Category Archives: Parties

An Index of Collective Action

Queering the Direction of Present Events

gay-again

I snatched these photos from all over the place ~ collectively I take them to be grabbing back the public domain from the hands of those conspiring to restrict its terms of membership and eradicate dissidence.

The images are presented in the chronological order events unfolded …. more or less … with one or two exceptions…

(what a liberty!)

I pay tribute to all the friends and strangers who participated in the making of these snapshots and their circulation .

Thanks for sharing ~  such awesome creativity.

On the Campaign Trail …

trump-liberty

hilary-mural

adventures-into-the-unknown

protesting-forever

As Inauguration Day draws near…

ursula

…and a Queer Dance Party erupts outside the DC Residence of

Mike Pence, Vice-President Elect…

queer-pence

divine

(Divine!) 

Inauguration Day Arrives

trump-southpark

(Michelle isn’t having a bar of it)

michelle-enough

merkel

Among the first changes instituted  @Whitehouse.gov….

lgbt-whitehouse

[[BUT WAIT! …EXCITING NEW CONTENT!]]

melania-model

jewelley2(Did someone say something about draining ‘Elites from the Swamp’?!)

On the first day of Trump’s presidency

 feminists around the world act up…

march-on-washing-posteraudre-lorde-self-care

strap-on

“I’m with her”

girl-i-know-michelle

Washington DC:

trump-tower-woman

Detroit:

detroit

Atlanta:

queer-black

Washington DC

tamborine

 Sydney

(flashback: pre-emptive tambouring)

undead-tambourine

Sydney

(21 January 2017)

sydney

fuck-u-trump-sky

Meanwhile in London…

Fierce Pussy!

roar-good

Flashes of Pink

(Unknown Location) 

vulva

Hear Us Roar:

lion-mouth-dentata

PUSSY POWER!

NEXT POST:

“What is emerging Down Under??”

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Filed under Affect, Erogenous zones, Eroticism and fantasy, Masculinities, Parties, Police, Policy and programs, Random thoughts, Sexual Sociability, Theory

Bette Midler’s Gay Science

octopus-desire-tiawan-cover

 Cover design of the National Central University of Taiwan’s Center for the Study of Sexualities‘ forthcoming edited collection, translated into Mandarin, “When Desire Meets Public Health”

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I can’t believe I’d never seen this footage of Bette Midler’s Continental Baths Concert of 1971. It is all kinds of awesome and fabulous; a cataclysmic moment of gay world-making.
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The referentiality between the runsheet and the context of reception – the song choice and the abject status and attachments of the deviants who frequented “such establishments” – is so incredibly sharp and blatant and pointed and contradictory but ultimately joyous for what it cares to acknowledge and celebrate in and about, these places, these attachments, these publics, these gatherings.
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Basically it’s like, so gay 💅🏽
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octopus-bette
 Queer Entanglements
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Among the highlights of the show (and if you can’t quite face another cultural studies rave right now, don’t take my word for it: do yourself a favour & just watch it):
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  • Midler blows queer theory’s “anti-social” thesis right out of the water within 3 minutes of appearing on stage, because (doncha know?) “It’s All About Friends!”
  • Yet only minutes later, this woman, who at first glance might have come across as some happy-clappy redemptive sex pastoralist is getting down and dirty and revelling in a celebration of shameless sexual receptivity, with all its hurt and pleasure, in a show-stopper that situates “copping it” within the same order of bodily experience/urgency/necessity as scratching an itch: A basic craving, mundane, but often unbearably intense;  practically constitutive of being bodily in this world, difficult, disturbing –  with a million ways of approaching it, each with their own risks and possibilities for connection, intimacy, transformation, disappointment, frustrated consummation, and boundless enjoyment.
  • But what the heck?  What’s a Queen got to lose?

nothing-to-lose

  • And then next up (as though out of nowhere) an Ode to Marijuana, to top things off.  The Exotic/Palliative Sublime!
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Meanwhile, in the  second half of the show there is a Nostalgia Interlude, featuring hits from the 1940s, in which Milder adopts such a cheesy, self-assured persona when she sings “Going to the Chapel” (“R’member that great song? ‘Member?”) that she verges on obnoxious. The more she goes on and on and on and gloats about how she’s “Gonna Get Married” in the morning, the more you want to slap her! And you could almost be forgiven for that violent impulse, given the sense of comfort she derives so obviously and insensitively from knowing that that moment (indeed, even the slightest rendition or reference to that moment) has whole institutions dedicated to propping it up, as is more than demonstrated in how reliably and  routinely the refrain is backed up by a troupe of captive but ecstatic chorus singers. A surefire crowd-pleaser! What a triumph!  How enchanting!  (God knows it oughta be; they’ve being doing it to death in rehearsal).
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To counteract the bulldozing affects of this excruciatingly marital personae/performance, in the next sequence Midler switches gears and gets busy turning things around:  Mainly by ramping up the rapport she has  achieved so magically with her bathhouse audience: whipping up the feels, stirring up the love, only to culminate in her finally belting out this climactic, earth-shattering, quivering chant: “Any Day Now, I will be RELEASED!!” Which sends the audience arse over tit in an utter frenzy of gay abandon and delirium.
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Which all seems natural enough in the circumstances. Earlier in the show, she had confided casually that, like many of the boys in her bathhouse audience, she’d been working her ass off for “three days now”, without barely a breather in between acts.  No wonder the show’s climax is  so enthusiastically shared among the crowd, so devastating, so intense, so overinvested – and yet so playfully and powerfully communicated.
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Such brilliant realisation, explosive as dynamite.  Bringing to mind what a good friend suggested to me recently:  It’s “All about Energy”.  A pedagogical moment of sparkling clarity.
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*******
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Filmed a year before I was born, Bette Midler’s 1971 Continental Baths Concert is such a joy to behold, I feel so lucky to have been thrown into a world in which this could be found and grasped as a precedent, and so lucky to have chanced across footage of the event … Partly because of the queer associations it reveals and multiplies: it’s so obviously and unapologetically *her* kind of audience – striving for release – the kind of release that only a few legends like Midler were gutsy enough to affirm, acknowledge, and share publicly at the time, despite the likelihood of recrimination and scorn this might bring upon her, (not to mention the loneliness and despair and rejection and ugly affects that often underwrite such collective investments, which she also movingly acknowledges).
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But mainly because she just *owns* these desires and investments – in all their messy, abject complexity – so damn indiscriminately in this performance.   The whole queer kit and caboodle. In short, she belts it out of the ballpark.  & I’m talking …..FAR OUT!!!!!
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What kind of magic is this?  So playful! So abject! So affirmative! So powerful!  Overflowing with unmitigated pleasures and gusto….💖💕
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*******
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 On a more scholarly note, I take this show to be an exemplary instance of Sexual Sociability, a concept I came up with a while back now & have been trying to work with ever since, & which has ended up becoming key, as it turns out, to my forthcoming book, The Gay Science (“Forthcoming” ….ahem…..Any Day Now”….)
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It all makes me wish you could have a YouTube clip as a book cover! (it won’t be long now, surely? I mean, “we have the technology”, right?).  What a wild wet dream it would be to have Bette Midler’s 1971 “You’ve Got to Have Friends” featuring prominently somewhere in the book’s back matter, for the benefit of friends and readers, both old and new – or maybe I could arrange to have the number just playing throughout, on autorepeat. I can’t think of a better way of acknowledging my key informants, divine muses, motivating impulses and other assorted sources of gayspiration.  Or of signalling some of my work’s key design principles – and impossible objects.
bette
 The Divine Bette Midler, Continental Baths, circa 1971
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There. Thanks for putting up with that excessive, raving gay rant.  Writing it at least ought to force me to finish the fucker.  And friends, believe me, that day can’t come quickly enough … 🌊💨🌪💥⚡️🌈🌸💦
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(Did someone say “happy ending?”  Bring it!!)

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Filed under Affect, Books, Erogenous zones, Eroticism and fantasy, Masculinities, Parties, PNP culture, Random thoughts, Self-medication, Sexual practice, Sexual Sociability, Theory

UnDEAD!

undeadIn the abysmal UK documentary Chemsex (2015), there’s a horrible moment where one gay man describes his peers who use drugs for sex as “the walking dead.” Let’s think about this derogatory imagery for a moment. What should we make of this abject figure, the queer zombie?

The walking dead are beings whose claim on life is so tenuous and wrong and desperate they’re regarded as a monstrous affront and threat to the living order. In fact, this characterisation of drug users is a well-trodden stereotype appearing in multiple sites, from judicial discourse to popular culture.  Effectively, it demonises people who use drugs by suggesting their lives are unnatural and not worth living.  It’s a callous and demoralising insinuation that is destructive of lives and hopes for the future.

Last weekend, Unharm‘s Queer Contingent decided to bite this bullet hard, and threw an outrageous party to celebrate sexy demons, queer community, the growing movement around drug use, and killer dress-ups. Held on the weekend of the Day of the Dead, UnDEAD brazenly embraced the figure of the zombie, inhabiting it playfully and irreverently, to throw this configuration of abuse back in the faces of those who project it so vomitously. A perverse and confronting strategy, perhaps – not everyone’s cup of tea – but the sort of manoeuvre that has long been critical for queer thinking and queer survival.

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This wasn’t “just a party”, it was serious fun. UnDEAD aimed to pay homage to the role queer parties have played in promoting vital practices for wellbeing: lively communities; cultures of care; and the invention of forms of safety that respect the transformative powers of pleasure.

The gay club scene in Sydney helped build the communities that responded so effectively to HIV and which have continued to devise inventive ways of looking after each other. Queer parties have sparked initiatives encouraging the safer use of substances like MDMA and GHB and led to the development of new ways of taking care of people in party environments.

These spaces and the communities they helped forge have come under pressure lately from lockout laws and a longer history of harassment through drug detection operations. The onslaught is intensifying at a time when more and more people are beginning to realise ‘we can’t arrest our way out of’ drug-related problems, and that communities (rather than law enforcement) are the most effective way forward.

Queer communities have been breaking new ground in this domain, but bad laws and aggressive enforcement are blocking progress, and have the added effect of chipping away at the bonding possibilities that have been so significant within queer party culture and been the basis for care strategies.

UnDEAD was the brainchild of Fiona McGregor; who put the party on with the help of comrades from the Unharm Queer Contingent, their mates and supporters. Legendary Sydney queer DJs Ben Drayton, Steve Sonius, DJ Gemma and HipHopHoe electrified the dance floor with killer beats and sounds. Partygoers were also treated to deadly performances from iconic queer performers  Glitta Supernova, Willow Darling and Matthew Stegh, who brought the house down.

But most of all, UnDEAD was one of those thrilling events that demonstrates how inventive, playful, daring and caring our community can be. We were blown away by the creativity, guts and sheer nerve of all the queer souls who came out in the middle of the night to claim the dance floor and support the growing movement. Renowned photographer William Yang captured some of the magnificent creatures who graced our party – check out his pictures of the event here (further snaps from SXNews here). To summon the ghost of Oscar Wilde, let’s just say that reports of the death of Sydney queer culture are greatly exaggerated.

Unharm is a grassroots organisation that campaigns to make drug use as safe, positiveand ethical as possible. That includes changing laws, like the criminalisation of drug use, that make it harder for people to live well.

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The Unharm Queer Contingent formed in early 2016 and has gone from strength to strength this year, hosting a stall at Mardi Gras Fair Day; participating blocs in public rallies such as Reclaim the Streets and Keep Sydney Open; and convening community events such as Party safer and save our parties, Queer Chemistry, and a public screening of the documentary Rampant: How a City Stopped a Plague that brought key figures in the debate over Sydney nightlife together to discuss how to apply this local history to present controversies.

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The Unharm Queer Contingent wants to turn queer culture’s flair for wicked dance moves into something even more wicked – a dance/community generated movement. It’s happening right now, and it’s thrilling. Rise up, queer creatures of the night, and stake your claims! Let’s make a world where people aren’t criminalised for using drugs. Let’s get drug detection dogs out of our celebratory spaces, and pill testing happening at music festivals. Let’s work out better ways of looking after each other, whether friends or strangers, and put them into action.

If you want get involved, you can find out more by joining our online community discussion forum, or simply come along to our next event, to be determined.

Meanwhile, read this recently published review of some of the research literature on queer culture, drug use and sexual health to familiarise yourself with some of the facts, figures, issues and challenges that inform our work.

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Filed under Drug dogs, Erogenous zones, Medicine and science, Parties, PNP culture, Police, Policy and programs, Uncategorized

Party Playgrounds

A Decade of Drugs In Gay Sydney – Changes, Impacts and What’s Next?

I’ll be speaking at this ACON event at the Imperial Hotel with other chemsexperts Adam Bourne,  Toby Lea, and Garrett Prestage this evening. Don’t meth it!

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Filed under Devices and technology, Drug dogs, Engagement with medicine, Eroticism and fantasy, Masculinities, Online meeting sites, Parties, PNP culture, Police, Self-medication, Sexual practice

Thinking with Pleasure

I’m off to Norway to give some workshops and a couple of talks about my research at the University of Oslo.  I’m excited to have the opportunity to meet researchers and students from the schools of public health and medical anthropology there.  I’ve organised the workshops around my work on pleasure, digital sex, HIV prevention and harm reduction – and I’ve attached the outline here: thinking-with-pleasure-norway-workshops.  It will be a great opportunity to workshop these pieces so I can pull them all together, as they’ll form the basis of the monograph I’m due to deliver by the end of the year: The Gay Science: Intimate Experiments with the Problem of HIV

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Filed under Affect, Antiretrovirals, Devices and technology, Engagement with medicine, Erogenous zones, HIV behavioural surveillance, Masculinities, Medicine and science, Online meeting sites, Parties, PNP culture, Policy and programs, Self-medication, Sexual practice, The statistical imagination, Uncategorized

Strangling Creativity: the cultural effects of the Sydney lockout

Open Letter to the Premier and Deputy Premier of NSW

by Fiona McGregor

Dear Mike and Troy,

I am writing to you to express my grave concerns about the deleterious effects of the lockout laws on our city. I’m a born and bred Sydneysider, a writer and performance artist. I was a musician in the prolific band scene of the 1980s; and producer and curator of events in Sydney through the 90s and 00s. I have met your sister Julia several times; she has read my books. I have published five, most set in Sydney. You may know my most recent Indelible Ink, which tracks the creeping conservatism of the early 21st century and how it has destroyed Sydney. It was a bestseller when released six years ago, won and was shortlisted for many prizes, and continues to sell well.

If most of my creative work has been about freedom, most has also taken place in the economies of the night. The economies of the night gave me wages that supported my artistic pursuits; in turn, I made art about them. From the early ‘80s I worked, as so many students and artists must, in hospitality. Glassie, waitress, kitchen hand, you name it. The band scene was huge: from the upper North Shore to the Shire, and west, the most humble band had two gigs a week. People are still listening to INXS, or Nick Cave’s early band Birthday Party, whom my band supported regularly when they were in Sydney. Our scene had a significant population of Brisbane musicians who had fled the Bjelke-Petersen regime, such as Ed Kuepper of the The Saints. They wrote songs about Queensland’s police state that are still being played, and earning royalties.

Such was my education, my formation as a young artist. It continued in the 90s with work in bars and restaurants around the Oxford Street area, home then to the most exciting progressive queer scene in the world. Working late shifts on weekends enabled me to get up on weekday mornings and write. My novel chemical palace was read beyond the queer party culture it paid homage to, by people such as your sister Julia, for whom it was emblematic of their own youthful experiences of a free, flamboyant, fun and safe city. The parties I co-produced in venues in and close to Oxford Street employed four DJs, half a dozen performance artists, a lighting designer and art designer, a cloakroom person, a security guard, and two people on the door. They brought in crowds that gave the bars revenue that paid bar staff, managers, and venue owners, themselves with substantial liquor licencing fees to pay. A portion of the takings always went to charity.

We danced until the sun came up – as humans have done since time immemorial. These were our corroborees. We told stories through song and dance, brought communities together, shared love, expressed our politics. We opened spaces for people to make experimental art that could not have existed in any other context. We lived all those great pop songs you still hear on the radio. Saturday Night Fever, Last Night a DJ Save My Life, and our very own Easybeats’ Friday on My Mind. Sydney was alive. People came here from all over the world to participate in this wonderful culture, which celebrated life to its fullest, which valued the ground on which it was made; where genders, generations and races mixed more harmoniously than anywhere else. You would have seen the Mardi Gras parade on television. This was the coalface, where the raw gems got hacked out.

Over the years, licencing and other laws began to strangle this culture. The Entertainment Licence pushed venues already in stress to pay amounts that encouraged corruption. And bands could no longer play as they once had. Musicians out of work moved interstate and overseas. (Subsequently, NSW Government did a $400,000 enquiry into why the live music scene had died … )

 You are putting nails into our coffin. The youth of this city have been robbed; they will never have a fraction of the riches we had. Yet it isn’t just about youth. It is about economies, and culture. We didn’t stop just because we turned fifty. We are still dancing. But we are under siege. We have hardly anywhere to go now. We can’t employ musicians, artists, bar and door staff at even a fraction of the numbers we once did. The destruction is architectural as well. Our venues have closed. Entire buildings have been razed. Sydney, already gutted by Askin’s corrupt pro-development premiership of the 1960s-70s – has lost beautiful deco pubs, most significantly the Exchange Hotel, whose various bars and dancefloors were home to us for thirty years. We are afraid of the police.

We can’t pass our wisdom onto the next generation because this is not a material culture, it is one of ritual and constant reinvention. You have killed Kings Cross and Oxford Street, which lit up the Sydney night for decades, or a whole century in the case of the Cross. You have scorched our bora rings, held up a Not Welcome sign to visiting tribes, and punished us for nothing more than celebrating, storytelling, socialising and loving. Your actions with the lockout laws are stunning in their insensitivity and disrespect. That we pay your wages beggars belief in the way you treat us. What did the people do to deserve this?

I know better than you how violent heterosexual men can become on alcohol. Because these night-time economies I worked in, and wrote about, and still attempt to participate in, were in the frontline of that sort of behaviour. As a woman, I was frequently targeted; even more so as a queer. I saw bashings; many of my friends were bashed. But we would never have relinquished a fraction of our freedom to counteract this; to the contrary. The solution to the problem of violence is agency to the vulnerable, and education to the perpetrators. It was, and still is, punishment given when deserved, according to the law, which at the time was sufficient.

Who will write the songs your children will dance to? A fraction of the artist normally available to a city of this size, because so many have had their livelihoods taken from them. And they won’t be writing pæens to life in the southern Eden Sydney once was to the world, they won’t sing to freedom in the sun, to people who love and look out for each other. They will sing about a city that has become a mausoleum. A people who have been oppressed. A despot in thrall to an oligarch whose casino – the most violent venue in New South Wales – is the only one exempt from the lockout.

What are you going to do, Mike? And you, Troy? Are you even listening?

Fiona McGregor

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Filed under Affect, Drug dogs, Parties, Police, Policy and programs

The Sexuality of the Night: Violence and Transformation

Draft Contribution to Forthcoming Issue of Current Issues in Criminal Justice on the Sydney Lockout Laws

Abstract

The figure of the resident is privileged in discussions about nightlife governance. But the ‘right to the city’ extends to those who use the city, and popular opposition to the lockout concerns questions of access to public space on the part of those marginalized from these policy equations. Opponents of the Sydney lockout object to qualitative transformations in the cultural atmosphere of the city. This article argues that nightlife is of greater value than governmental measures about the prevention of violence capture. Of particular significance are the constitutive omissions of the category of ‘alcohol-related violence’. A better analysis would investigate the attraction of ‘liminal experience’ that prompts violence on the part of certain participants. It appears that certain gendered identities have not been well equipped to handle difference. At a time of reduced support for sex and gender diversity education, the state must get better at modelling capacities to live with difference.

Keywords: Night-time economies; alcohol-related violence; homophobic violence; licensing laws; urban governance; anti-social behaviour; urban safety; drug policing.

Introduction

On 21 February 2016 an estimated 15,000 people rallied peacefully in Sydney’s CBD under the banner, ‘Keep Sydney Open’. They were protesting Sydney’s lockout laws and their effect on the city’s nightlife and cultural atmosphere (McMah 2016). On 19 March, thousands danced and marched from the city to Star Casino in a bid to ‘Reclaim the Streets’, protesting the apparent hypocrisy of licensing laws that permit the Casino to remain exempt from restrictions that have shut down nightlife in other parts of the city (Roberts 2016). On 27 April, another protest – ‘Keep Newtown Weird and Safe’ – was held in response to a perceived increase in homophobic and transphobic abuse and violence in Sydney’s inner west. Organisers linked this mobilisation to the displacement effects of the lockout laws, which they claimed were dispersing hetero-masculine crowds, attitudes and violence from Kings Cross to the otherwise queer-friendly inner west (Ford 2016).

Taken together, these actions suggest that a significant number of Sydney-siders have sensed a qualitative transformation in the cultural atmosphere of the city since the introduction of the lockout laws. This perceived transformation is linked to the city’s orientation towards cultural and sexual diversity: hence the popular resonance of slogans such as ‘Keep Sydney Open’.

Nightlife, Difference and the Right to the City

The controversy surrounding the lockout laws is about more than the right to drink alcohol in the city at night, or the impact of licensing laws on jobs in the hospitality industry – though the latter is certainly significant (Cooke 2016). It is about the ‘right to the city’ claimed by youth and minoritized groups (Lefebvre 1968, Berlant & Warner 1998; Harvey 2008). Those opposing the lockout are crucially concerned with the cultural transformations associated with the state government’s clampdown on nightlife; the increasingly bullish policing of youth and social minorities in NSW; and the unprecedented increase in police powers that effectively reduce these groups’ access to public space.

Nightlife can be approached as a pedagogical space in which people learn to appreciate and take pleasure in difference (Young 1990, Jacobs 1961).  The value of this space is not captured by governmental measures concerning the prevention of violence. Indeed, cultural opposition to the lockout laws can be taken as an urgent plea on the part of those who use nightlife space for state authorities to diversify their outcome measures.

Nightlife has been an important zone of community-formation for those who have been excluded from family and the cultural mainstream, such as sexual and other minorities (Chauncey 1994, Race 2011). The gradual closure of long-standing queer venues in the inner city represents one casualty of the current approach to nightlife governance: the lockout has effectively eradicated a key space of socialization for these communities, who are often targets – but rarely perpetrators – of nighttime violence

Measures of Violence

The situation is exacerbated by the reductive nature of statistical measures used to diagnose nighttime violence. A key measure has been ‘alcohol-related violence’, but it is unclear whether this category adequately captures the qualitative nature or causes of the violence it enumerates. A significant body of qualitative work in the Drug and Alcohol field questions whether particular effects, such as violence, can be causally attributed to substance use per se (Rhodes 2002; Fraser & Moore 2011; Duff 2012; Fraser, Moore & Keane 2014; Race 2014). This literature demonstrates that the effects of alcohol and drug consumption are contingent on a range of other variables, such as context, cultures of use, affective conditions, and the socio-material arrangements in which consumption takes place, among other factors.

One of the most influential texts for regulatory approaches to night-time economies has been the work of Dick Hobbs and colleagues, which links nighttime violence to the proliferation of markets in alcohol associated with post-industrial urban entrepreneurialism (2000, 2003).   With its focus on the economic conditions within which night-time economies are promoted by urban planners, this research privileges market restrictions (licensing laws, business mix and density, policing) as key components of governmental measures to address nighttime disorder and violence. Hobbs et al. can be commended for their ethnographic attention to the socio-material arrangement of alcohol markets, its implication in violence, and the problems this can create for government. But certain elements of their analysis have been neglected in policy responses that are highly pertinent to current controversies in Sydney.

Liminal Experience

Hobbs et al. (2000, 2003) identify ‘liminality’ as a key appeal of night-time leisure precincts. This anthropological term refers to threshold experiences that involve some suspension of everyday social and sexual norms, and some experience of alterity. Liminal experiences are characterised by time-out from ordinary activities, a sense of play, and a desire for encounters with the novel and the strange. For this reason, they are sometimes characterized by a dynamic of attraction and repulsion; in certain circumstances they may prompt violence in certain subjects’ bid to reassert sovereign identity (Phelan 2001). Gail Mason and Levin Lo have used this category to understand the appeal of cultural events such as the Gay and Lesbian Mardi Gras to heterosexual spectators (2009). For certain participants, the liminality of nightlife may be experienced as a threat to sovereign identity that is at once pleasurable and destabilising. Violence emerges as a way of re-establishing the sovereignty of the perpetrator in the moment he commits it: a way of re-asserting domination.

Qualitatively, little is known about the acts of rage and desire that perpetrators of night-time violence experience. Certainly, night-time economies are likely associated with many forms of differently motivated violence. Alcohol is no-doubt an element in the forms of liminal experience that attract huge crowds to party in the nightlife precincts of inner Sydney. But if some of this violence can be attributed to the dynamics of liminal experience, as I have speculated, then its persistence suggests that certain sorts of identity have not been well equipped to handle difference.

Crude measures such as ‘alcohol-related violence’ are unlikely to gauge the qualitative dimensions of these processes adequately.   Nor do they capture the transformation in the affective climates of precincts such as Darlinghurst and Newtown that those who have rallied against the lockout laws complain of. It bears noting that a reduction in foot-traffic – or indeed, incidents of reported violence – in traditional centres of queer social life does not necessarily equate to safety for those most vulnerable to night time violence and abuse on the basis of sex, gender or racial difference (Jacobs 1969).

It is telling that the regulatory measures adopted by the NSW government and NSW police to address public disorder and ‘anti-social behaviour’ tend to take social difference the target, rather than beneficiary, of regulatory intervention. Authoritarian strategies such as the use of drug detection dogs position sexual and racial minorities as suspects rather than citizens deserving of state protection. Police stubbornly defend these strategies despite a wealth of evidence that their detections are inaccurate and disproportionately subject social minorities to invasive intervention (Lancaster, Hughes & Ritter 2016; Race 2014; NSW Ombudsman 2016). But as events such as the illegal policing of Mardi Gras 2013 indicate, police are often complicit in the intimidation, violence and abuse that has come to characterise Sydney’s night-time spaces (Mardi Gras, Gay and Lesbian Rights Lobby, Inner City Legal Centre, & ACON, 2013).

Conclusion

The lockout laws can be viewed as the latest episode in the increasing investment in regulatory responses to urban problems on the part of the NSW state. But there is a wealth of cultural creativity among Sydney’s youth and subcultural communities that the state could be drawing on to devise more creative, inclusive, and less authoritarian responses to the problems associated with night-time precincts. Australia’s internationally recognized response to HIV/AIDS demonstrates the value of including the denizens of nightlife in policy responses to social problems that concern them (Sendziuk 2003). It is a policy success story that stands in stark contrast to the state government’s top-down, police-heavy approach to nighttime violence. Certainly, authorities could do much better at modelling practices of handling difference in our urban centres. Authorities ignore the sexuality of the night – and its volatility – at their peril. Sydney’s reputation as an open, diverse, inclusive and dynamic city is endangered in the process.

 References
Berlant L and Warner M (1998) ‘Sex in Public’, Critical Inquiry 24 (2), 547-66
 Chauncey G (1994) Gay New York: Gender, Urban Culture and the Making of Gay New York 1890 – 1940, Basic Books
 Cooke R (2016) ‘The Boomer Supremacy’, The Monthly (online), March 2016 https://www.themonthly.com.au/issue/2016/march/1456750800/richard-cooke/boomer-supremacy>
 Duff C (2012) ‘Accounting for Context: Exploring the Role of Objects and Spaces in the Consumption of Alcohol and Other Drugs’, Social & Cultural Geography13(2), 145-159
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