30 August 2006

OPENMOUTH POETRY - In Yr Face live poetry action by killer_poets

OPENMOUTH POETRY - Velvet Lounge: Thursday 31 August 2006

This month's Openmouth (Thursday 31 August - 8pm) may be the last!

Come on down if you dare... OPENMOUTH POETRY - Velvet Lounge: Thursday 31 August 2006
cnr beaufort and walcott sts mt lawley

Entry $5/3 or donation

performance poetry
spoken word
werd hybridz
sonical poems
word food
radical sentences
sexy meanings
dead poetry
awake poetry
word stabbings
mouthy rants
stanza spittle
poem bombs
vegan anthems
queer framings
undergrad lines
poo-shaped haiku
dripped letters
vocal syntax mantras

See flyer for details.

Ph 0402 573 580 for more deets
or mail: allanx@indymedia.org

WA Poetry Festival kicks in this Friday:

25 August 2006

these post-it notes

wake up the poets

I forget the things I create

I forget the things I create.

Thought I might express myself here - following an email I got today from a reader of my Antipoet M
anifesto, which I wrote as writer-in-residence at FAWWA's Tom Collins house in 2004.

I've been meaning to try and write about the differences between the Chilean "antipoet" and what I mean by antipoetry. So below is an initial effort:

Dear Allan Boyd,
I've been looking through your manifesto with great interest. Have you made a study of the works of Nicanor Parra and Thomas Merton? They brought antipoetry to the world. Parra started to develop the style he called antipoetry in the 1930's ... Has the world or the word changed since then?"
Best wishes.

Heya Colin
Cheers for the email...

Well anyone can be an antipoet, man.

But not everyone runs around calling themself one. Tagging oneself as the anti-poet is a signifier - semiotic rejection. A statement of intention. A bayonetic stridence. A contrived reaction.

My mantra: Thesis/Antithesis/Synthesis/Thesis/Antithesis/Synthesis...

But, yeah. I have indeed looked into earlier notions of "antipoet" - particularly my Chilean counterpart. I have read lots of his gear online over the past few years. Its easy poetry to read. On Merton, well I still need to research on that bloke...

However, it must be said that we will always be the produced effect of historical context. Our artefacts, our products, our speech are embedded in time and space. In the now. The moment.

I reckon my antipoetry is very different from Parra's. My life is activist media hacker, bashing out art in 2006. My daily grind is finding sources of inspiration to recreate anti-memes for media consumption.

I watch the news-media cycle spin so fucking fast. I am driven to write anti-poems, spurred by the gloss-barrage, the hyper-media sensation and uber-consumption that faces me daily, hourly, to the nanosecond.

I'm inspired by my fucking government's jailing of refugee children in deserts and now remote islands. I am offended and embarrassed about my government's treatment of Aboriginal people's human rights. I am watching the earth raped in front of me...

Whilst at heart, I am an optimista, I see little good outcomes. I respond with anti-viral memescapes.

Whereas Parra is a anti-conventionous response to the 'old-skool' literary hierarchy of poetry, mine is a deliberate assault on the cancerous, unsustainable, bloated, monstrous, capitalist, homogeneous, monocultural, waste-driven, wealth-accumulation system we discover ourselves in at any moment...

Antipoetry is dead, baby. Its a fucking Zen.

As an anarchist I reject, or at least critique almost everything this culture has to offer us as humans in 2006. Mine is a poetry of direct action, of resistance, of radical expression to that. A digital scratching of love for my fellow humans. My essential connection to EVERYTHING is distorted with meanings I don't want in my head. An underlying pursuit for stuff is not sustainable. Not equitable.

As Parra's, yes my "antipoetry" is a poetry of rejection. But not merely a rejection of 'formal' poetry (as is perhaps, Parra's simple rejection of formal poetry). Mine is an rejection of the dominant culture. Maybe Parra's is a class-based poetry? Maybe mine is a global resistance to the underlying wrongness of everything.

We're facing environmental catastrophe at a global level. And everybody is blind or apathetic to this. My poetry is an action against this. Mine is a genuine act of rebellion against the brutal ideology of capitalism.

I am fully inspired by the work of the L=A=N=G=U=A=G=E poets, the Last poets, Percy Shelley, ee cunnings, Chuck D, Eytan Messiah, and Ern malley, Mar Bucknell, Jas H. Duke, Pio, Ashley J. Higgs, Beck, SMOG, and the Dirty Three - and some weird poet kids I see at readings. My wife is a poem. My kids are ones too.

I am perpetually inspired by snippets of conversation on a bus, the poster-art, stencil art and tags of the urban canvas. The cracks and peels of the suburban facade...

But what it all boils down to - I am the antipoet because you wrote me an email.

allan boyd - antipoet
perth, western australia

24 August 2006

12 August 2006

10 August 2006

MP3 - Alphaville_Forever_Young Vs BoZO

Click on the link to listen/download:
MP3 - Alphaville_Forever_Young Vs BoZO - MP3 10 minutes - 10mb
Or right click and save link/target...

This is the audio i made for the of antipoet's push aside the velvet curtain - poem aug06. Its a ten minute layered and multi-effected, relatively ambient piece used for a sountrack to the performance at Velvet Lounge. Beware of John Howard samples.



09 August 2006


release - antipoet
august 9, 2006

click image to enlarge

push aside the velvet curtain

Performed at the Velvet Lounge, Mt Lawley. August 8, 2006 for the launch of "Happy in our graves: Ten years deep"

push aside the velvet curtain

This is a spoken poem primarily about shopping. Written in an afternoon for a gig that night...

Delivered in just over 10 minutes to a crowd of about 80 people at the Velvet Lounge bar in Mt Lawley. The event was a film launch, with Perth indie bands and a post-rock DJ. I opened the evening's entertainment.

As a performance technique, and working to a strict allocated set-time, I employed very restrained cadence - really pacing my delivery. People expect me, perhaps its the "antipoet" expectation, to be extreme. But it was delicious to slowly, joyfully gesticulate and stretch out the phrasings, almost sing the words. The previously noisily chatting audience became dumbstruck within a minute or so. They really shut up and listened. They were responsive and appreciative.

Throughout I played pre-recorded, heavily remixed, layers of "Forever Young" (Alphaville), featuring John Howard samples from his speech to US Congress in 2002, which I had also made that day...


TITLE: push aside the velvet curtain

welcome. ladies and gentlemen. here it is...

can you feel it? you're a fragment. under the delicate velvet climate helmets we breathe her lusty toxic air. the sacred goddess akimbo to each and every voluptuous product. a canopy of us all. a necessary hero to worship in an monstrous addiction to authority. forever young we fight back magnificently.

and so there's you - oh yeah, an even flow of textile perfection, a corporate defection. your imagined skin on display for all in this momentary glass-case.

and check me: a naturally humble consumer. all bent over, draped in awe-inspiring all-new smiley faces - a coat of many many new age fears. my liberated terror, lubricated at the offline onset of sonic insertion. oh the rimshot gangrene of it all.

and i spread you like a carpet bomb right here in the mall baby. forever young on this bench - like the saturated mesmeric diaspora of love and guts and glory - a holy money-tin virus. a public transport fantasy.

this nubile halogen light of you - your grandiose memescape - a great new new new flavour as the spinning billboards scroll and rescroll new-skool, old-hat vacuosity. yr eyes an as-seen-on-tv-colour.

and its almost real this sensation. i almost feel alive in this special offer suit. forever young. young forever.

and the deep-scars of a uranium-state determinism, the fly-by spending-habit-police seem distant, in this nonchalant sterility of this bottle-shop coolroom.

the geo-sequestration a mere suggestion. yet i cannot make a necessary executive decision on the beer.

can i? can i? cheers.

stoic resistance is a fools game, she said from the mountainous till. cracking another long neck on the precipice. her brilliant knuckles white-hot in the faded light. her gigantic golden clitoris shimmering on the keys - her grill. my recipe for organic turtle steaks bewildered the audience breaking the duco fascination.

her hand tightens, increases. tightens increases, tightens increases - she's lost in the pulse of her rhythm - my global goal now to break the surface. a nobel peace prize for a new upholstery.

i can feel the plastic bulging in my pockets. its turgidity, its inflated sense of self-importance. and then there's you pushing against my secret thigh. throbbing like a standard-model heartland. man. the clarity more than meets the eye. like a homo-erotic transformer on 'roids, a robot in disguise - i skip in time across this busy intersection - imagining the polyps bleeding an orange memory into the traffic.

ah i am so liberated... so lubricated.

oh i wish i was a rich rich man in a poor mans body - my hips are oh so perfecto. forever young forever young they scream in tribes from the screens.
forever young forever young i wanna be forever young
with this handful of carbon-based toxicity.

and we ran - all the blood n car-swept streets. our aerials spinning like sonic youth channelling. it seems an earful of nothing goes a long long way - a splashing of poster-boy god-speed noise. i'm a pirate radio station on wheels - yet the mobile phone seeps random reasons.

beep beep beep.

tearing bloody chunks from the walls here - sprouting my anti-jingles a reminder that banjo is not a real text, that ern malley was an illegitimate jam. that skateboards are a legitimate, delicate method of transport. that sticker-art is the new da-da. that dishonesty is the best policy. the first fleet. the first fleet.

and this recurring nightmare: our banana's in pyjamas as president. the time to gather moss all lost in a composite of toy satans and wet cocaine. and the shopping centre carpark is where we all really die...

we remembered the first packets of shiny joy - seeking reasons to exist in the font - in the shade of massive tuarts. before the shift.

but for now your splendid corporate flesh - a capitalist's delight neath my callous, mirrored hands- i knead each part of you. a fetish of epic proportions - and we dive into the deepest mothers - a form of nuclear sweat - a radiation suit for jesus, all salt-lakes and network cables to the afterlife.

i'm logged on baby - i'm forever young.

at this point i've blogged my way thru to the other side of the classic war symbols. the semiotic trance. the neon christians scrambling, electing, molesting, erecting each other like rampant followers of a 9000 ft jesus.

yet together, we push the vinyl curtains to one side and force ourselves into yr dripping lip, your ears a broken vase, your fingers a sandlewood tonic.

and we patrol the bastard brick streets licked naked underneath the bullet-proof lucky country theories of everything. and the mind of god no longer a cattle truck. a new pluto moon - a chronic holden chick on the bonnet - an open-mouthed gay icon. we're good to go, she spruiked from the boxes.

and her rippling red biceps tripping against mine, our embrace never reconciled. we knew our star-spangled everythingness. it all seemed proper. the right thing to do - at the time.

we always say that, i hear you thinking, as this poem offers a deconstruction of contemporary culture.

forever young we destroy 2000 years in a moment.

you're pulling the knitting needles over our republic-over-my-spastic-bodybag, he roared from the pulpit - his quivering lip a dead giveaway. the all-time small-town blanket bash.

from the open roof he demands many fresh kids. many fresh faces. the sacrifices too the branded logos of her brittle reality.

you can feel it, your custom-made atomised culture fragment. the velvet curtain punctured - breathe your lusty breath. your heaving welts.

and the goddess stumbles, her bags akimbo, my trolley-boy connection.

forever young we fight back magnificently.


allanboyd06 Performed at the Velvet Lounge, Mt Lawley. August 8, 2006
at the launch of "Happy in our graves: Ten years deep" - an Anti-Howardian film.

ph0402 573 580

poetry: against the bitumen riddle

05 August 2006

an overload poem 2006

an overload poem 2006

brunswick overlords,
the way another brittle 5.30am sun
splits her pencil face; an etched stencil
like a beer-driven snarl now
our angel voices a feeble crack,

always massive rambling metaphors
subtle enjambment in the fitzroy streets

and the old bitumen bleeds transit poems
and the mad colours a gay rush of layers
a metaphysic neologism.

so melbourne in this new light:
a red wine-stain shaped like jesus
scant on the frontline we tread
a word, or two - another page of trams

aboyd 06

How to write a Media Release by Brother_X - Perth Indymedia

MEDIA RELEASE: Releasing a thing into the media!

Media releases/statments/communiques are written or recorded communication directed at producers of news media. We use them to announce something we deem as having news value. We are entering into the news media cycle. The makers of memes.

How to Write Media Release: Below is a basic outline on how to write a media release...


Media releases are generally emailed, faxed, or posted to editors at newspapers, magazines, radio, TV stations and networks, media websites etc. Commercial newswire services, such as AAP, Reuters etc, also disseminate news releases. News releases are also used to announce news conferences.

NEWS MEDIA FODDER: A news release is not a news article. A news article is a compilation of facts developed by journalists published in the news media, whereas a news release is designed to be sent to journalists in order to encourage them to develop articles on the subject.

A news release is generally considered as biased or having a particular, ideological 'Point Of View' towards the objectives of the author.

The targetted regurgitation of news releases is rampant in the PR (public relations) industry. PR people aim to procure maximum favorable/positive media focus (spin) for their clients - whose products often become major news items - consumed by millions..


Media Releases are the fundamental fuel of uber-modern media. Rarely does a journo need to leave the office to write a story. News releases feed the beast of global competitive newsmedia hyperbole - because they are fast to consume and easy to reuse. I often see Media Releases reprinted verbatim on corporate and government newswires, or regurgitated word-for-word in the press.

Journalists love it when they don't have to do much more than copy n paste a few quotes. MAybe pick up the phone or shoot an email to grab an exclusive quote - if you are important or considered newsworthy enough.

Manufacturing semiotic consent - The ABC: Accurate. Brief. Concise...

Writing a media release - Keep it simple mate: Ideally a media release is only one A4 page - preferably with an 'official' letterhead. The document is typed, well presented with decent margins. Head the page – MEDIA RELEASE.

HEADING: Provide a readable heading which clearly identifies the subject matter of your media release. Include the date.

FOOTER: At the bottom include your title, name, email, telephone, and mobile numbers for a contact person. If appropriate, include the time and date for a photo opportunity. Contact times if applicable. Embargo dates are sometimes used.

"FIVE Ws and an H": Think about constructing your media release to answer the six basic journalist questions:

1. What happened?
2. Who was involved?
3. Where it happened?
4. When it happened?
5. Why it happened?
6. How it happened?

Everything else can be considered superfluous...

Make sure the intro paragraph demands attention. The intro should include the key facts about your project. In writing the intro think: What is about to happen? What has happened? What is the most important point you want to get across here? Be clear and precise.

West Australian environmentalists undertaking a study into wombat urine say the much loved Golden-legged Willerby Pinterbean is on the critical list.

Assume most of your text will not be used. Go the pyramid-style. Make sure the most important information is first, then the next most interesting detail, followed by other information. Don’t save the best for last! A list of 8 second bites is the key.

Proffessor Phillip Jonestown-Arthurs, who is leading a research project at Perth's Yagan Valley University, says wombat urine may be a key to discovering a cure for headlice. However, in undertaking their inner-city study the scientists learned the Golden-legged Willerby Pinterbean Beetle is on the critical list

Write from a journo's point of view. Think about what will make your story relevant to media consumers. Use plenty of short quotes from the hierarchy of relevant people involved in the project.

Professor Jonestown-Arthurs' team found the beetle population is in rapid decline. "The little bastards are nearly all gone," said the Professor. "We have been eating them the whole time."

Style: Keep the text short and simple. Be factual, but not jargonistic. Use clear, accessible, everyday, bus stop language. Technical or highly academic descriptions sound boring or may confuse - and get binned.

If editors want more information they will contact you. Be ready for them. Be courteous. Return their calls promptly. Make sure you define your comments as Off the Record if you are unwary or unsure of a fact.

It's critical to have a handy list of extra points ready to rattle off. And a list of other reliable people to contact. Sometimes it may be worthwhile ringing the editor to see if they got the release. But be careful you don't piss these people off too much though. They are people in stressed out jobs - who get to decide what is and isn't newsworthy. Be nice.

Avoid abbreviations and acronyms where possible. Avoid long sentences. Complicated syntax is a problem when information is being read over the radio or television.

Try to limit sentences to 20-25 words. All the details on one page is BEST.

READ A LOT OF REAL MEDIA RELEASES. Once you've read lots of media releases, the format becomes clear. They are pretty basic little bastards. The entire media machine relies on media releases for content. Its the raw data for corporate, government spin.

Here's some links to good professional media releases:
Some other good sources:

02 August 2006



"Anti-Howardian" Film Launch by Tenc Media Unit 2006-08-02 11:42 AM +0800 HAPPY IN OUR GRAVE. TEN YEARS DEEP is a surreal-esque attack on modern life and generation debt.

This fuming anti-Howardian piece sees a young consumer wake from a 10 year coma to a nightmare landscape of hyper capital domination and an outrageous accumulated debt. Assisted by a vampiric Accountant, our hero consumer must settle his debts before the blood thirsty debt collectors settle their debts with him... Shot over 2 weekends between 25th February - 6th March 2006, HIOG.TYD is the latest film from Perth filmmaker Richard Eames.

Made with little money and little time, the film was only made possible with the assistance of NASS [National Academy of Screen & Sound] and the commitment of those involved.


Tuesday 8th August 2006
Velvet Lounge
Free Entry

Benedict Moleta & His Enemies
DJ Anthony Williams
& The Antipoet

Including the screening of Richard Eames' new film "HAPPY IN OUR GRAVE. TEN YEARS DEEP"

For more info visit: http://www.tenc.tv/happy