contact davidly

Contact info just above the first video below.

Call me davidly. My suffix comes from my mother and others before her. Spoken, it comes from my mother's frequent pronunciation of my first and middle names together as one.

The spelling springs from a gentleman the memory of whose name will probably elude me forever. I was auditioning for a role in a play and he was admitting us to the proceedings. In the hall outside the performance space at Steppenwolf Theatre in Chicago, as I awaited my turn at humiliation, he, practicing his ballet positions and turning his head to the side to eye my promotional headshot, said, "You should spell your name like the adverb." So I did and do.

the train
of th'wheels-on-th'rails,
and the cars swinging
lay the bed
for a piece
I'm jotting
in my head
I don't have anything
to write with and don't
wanna stir the homeless,
sleeping peacefully...
but then
as I see
one's faking sleep, next to me,
I ask'im for a pencil, and he says,
"If I'd a pelwnsl, I'd be on da bus."
('twas still in Chicago, don'cha know)
So I return to the muse,
but th' inspiration's gone .. .. . .
. ..h e r e.

Too much and too little to get into - it's complicated, really, and the prospect embarrassing, that one might know all that I shun when just the other day I was on about it. They say it's a disease. I'm not entirely convinced. For it might be a natural occurrence for the furtherance of, um, nature. Like, say, acid rain.

But I can remain true to love beautiful things, I swear. Here's a >sample< that's proved popular.

I started diary von davidly as a journal in 2004, mostly to chronicle my waxing & waning in the field of sound — or, if you like, music.

"Remainder" -  Copy,yeah,right 2000forever

Since then it has grown to include categories of thought and experimentation navigable by way of the label-rubric in the right column entitled RUMMAGE A W A Y.

Taking these alphabetically:
96a includes anything with a mention of Warschauer Strasse, which is the street on which I reside and also happens to be one section of the city portion of the federal highway after which the label gets its name.

Alex°Axle encompasses all that surrounds the Fernsehturm, Berlin's largest point of orientation, located at Alexanderplatz. There are a lot of photos of the tower in this section, many from points outside looking in.

BerlinalsBausatz is constructed out of love for the city itself. Even the slightest mention of Berlin gets stuck in here.

caricaturisation is photography found & fair used for the purpose of making a mockery of whatever was depicted therein. I fancy it at once a higher & lower form of political commentary.

etwaMusik goes back to the roots. It's about music that's mine, or music that has inspired me.

Fotosvondavidly are images, photographic and the like, captured & rendered by me.

Friedrichshain-Vergleiche is a section I dedicated to comparisons between old and new images of the district I call home: Friedrichshain. Named after Frederick the Great, it's translatable to Frederick's Grove.

The old photographs come from a calendar published annually. Eventually I began to use a hover code so that one might hold their cursor over the calendar image to reveal the one I had just taken, often at the beginning of that month.

Since the calendar's inception, I have missed the purchase of its inaugural year in 2007, and two years since, 2012 and 2015. The Friedrichshainer Geschichtskalender is published by the Friedrichshainer Geschichtsverein Hans Kohlhase e.V.

Hää? is the German utterance for "Huh?" and gets its title not from its entries being incomprehensible to those who don't speak German, but from its not unlikely being unintelligible for those who do — or, as the case may be, those who use Google Translate to read it and for some reason say "Hää?"  (Hint: for this and the next dash-point, use DeepL Translator. It is far superior.

Parkbankpinkler aggregates fascicles of a story I conceived way back in 2002 when I was taking my first German courses, but which, pardon me, germinated for several years until I found myself finally able to birth it here.

The story's primary inspiration, which takes place in Kapitel II, was based upon a peculiarity in the German language in which a prepositional object takes one or another case depending on whether it's static or in motion.

Inspiration for the title and genre comes from German versions of the crime novel paperbacks of Edgar Wallace.

I originally planned this as a novel about the homeless in Berlin and wonder now if it will reach a conclusion as such, or if the indistinct multiple narrator aspect will end up being a collection of short stories based on a theme.

If you are interested in publishing it, or know of a publisher who would be, let me know. But only on paper. Developing as it is, the e-book is already here.

Poesie/Kritik may or may not take the form of verse, and may or may not contain valuable criticism of the same by someone else.

Presse/Politik is my analysis of politics, most often through media lenses.

Rad/Bike need only contain a reference to my primary, when not exclusive mode of transportation.

As it says in one of my aphorisms, refreshable just under the header and above the footer of this diary: Oil is for bicycle chains! Not having comments activated means I don't have to repeat to the occasional wise-ass that in spite of petroleum-based tires, seats, and whatnot, I still get mileage so superior to that of the automobile, hybrid, electro-, or otherwise, that it renders discussion about it absurd.

TheImageNation is an idea-in-a-pun I came up with independent of the, no doubt, many others who have come up with the same double entendre. It originally appeared in a screenplay entitled A Share of Realty that I had written for submission to the Nichol Fellowships of the Academy of Arts and Sciences.

As so much else from the early nineties, it foresaw what the web had to offer in on-line trading and commerce, so not a big deal there. But if I might toot my own honky-thing, it, if not I directly, presaged what so greatly contributed to the housing bubble burst at the onset of the Bo Rama era: the bundling of bad mortgages as a central part of an ingenious plan to squeeze even greater profit out of others' losses.

TheSundayPaper only has to have been published on a Sunday, although it started with the intention of being a rundown of the week's news.

₫-mar-kr-€-C$-¥ was an experiment circa the advent of the second decade of the twenty-first century. It failed miserably, even if I found it so clever and amusing and insightful that you could accuse me of being proud of myself. I reject that accusation unreservedly.

I will allow that I was pleased. Had the idea garnered great attention, then I might have run the risk of committing to the deadly sin whose brand I prefer not upon my person. Pride, in my opinion, is akin to emotional retardation.

From the outset, comments have been deactivated. In spite of having made good creative use of comments sections on others' sites of similar hostage, I do not return the favor in kind out of considerations of the aesthetic sort.

If you would like to write me, I encourage you to do so at: "contact" (but with Ks in place of the Cs), then the symbol for "AT", then my name complete with the adverbial suffix, followed by the DOT, the two letters the Web uses for the country Berlin is in.

I recorded this in June of 2013 for the 30th anniversary of Eno's Apollo.


DIENSTbar offered me my first gig and probably most of them overall. There's a more extensive entry about that here. The first link is headed with information about the regular radio and other shows, etc.


Snapped while out & about...

Gallery Wallywoods: opened 2006, evicted 2010, still empty 2015.

"Proprietor" Paul provided a couple rare moments of inner peace (that link w/ a hat RIP to John Littler).

Inside you can see that they ain't even done moppin' yet!

Those chairs just aren't the same.

But the hover is forever...

Gallery Wallywoods, Berlin-Weissensee - March 2008


R a d i o

From Kate & me

. . . from a year-end show . . .

 . . . from 27 December 2011 . . .

. . . to which to listen . . .

. . . at any year's end.