared that this is how she began<br />

traveling to fairs, cultural events, universities and hospitals, (never just arriving, she clarifies,<br />

always invited) to share her services of poetic healing to those who chose to welcome her.<br />

Back then, these consultations included prescriptions of certain bottles of pills, which when<br />

opened up (see picture above) would bloom like fresh poems into your hands and straight into<br />

your heart to heal you. For many years, she gave these away as she drove around in the ambulance,<br />

realizing at some point that a 1970’s vehicle of such size isn’t precisely the easiest or most<br />

comfortable to drive with. In the meantime, Deborah has published several books, edited various<br />

poetry anthologies, and become a fellow and part-time lecturer at the university.<br />

The Poetry Pharmacy is without doubt one of<br />

the places I wish to visit once borders reopen,<br />

but in the meantime as we wait in global<br />

quarentine, I invite you to listen to our podcast<br />

conversation, to learn more about her<br />

process, her patients, her practice, and her<br />

own poetry, of course.<br />

I asked her for a prescription for the readers<br />

of <strong>Red</strong> <strong>Door</strong> Magazine and she responded:<br />

R.S Thomas - Arrival<br />

Visit the poetry pharmacy at:<br />

www.poetrypharmacy.co.uk/<br />

Listen to “The Poetry Pharmacy - A conversation<br />

with Deborah Alma” on episode #<strong>22</strong> of<br />

The <strong>Red</strong> Transmissions Podcast:<br />

reddoormagazine.com/podcast/<br />

Or follow the Poetry Pharmacy on Instagram:<br />

www.instagram.com/poetrypharmacy/<br />

ISSUE # <strong>22</strong> - MEDIA<br />

29


THE NEON REBELLION:<br />

HOUSTON, WE HAVE A<br />

PROBLEM<br />

“We must make transitions to a sustainable world for our very survival.”<br />

This Neon Rebellion, <strong>Red</strong> <strong>Door</strong> Mag #21 Transitions Winter 2019.<br />

Who could have known a few months later we’d be here?<br />

COVID-19 a global flu pandemic forced us into lockdown + for a moment, it feels like the<br />

world stopped.<br />

Ive been imagining that phone calls to the relevant heads of Governments + powers that<br />

be, might have been going something like this ...<br />

“Houston, we have a problem” … August 2019<br />

“The Amazon is on fire …<br />

The carbon dioxide + monoxide emissions are causing alarm. We are losing the planet’s<br />

biggest terrestrial carbon sink (meaning it absorbs CO2 + is considered the lungs of the<br />

planet.) “<br />

“Houston, we have a problem” … October 2019<br />

“Australia is on fire ...<br />

Over 10 billion hectares have burnt + its on a course beyond control …<br />

Social media has spread the news, tell Rupert his climate denier network aint working.”<br />

“The Paris Agreements are drawing closer (Feb 2020) + we are not anywhere near targets.<br />

Someone tell Trump its not a hoax + he’d better sign us back up.”<br />

“The natives are growing restless.<br />

A global protest group has sprung up calling themselves Extinction Rebellion, mobilising<br />

actions of civil disobedience.<br />

They are using social media to communicate their message instantly.”<br />

“Houston, we have a problem” … December 2019<br />

“Australia is still on fire ...<br />

Over 18 billion hectares have burnt now, over a billion wildlife animals have been killed,<br />

some endangered species looking driven to extinction, & the CO2 emissions reaching<br />

Chile + Argentina ...”<br />

“Tell that idiot Australian Prime Minister Morrison to get his shit in a pile, international troops are<br />

being deployed to assist the Australians, he’s not managing his country.<br />

The people hate him, they wont shake his hand ...<br />

Even The Queen Of England is making public messages of condolences + people are donating<br />

millions of dollars from around the world to support the firefighters + he’s taking holidays<br />

to Hawaii.”<br />

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“We cannot deny climate change anymore …”<br />

“NASA has concluded Scientific evidence for warming of the climate system is unequivocal.<br />

97% of climate scientists say its due to human activity … burning fossil fuels + deforestation<br />

are the major causes.<br />

The evidence for rapid climate change is compelling …<br />

Global Temperature Rise<br />

Warming Oceans<br />

Shrinking Ice Sheets<br />

Glacial Retreat<br />

Decreased Snow Cover<br />

Sea Level Rise<br />

Declining Arctic Sea Ice<br />

Extreme Events<br />

Ocean Acidification<br />

(https://climate.nasa.gov/evidence/)<br />

Planet B is not an option yet.<br />

Dicky B’s space voyager isn’t ready yet.<br />

We lost Elon Musk to electronic music.”<br />

We gotta shut it down Houston. We gotta shut it down ...”<br />

“FUCK”<br />

“Can we push the red button?”<br />

Now stay with me.<br />

My mother always said I had a very wild imagination. So I have let it continue down the rabbit<br />

hole on these imaginary phone calls …<br />

“We are facing ecological collapse.<br />

We are no where near meeting The Paris Agreements.<br />

Even if we stop our emissions today, we cannot go back to the past.<br />

The Global warming will continue but we need a plan to manage it + eliminate greenhouse<br />

gases.<br />

We could slow the changes + learn to adapt but we need drastic measures. NOW.”<br />

Now if I were some conspiracy theorist, I might start quoting sci-fi novels + films like Dean<br />

Koontz’s The Eyes Of Darkness where he says …<br />

“In around 2020, a severe pneumonia – like illness will spread throughout the globe, attacking<br />

the lungs and the bronchial tubes ...”<br />

“They call the stuff Wuhan-400 because it was developed in their RDNA labs outside of the<br />

city of Wuhan and it was the 400th viable strain of man - made organisms created at that<br />

research centre. Wuhan-400 is a perfect (bio) weapon.”<br />

“Houston, can we push the red button?”<br />

“You are good to go … repeat you are good to go”<br />

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Now this is where Media comes into play.<br />

The vehicle by which humans receive disseminated information.<br />

Depending on how we assimilate this information it could direct how we think, how we feel + how we behave.<br />

Mainstream media through sensationalism + drama is designed to appeal to the state of emotions. Inducing<br />

fear + panic or empathy in reaction, is a measure of making top news stories. Science has shown how<br />

people become addicted to the stress mode caused by neurons it fires off in their brains + their body.<br />

One of News Corporation’s Heads of PR recently admitted that their editorial bi-lines were governed by<br />

how much drama they could incite, newsworthy stories were valued on their fear factor + potential control.<br />

“Houston checklist agendas + protocols, confirm?”<br />

“Close borders. NO international travel. Control trade.<br />

“Global lockdown. No street activity. People must remain in their homes. Fines or jail.<br />

Cashless society.<br />

Government provided wages + income. Disrupt black market + tax evasion.<br />

Population control. Only those not contributing to a growing economy will be favoured. All nations will<br />

agree to a certain number of aged, poor or sick as collateral damage.<br />

Vaccine release mandatory, including bio information chip.<br />

One might think Ive gone into Huxley / Orwellian territory but its not as out there + unfathomable as this<br />

whole scenario might conjure up.<br />

In classical political terms, the current global state we are in fits all the precedents necessary for induction<br />

of a totalitarian scenario.<br />

People think this is the end of the world + the Zombie Apocalypse is ensuing.<br />

Whilst hand sanitizer + face masks have sold out everywhere, yeah, so has toilet paper (even though 1/3 of<br />

the world has never used even 1 sheet of it!) … + gun sales in the US are off the charts.<br />

People start losing it when they think their survival or just comfort (which in modern terms is akin to survival)<br />

is in jeopardy.<br />

At present, the media is driving the collective narrative via the information being funnelled through.<br />

It must be noted that there is no actual way of knowing what the statistics really are, we only know what we<br />

have been told.<br />

In truth, Nobody knows for sure what is actually happening.<br />

Whilst Ive been taking a somewhat sarcastic + humorous tone with this Neon Rebellion, its actually been a<br />

surprisingly overwhelming emotional experience writing.<br />

I hadnt realised just how much collective trauma lives in us Australians that have been in high stress mode<br />

for the last 8 months. Our nervous systems are fried, the in-flight or fight mode button is broken from being<br />

pushed in so hard, for so long. At least people still have their masks from the Black Summer.<br />

At least …<br />

I cant even remotely relate to what war torn countries with refugees fleeing, like Syria, Afghanistan or Somalia<br />

would be experiencing. As PTSD affected individuals or as a collective generation. But I know it is deep.<br />

How is this pandemic affecting them?<br />

And all others in detentions centres, refugee camps, countries where the starvation numbers are far outweighing<br />

the COVID -19 deaths … still. For how many decades now??<br />

And yet the World doesnt stop for them.<br />

Or those dying from depression or suicide or addiction or even obesity.<br />

The death tolls are way larger for all of those issues.<br />

So I wonder, what does it take to press the red button?<br />

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Ive always maintained that one cant assume anything.<br />

And at the same time, that anything that one can think of as a possibility could be true.<br />

Imagination was the seed of many a genius discovery + invention.<br />

In saying that, no matter what brings us to our current climate, we stand at a major cross roads about our<br />

future.<br />

This potential shift point in mass consciousness was heralded incoming in 1996 with the first wave of The<br />

Harmonic Convergence.<br />

Then again in 2000 with Y2K, that didnt happen as predicted.<br />

Then in 2012, the end of The Mayan Calender, nothing obvious happened.<br />

Its now 2020 … and well fucking hell!<br />

I hope this brings about the shift in humanity’s consciousness that will hold the Neoliberalist viewpoint<br />

accountable + asks Capitalism to sit on the bench.<br />

We have the possibility now to find compassion + community with each other even in the irony of our separateness.<br />

But this nagging feeling that fuels my imagination says there’s an agenda that might have been on that table<br />

before the red button got pushed, things that could be achieved while everyone was looking the other<br />

way checking every device for updates on the virus coming to get them, feeding their nervous systems the<br />

damaging cortisol like a meth addiction …<br />

So I pose a few questions to you Houston …<br />

Is it possible that in a 90 day lockdown, human production & industries and their consequent waste will be<br />

stopped long enough to develop strategies to manage humanity for a new world?<br />

Given that while everything is shut down we are seeing air pollution + waterways clearing + CO2 emissions<br />

reduced back to the viable levels for a sustainable planet in less than a month.<br />

What does the new world or New World Order look like?<br />

How do you propose to manage Humanity moving forward because all this shit we’ve made + the problems<br />

caused from it are not going away quickly?<br />

I imagine Houston might respond like ...<br />

“Hello Humanity …<br />

We are standing at the precipice of an enormous shift which we all have the choice to decide which way<br />

we want this thing to play out … we can either go off the cliff into the face of oblivion or we have the possibility<br />

to join together as a global community, look at the state of our planet and form some unity, positiveness<br />

& togetherness + decide how we’re going to keep the ship sailing …<br />

Right now. we’re standing on the edge of world wide financial collapse.<br />

Many people in the western world are looking at poverty.<br />

But more importantly we are looking at an unsustainable planet + ecosystem.<br />

It cannot support the number of humans living on it in when the main contribution to life is waste.<br />

We are trying to bring in new systems that will allow for a transition from the old model to a new model ...”<br />

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I dont think my imagination is talking conspiracies, I dont think its that hard to see, in fact, I think its really<br />

obvious, I just think that if we look at our own lives individually + ask the questions, the balls out truth is<br />

there ...<br />

Who or what is controlling me?<br />

Controlling my destiny?<br />

Controlling the mechanics of my life?<br />

And whatever the answers might be, we still have the freedom to react + respond in our individual awareness.<br />

We still have the freedom to communicate with each other, to share ideas + that awareness through social<br />

media, podcasts, magazines + other online media outlets.<br />

We still have the freedom to create + be inspired.<br />

And most importantly, we have the freedom TO LOVE!<br />

To love with absolute boundless + unbridled depth.<br />

It is this + only this that I truly believe will usher us through this time (+ all times) …<br />

It’s the very essence of what elevates us beyond being merely slaves to our senses meatbags, with no purpose<br />

to living except being a waste machine …<br />

I ask my 89 year old mother how she’s doing + she is just living her life, is as positive + inspiring as ever. She<br />

said “when you’ve lived through The Great Depression + WWII, this is nothing … I hear echoes of people<br />

whingeing they’re bored + yet they have all the access to entertainment + learning one could ever want.<br />

They have food + comfortable beds … In my day, as a child, we had a candle + the radio. I couldnt go out<br />

beyond the front gate. We lived on bread + dripping. You learn to appreciate all you have + be very grateful<br />

when you have nothing.<br />

I feel sorry for this generation who is so spoilt + used to luxury living, their perspectives are pretty narrow<br />

when it comes down to it. They have lazy brains. Its not their fault. It’s society + the culture. They’re not<br />

taught empathy or humbleness. Or to look inside themselves. Its such a visual world, everyone glued to<br />

screens. Perhaps this time will open those perspectives up, while people are forced to stop + be with themselves.<br />

Its a spiritual awakening. I hope so, Id like to see that, Ive seen so much + so many changes in my<br />

lifetime but Ive yet to see people really understand that we are all one ... ”<br />

As Artists, we may already have the self isolation thing down + be practised in internalising processes … It is<br />

our creations we make offerings of to the Universal altar ...<br />

I have continued my practice of making these little films featured in the last Neon Rebellion as activist art …<br />

The current one is in direct response to COVID -19 + the spoken word soundtrack can be heard as an mp3<br />

on The <strong>Red</strong> <strong>Door</strong> Phonoteque.<br />

For you all, in Love x<br />

The Neon Rebel.<br />

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Watch full video of Ghost Hunter<br />

by the Neon Rebel<br />

here:<br />

https://youtu.be/Gzh9N7Fcku4<br />

ISSUE # <strong>22</strong> - MEDIA<br />

35


BRANDON DAVIS:<br />

PROGRAMMED BY THE MEDIA<br />

My own thought or program - by BD<br />

I am currently working on video elements for a show later this year. It’s a continuation of the practice<br />

of applying musical editing techniques to video wish psychedelic agit-prop overtones. It’s pretty<br />

heavy handed.<br />

I have been particularly inspired by the work of Douglas Rushkoff who talks about how, in so many<br />

ways, we have been programmed by the media. His Team Human project seeks to connect the dots<br />

between real people doing real things in an effort to reclaim our lives and create systems that serve<br />

people.<br />

I have taken sound bytes from his show to serve as narrative discourse and mixed it with a variety of<br />

messages and images to create the kind of education the world needs now. With the new confines<br />

of quarantine, maybe these will be a digital distribution. Who knows what tomorrow will bring?<br />

Enjoy!<br />

36<br />

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CHANGE your mind - by BD<br />

DougBOT - by BD<br />

Brandon Davis resides in Catalonia and is a member of the band Actual Figures. You can see their<br />

videos and music here: www.facebook.com/ACTUALFIGURES/<br />

37<br />

ISSUE # <strong>22</strong> - MEDIA


RED DOOR MAGAZINE IS HONORED TO PRESENT:<br />

THE POETIC PHONOTHEQUE<br />

By Elizabeth Torres<br />

The 1st of March of every year, is usually<br />

known as International Poetry Day,<br />

as declared by UNESCO (the United<br />

Nations Educational, Scientific and Cultural<br />

Organization) in 1999, “with the<br />

aim of supporting linguistic diversity<br />

through poetic expression and increasing<br />

the opportunity for endangered<br />

languages to be heard”. The purpose<br />

of this day is to promote the reading,<br />

writing, publishing and teaching of poetry<br />

throughout the world and, as the<br />

original UNESCO declaration says, to<br />

“give fresh recognition and impetus to<br />

national, regional and international<br />

poetry movements”.<br />

On this day, around the world, thousands<br />

of events are celebrated to bring<br />

poetry to communities and in doing so,<br />

exchange ideas, projects, community,<br />

humanity, together.<br />

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On the 1st of March of 2020, however,<br />

the lockdown was already on its way<br />

in many countries in Europe and the<br />

effects of the covid-19 pandemic had<br />

begun to spread in Latin America and<br />

the US, ensuring that no celebration of<br />

poetry took place in open grounds.<br />

This is the exact scenario when we<br />

most often need poetry, to calm our<br />

thirst, soothe our hearts, distract our<br />

brains, and provide new opportunities<br />

of action and interaction.<br />

For this reason, the initiative of a Poetic<br />

Phonotheque was established and<br />

launched this day, free of charge and<br />

providing free access to poetry from<br />

all over the world, in the voices of their<br />

own authors. In less than a month, approx<br />

50 poems had arrived from countries<br />

as varied as Canada, Mexico, Serbia,<br />

Germany, Colombia and Sweden.


HOW WAS THE IDEA BORN?<br />

You can listen to the full story of the Poetic Phonotheque, as well as a varied selection<br />

of poetry in the voices of its authors, on the latest episode of the <strong>Red</strong> Transmissions<br />

Podcast.<br />

The Poetic Phonotheque was manifested by the need to share and exchange poetry<br />

without having to attend poetic events during this crisis, but originally comes from<br />

the idea born after my childhood in Colombia, where I had the opportunity of visiting<br />

and enjoying la fonoteca of the Silva Poetry House, a house/foundation of poetry in<br />

Bogota, which houses over 2000 hours of poetry in the voice of their authors, most of<br />

them already passed away, from the classic literature of Latin America.<br />

Giving it a modern twist in the style of its own website and webplayers, as well as an<br />

upcoming physical/portable phonoteque, which will be found in the <strong>Red</strong> <strong>Door</strong> Gallery<br />

here in Copenhagen, and wherever the poetic adventures lead me.<br />

WHAT IS THE OBJECTIVE OF THE PHONOTHEQUE?<br />

Listen to the poems here:<br />

https://reddoormagazine.com/phonotheque/listen/<br />

Play it in the comfort of your home and let poetry fill your world! This page is updated<br />

often, so check at leisure and enjoy.<br />

Submit your own poem here:<br />

https://reddoormagazine.com/phonotheque<br />

Or enjoy the following pages of poetry in various languages, sent my the participants<br />

of the Poetic Phonotheque. May this poetic takeover continue for a long, long time,<br />

and lift us towards healing as recover from these strange days.<br />

LISTEN NOW TO<br />

THE<br />

POETIC<br />

PHONOTHEQUE<br />

or read a sample<br />

in the following pages.<br />

ISSUE # <strong>22</strong> - MEDIA<br />

39


GARY BARWIN<br />

Canada<br />

BIRDS<br />

Each day,<br />

the philosopher took a walk<br />

at precisely one o’clock.<br />

It was such a precise routine,<br />

that they would set<br />

the church clock<br />

by him.<br />

How can you be so precise?<br />

They asked the philosopher.<br />

-I wait until I hear the church clock chiming onehe<br />

said.<br />

We set our clocks by the birds<br />

they set<br />

their clocks<br />

by us.<br />

40<br />

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PETER NYBERG<br />

Jönköping, Sweden<br />

AMTRAK<br />

Från tågfönstret har Appalachernas bergskammar<br />

vildsvinsborst.<br />

Svarta och fingerlösa träd driver nerför<br />

sidorna mot spåret.<br />

Vi befinner oss i den punkt där allt är oklart<br />

– som under en religiös övning<br />

i förståelse.<br />

Långt nere flyter en grönskimrande flod<br />

under rostande spindelnät.<br />

Balkarna hindrar stenen från att falla samman<br />

som lera.<br />

I fabrikerna är alla fönster krossade och en<br />

man ser tåget stanna in.<br />

Ett plus ett är inte längre två. De drömmar<br />

som blir kvar inom oss är<br />

nitroglycerin.<br />

Någon byggde en gång den här bron.<br />

Någon byggde en gång den här punkten<br />

där inget styrs av naturliga lagar,<br />

där grå män med stora cigarrer<br />

förhandlar om tid i utbyte mot framgång.<br />

Vildsvinsborsten kammar den sandfärgade<br />

solen och smaragdforsen glittrar.<br />

Skenornas skarvar dunkar som betongblocken<br />

på landsvägen. Säg något<br />

otillbörligt igen. Det vildsinta skrattet när<br />

ännu en punkt börjar glida och någon<br />

kravlar mot oss i mittgången.<br />

Vagnen släcks mellan två stationer, motorn<br />

rusar, sedan tystnaden.<br />

Vi är tre timmar ifrån slutstationen, omgivna<br />

av nyfödda som ser på varandra.<br />

Samtalen blossar upp och stannar av.<br />

Mina ögon sluts, andningen saktar in,<br />

vi skakas om och blir stål i det framskrällande<br />

drevet. En position<br />

har återupprättats.<br />

Amtrak<br />

Appalachernas bergskammar har vildsvinborst.<br />

Svarta och fingerlösa träd.<br />

Vi befinner oss i den punkt<br />

där allt är oklart –<br />

en religiös övning i oförståelse.<br />

Genom landskapet flyter en grönskimrande<br />

flod.<br />

Ståldistriktets fabriker har krossade fönster,<br />

de rostande konstruktionerna stödjer bergens<br />

sidor.<br />

En man ser tåget stanna in<br />

och förstår att ett plus ett<br />

inte längre är två, att drömmen<br />

inte längre går ihop.<br />

ISSUE # <strong>22</strong> - MEDIA<br />

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JULIA LANKL<br />

Germany / residing in Vienna, Austria<br />

MEUTEREI<br />

Starren – Starre – starrer Blick – Kick - Klick<br />

Sinnlos – lose – ohne Sinn – darin<br />

Deutung - deuten– deutlich – gib Acht – hab Acht<br />

And in the end?<br />

An einem schönen, warmen Frühlingstag, wo alles sprießte und<br />

blühte.<br />

Die Vögelein so klein, zwitscherten von den Dächern stolz herab ein<br />

Lied.<br />

Starren – Starre – starrer Blick – Kick - Klick<br />

Sinnlos – lose – ohne Sinn – darin<br />

Deutung - deuten– deutlich – gib Acht – hab Acht<br />

And in the end?<br />

Die Erde hatte die Kühle des Winters von sich abgestreift.<br />

Wärmende Sonnenstrahlen breiteten sich über ihr als goldfarbene<br />

Wolldecke aus.<br />

Starren – Starre – starrer Blick – Kick - Klick<br />

Sinnlos – lose – ohne Sinn – darin<br />

Deutung - deuten– deutlich – gib Acht – hab Acht<br />

And in the end?<br />

Die Menschen waren liebkost von dem verlockenden Zauber, welcher<br />

sie umgab.<br />

Das klare Blau des Himmels spiegelte sich einsam in ihren Augen.<br />

Kick – klick<br />

Ohne Sinn – darin<br />

Gib Acht – hab Acht<br />

Meuterei<br />

42<br />

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PABLO SABORIO<br />

Costa Rica / residing in Copenhagen, Denmark<br />

50 años de poesía<br />

He de escribir 50 años de poesía.<br />

Para tener medio siglo de honda sombra,<br />

medio siglo pescando en un río de propia sangre.<br />

Año tras año sin saber cómo salir de la tierra<br />

iré untando nubes a mi cuerpo<br />

para hundirme en una lluvia<br />

tan antigua como el dolor de la piedra.<br />

Amasaré los días, día tras día<br />

hasta que la noche se haga polvo amarillo.<br />

Todos me preguntarán, Pablo<br />

qué verdad has amarrado con tus cadenas de viento?<br />

Yo les responderé:<br />

Conozco un árbol que puso un pie<br />

a navegar en la soledad de un cometa.<br />

Así me dejarán tranquilo,<br />

mirando cada estrella, mientras una por una<br />

se va quedando ciega en el calor del tiempo.<br />

He de escribir 50 años de poesía,<br />

para tener medio siglo de inmensa isla,<br />

medio siglo de danza en el vacío.<br />

ISSUE # <strong>22</strong> - MEDIA<br />

43


VOLKER REGNER<br />

Geislingen, Germany<br />

RAUSCH<br />

Soll ich weiter gehen<br />

Weiter als ich jemals ging?<br />

Soll ich sie suchen<br />

Sie in mein Leben schließen<br />

Hab’ ich Angst es ihr zu sagen<br />

Wenn wenig später ich sie jagen werd’?<br />

Ich benetze ihre Lippen<br />

Dunkler als das schönste Blut<br />

Verführerische Nähe<br />

Die Freiheit ihr genommen<br />

Welche eine Erlösung der Tod mag sein<br />

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MEL PERRY<br />

Wales<br />

GREEN GRASS TREASURE<br />

I will carry you in my palm across the sea.<br />

I will write your name in the sand<br />

on the strand, on the coast of light.<br />

When I get there I will sit<br />

on the beach with a green glass shard.<br />

I will run my tongue across its lip<br />

feel its grit-pitted life-worn surface.<br />

I will know its satin beneath.<br />

I will see imageless light scattered,<br />

breathe the cobalt blue washed day,<br />

close my eyes and taste salt zest.<br />

Before I leave I will see one swift<br />

circle the lighthouse tower, hear house martins<br />

chirrup above the generator thrum,<br />

smell rose scents drifting<br />

from a long forgotten<br />

keeper’s cottage garden.<br />

As summer ends<br />

I will hold your hand in my palm<br />

in the grief-dark crowds of a wake,<br />

hear a promise and my name,<br />

kiss smoke tang.<br />

ISSUE # <strong>22</strong> - MEDIA<br />

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ISSUE # <strong>22</strong> - MEDIA<br />

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ISSUE # <strong>22</strong> - MEDIA<br />

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R E D<br />

T R A N S M I S S I O N S<br />

P O D C A S T<br />

The <strong>Red</strong> Transmissions podcast aims to document the work,<br />

behind-the-scenes moments and creative process of the<br />

incredibly interesting characters in our network, be it in<br />

Copenhagen, New York, or around the world where our correspondents<br />

find themselves or our poetic adventures take us.<br />

Find out why artists, activists and worldthreaders do what they<br />

do, how they do it, and hear about the inner workings of their<br />

projects. Contemporary happenings and conversations on<br />

culture, music, art, film, poetry, environment and independent<br />

projects around the planet. WE EXIST!<br />

Want to share your story with us?<br />

Write to: theredtransmissions@gmail.com<br />

50<br />

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ISSUE # <strong>22</strong> - MEDIA<br />

51


<strong>Red</strong> <strong>Door</strong> Magazine issue <strong>22</strong><br />

Featuring the art of Andre Konopek<br />

Find us on instagram as @reddoorkdk<br />

Podcast: @red_transmissions<br />

Become a supporter at patreon.com/madamneverstop<br />

www.reddoormagazine.com<br />

Everything else at: @madamneverstop<br />

52<br />

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<strong>Red</strong> <strong>Door</strong> Magazine releases digital<br />

issues quarterly with an emphasis on<br />

visual art and poetry.<br />

As you can see on this and every issue<br />

before it, we aim to be an inclusive<br />

platform, where we welcome art and<br />

poetry, LGBTQ & other activism content,<br />

thoughtful essays, photography,<br />

adventure, stories, interviews and<br />

media articles, occasional features by<br />

established and emerging artists.<br />

We’re here to give you a handful of essential<br />

pieces you can digest in one<br />

sitting.<br />

The magazine also includes a calendar<br />

for events happening in our<br />

gallery, and we sometimes mention<br />

collaborations with other projects,<br />

organizations or events happening<br />

elsewhere worth noting.<br />

We’re always seeking visual art,<br />

music, film, travel and media articles,<br />

environment & sustainability articles,<br />

poetry, fiction, & creative nonfiction.<br />

Simultaneous submissions are always<br />

ok, but if you have a piece accepted<br />

elsewhere, please let us know by<br />

adding a note to your submission.<br />

Please send your content to<br />

submit@reddoorkbh.dk<br />

ISSUE # <strong>22</strong> - MEDIA<br />

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E<br />

D<br />

D<br />

O<br />

O<br />

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ISSUE # <strong>22</strong><br />

M E D I A<br />

REDDOORMAGAZINE.COM<br />

ISSUE # <strong>22</strong> - MEDIA<br />

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