Spreading stuff in families, workplaces, and other networks

Lock Down Smarter, Not Harder” (DANIEL REEDERS 24 AUGUST 2021) is a really great article by a very clever friend.

Of course, as soon as I read Daniel’s original tweets on this, my brain started thinking about the way dance steps/styles travel between communities. Dance steps are units of meaning, ways of communicating ideas, who we are, and what we value. In Australia our local lindy hop scenes are separated by huge distances (the two closest scenes are a 3 hour drive apart; most are ~1000km apart), so they tend to have distinct local flavours, even with The Internet. We can think of these as functioning the way a workplace does. For many of us, these are our workplaces. Our germs and dance steps circulate within that local community, which expands into our homes and family circles.

When we travel to meet each other and dance together at exchanges, we literally exchange a whole bunch of things. Dance moves, strategies for preventing sexual assault, hospitality, songs, germs. We make jokes about things like ‘exchange flu’ or ‘Herrang flu’, but this is precisely how covid works: we move out of our own bubbles (local networks) and interact with people from other networks. Boom, new dance steps, new musical trends, new germs.

Daniel’s article does some fantastic work explaining why each local network is different.

Estimating transmission rates depends on understanding the network landscape, and that’s exceptionally difficult to map in real time. You can’t do it using the abstract mathematical models that dominate our public debate.

You and I, lindy hoppers, could do a very good job of explaining the internal relationships of our dance communities. The number and types of classes and parties. The formal dance troops gathering regularly to practice. The casual ‘sessions’ where people get together to jam and practice. Regular live music gigs where we interact with nondancers, venue staff, and musicians. Friendships. Romances and hook ups. Employer/employee gigs. After-dancing snack spots. And so on.

When I was doing my doctoral research, a big chunk of it was ethnographic mapping of local and global dance scenes (pre fb and youtube). To get an accurate picture of how a scene worked, I had to do participant-observation, and then have community members engaged in the ‘mapping’ process. I went from very big survey samples, to a series of smaller focus groups and discussions. Because each human is different, and each local community reflects not only the society in which they function, but also the particular dynamics of each local scene.

If I went in with the assumption that every local scene relied on live bands for social dancing, I’d have no way of describing places like Seoul. If I went in with the assumption that every scene had only male-female dance partnerships, I’d miss… every single dance scene that actually exists 😃
The way lockdowns are enforced in Australia at the moment, there is the assumption that every local community works in the same way. This ‘way’ reflects a particular type of family and culture: white, middle class, suburban, patriarchal.

As Daniel says, the structures within a local network are even more complex than a dance scene. Particularly migrant, outer-suburban communities. People taking turns bringing elders food. Sharehouses where everyone works at least 2 jobs in an ‘essential’ industry. Crowded apartments where more than one family share a shower, kitchen, and common areas. Informal childcare arrangements. And so on.
In the white nuclear family model where four people live in one house in the relative isolation of a suburban house, the father/husband goes to an office job, and the mother/wife stays home to look after the kids. This fits very nicely with the lockdown model. You can order people to work from home, to order groceries online, and stay home together, getting some sun in the garden every day.

Extended family networks don’t look or act like this. So they need different models. Curfews, cops on corners, and other draconian lockdown features won’t (and can’t) stop these people meeting.
The truly interesting part of Daniel’s article is where they point out that a relatively limited number of germs circulate within a smaller network. Even if you’re caring for nanna, living in a crowded house, or going dancing every week, practicing with your buddy, you’re only interacting with a set number of predictable people.

The difficulty comes when you go to work. In workplaces we see a number of the contained networks overlap. People from different networks interact and share germs. And not just on a one-to-one basis, where one father-worker shares their germs with another father-worker and his nuclear family. Boom. Exponential sharing.

In a dance scene, this might be a dance class where not only does everyone learn the new dance step from their partner, but everyone learns how to dance with a million other people. ‘Learn how to dance with’ = become more open to sharing and learning ideas (both physical ideas and creative ideas). Then they get onto the social dance floor and this sharing of moves and movement goes superexponential.

If workplaces are where smaller networks interact, then workers need safer workplaces:
– Shorter shifts, so they are exposed for less time;
– Better pay, so they need work only one job, and at that job for fewer hours (ie 8 hours a day);
– Paid sick leave, and leave for testing (or on-site testing) so they can go get those covid tests;
– Job security, so they aren’t fired or lose income if they miss a shift.
But none of these things are present in casualised work, or workplaces that have been de-unionised.
As a sort of extension of my doctoral work, I’ve found that a top-down response to sexual assault and harassment in a dance community is highly ineffective. Simply having a code of conduct where organisers lay down the ‘don’t rape people!’ rule does not prevent sexual assault.

Again, if we want to control a negative factor, we need to get highly specific, we need to give individuals the power to make decisions about their own lives and actions. Rather than a top-down, blanket order to ‘stop touching each other!’ we need to give people the freedom to avoid contact in ways that preserve their local support networks (families, or peer groups), and even more usefully _use_ their local networks to spread information, resources, and support. The agility of the Sikhs delivering meals safely. The authority of an aunty putting teenagers to work. The collaboration of girlfriends stepping in to divert a creeper from a new dancer. And so on.

Capitalism, patriarchy, however you like to think about these bigger, authoritarian hierarchies, are bad for people’s health.

Doing antiracism in lindy hop

image source: https://www.nature.com/articles/d41586-020-01883-8

I’ve been chasing down as many of the antiracist groups in the lindy hop world as I can find. I want to make a list here, so people can have it as a resource. And by people I mean me, and by have, I mean share.

I’m thinking the groups that are specifically anti-racist in ideology and practice (rather than groups that have inclusive policies but other goals – eg Mobtown, Swingopedia, etc), and groups that focus on Black dance.

So far I’ve thought of:

  • Balboa In Color
    (FB group for balboa dancers of colour, focussing on balboa)
  • Black Lindy Hop Matters
    (based in Baltimore, USA, including Black board members, focussing on linking up Black jazz dance resources)
  • Black Lindy Hoppers Fund
    (based in the USA, Black board members, focussed on fund raising for Black artists and presenting dance workshops)
  • CVFC – Collective Voices for Change
    (international group, including Black board members, focussing on presenting anti-racism talks)
  • Guardian Baltimore
    (based in Baltimore, USA, Black board members, focussing on Black dance culture and history as a site for social change)
  • HellaBlackLindyHop
    (based in USA, Black board, focussing on Black dance orsm)
  • Integrated Rhythm podcast (based in USA, including Black board members, focussing on discussing race and Black experience in jazz dance.) NB no website/fb, but podcast link
  • MOVE TOGETHER: Dancing Towards Inclusivity & Global Social Justice
    (based in the USA, including Black board members focussing on hosting discussion forums and fund raising)
  • Obsidean Tea (based in the USA, Black staff, focussing on Black culture and dance today)

I’ve also been thinking about what we do with all this information. There’s lots to read and learn, but integrating it in our teaching practice can be harder. Especially if you’re not teaching at the moment.
I’ve been thinking that it’s good to combine one of the practical dance classes with one of the talk-and-think classes. eg the Harlem Renaissance link from Guardian Baltimore with a tap dance class from Josette Wiggans; Black Lindy Hoppers Fund with Collective Voices for Change. There are also some great Black DJs doing sets at various online parties (Global Online Social, Track Town Swing’s online party, etc etc), and they frequently speak a few words between songs. And of course, there’s the Blues In a Flat fundraiser/collab with Maputo Swing.

I’m feeling it’s essential to get up and do something, rather than just thinking or listening. Thinking and listening quietly is a very Anglo-European (settler) approach to learning. Getting up learning-through-being-and-doing is a cornerstone of Black dance culture. Most of the modern lindy hop world prioritises white ways of learning, where the ‘lesson’ is spelled out explicitly. It’s worth undoing that by taking a class or dancing to a set with Black artists, to undo that.

So my feel, generally, is that simply ‘adding Black history’ to your dance class isn’t anti-racist. It doesn’t change anything. To be really anti-racist, you need to make radical paradigm changes. And the most important one of those is for teachers to take classes and to focus on learning. Because the idea that a teacher is beyond learning is not only a BIG problem, it’s also really dull.

As I write this stuff, I’m super conscious of who is reading, and who I am, writing. I am a white woman. So I need to engage with that in my own thinking and practice. It’s a sad fact that most of the members of this group are not Black. So most of us have a lot of work to do; most of us need to be questioning everything we think we know about lindy hop and about teaching.

But what if you are a Black teacher or dancer? I know that there is an argument for decolonising your own thinking, as a Black artist. That might mean unlearning the ways of teaching you’ve learnt as a student in white-run classes. Which carries with it all sorts of risks. And I do not want to encourage Black dancers to doubt themselves!

I feel supremely uncomfortable writing those sorts of suggestions, as a white woman aware of my power and privilege. But perhaps Audre Lorde’s piece ‘The Master’s Tools Will Never Dismantle the Master’s House’ is the best piece to read for more on that. I’d like to end by saying to Black dancers: trust yourself, and trust your history and culture. You know much more about it than someone like me does. And I’m happy to clear a space so you can do what you need to do.

nb this is a useful unit drawing together some of these ideas in Black feminist thinking.

DJing on the internet! I LIKE it!

Yesterday I DJed a really nice zoom party/listening session for the San Antonio Swing Dance Society in Texas. I was in Sydney (still am), but perhaps one unexpected perks of a pandemic, is dance scenes’ refocussing on their local community. Quite a few local scenes have been running regular online meet-ups for the crews, keeping social and creative bonds alive.
In the days before COVID, it’s unlikely I’d have had a chance to DJ in San Antonio. I wouldn’t have travelled so far for a small gig that can’t defray costs, and I would have found it hard to make friends with the San Antonio peeps from Australia. But now – I can!

Anyhoo, the session was about 1.5 hours long, and is run weekly. It was so NICE to see a bunch of brand new people, and to make new friends! This sort of social interaction has just become so important for me during COVID. I’m used to traveling a lot during the year and meeting lots of new people. But it’s been a year of no traveling, and very little socialising. I’ve met far too few new people. But for this set, I only knew ONE of the participants!

I’ve done quite a few of these online/zoom sets now, and I’m really enjoying tailoring the session to the group and expectations of the organiser. Do they want solid party hits for dancing? Do they want a radio show style session with back announcing songs? Do they want history stuff? This session involves a fair bit of conversation in the chat, and there’s less dancing that pure social engagement. If everyone else is like me, they’re just soaking up all those faces on the screen.

Anyway, this one was a bit of talking (more than I usually do, but I checked with the organiser mid-set a few times to see if they wanted less talking, more music), but lots of good music, played the way I’d play a normal social dancing gig.

This is what I played:

(title year artist bpm album length)

Tippin’ Out 1946 Roy Eldridge and his Orchestra (Zutty Singleton) 112bpm Roy Eldridge: Little Jazz Giant 2:54

Hootie Boogie 1945 Jay McShann 148bpm Jay McShann: Complete Jazz Series 1944 – 1946 2:55

Tempo de Luxe 1940 Harry James and the Boogie Woogie Trio 130bpm New York World’s Fair, 1940 – The Blue Room, Hotel Lincoln 3:19

Ridin’ On The L&N 1946 Lionel Hampton and his Quartet (170) Lionel Hampton Story 3: Hey! Ba-Ba-Re-Bop 2:53

A Touch Of Boogie Woogie 1944 Teddy Wilson Sextet (Emmett Berry, Benny Morton, Edmond Hall, Slam Stewart, Sidney Catlett) 196bpm Teddy Wilson: The Complete Associated Transcriptions 1944 4:49

The Count 1941 Benny Goodman and his Orchestra (Jimmy Maxwell, Billy Butterfield, Al Davis, Cootie Williams, Lou McGarity, Cutty Cutshall, Clint Neagley, Skip Martin, Vido Musso, George Berg, Chuck Gentry, Mel Powell, Tom Morgan, John Simmons, Sidney Catlett) 169bpm Classic Columbia and Okeh Benny Goodman Orchestra Sessions (1939-1958) (Mosaic disc 04) 3:15

Take It 1941 Benny Goodman and his Orchestra (Jimmy Maxwell, Irving Goodman, Alec Fila, Cootie Williams, Lou McGarity, Cutty Cutshall, Gus Bivona, Les Robinson, Georgie Auld, Pete Mondello, Bob Snyder, Johnny Guarnieri, Mike Bryan, Artie Bernstein, Dave Tough) 174bpm Classic Columbia and Okeh Benny Goodman Orchestra Sessions (1939-1958) (Mosaic disc 03) 3:13

If I Could Be With You 1948 Kay Starr featuring Novelty Orchestra (Joe Venuti, Les Paul) 124bpm Best Of The Standard Transcriptions [Disc 1] 1:53

No Regrets 1936 Billie Holiday and her Orchestra (Bunny Berigan, Artie Shaw, Cozy Cole) 130bpm Lady Day: The Complete Billie Holiday On Columbia (1933-1944) (Disc 01) 2:38

When Day Is Done 1935 Mildred Bailey and her Swing Band (Chu Berry) 218bpm Classic Chu Berry Columbia And Victor Sessions (Mosaic disc 01) 3:32

Rose Room 1944 Esquire Metropolitan Opera house jam session (Barney Bigard, Art Tatum, Al Casey, Oscar Pettiford, Sidney Catlett) 196bpm Sid Catlett: Chronological Classics 1944-1946 5:56

Well All Right! 1939 Ella Fitzgerald and her Famous Orchestra 183bpm Ella Fitzgerald In The Groove 2:31

Flying Home 1940 Charlie Barnet and his Orchestra 185bpm Charlie Barnet : Skyliner 2:57

Redskin Rhumba 1940 Charlie Barnet and his Orchestra 186bpm Charlie Barnet : Skyliner 2:41

Algiers Stomp 1936 Mills Blue Rhythm Band (Lucky Millinder, Henry ‘Red’ Allen, JC Higgenbotham, George Washington, Edgar Hayes) 219bpm Mills Blue Rhythm Band: Harlem Heat 3:08

Apollo Jump 1943 Lucky Millinder and his Orchestra 143bpm Apollo Jump 3:27

Harlem Air-Shaft (Rumpus in Richmond) 1940 Duke Ellington and his Orchestra 191bpm The Duke Ellington Centennial Edition: Complete RCA Victor Recordings (disc 08) 2:59

Barney Goin’ Easy (I’m Checkin Out Goom-Bye) (WM 1036-A) 1939 Barney Bigard and his Jazzopators (Rex Stewart, Juan Tizol, Harry Carney, Duke Ellington, Billy Taylor, Sonny Greer, Fred Guy) 151bpm Duke Ellington: The Complete 1936-1940 Variety, Vocalion and Okeh Small Group Sessions (Mosaic disc 06) 2:59

Harmony In Harlem 1937 Duke Ellington and his Orchestra 151bpm The Complete 1932-1940 Brunswick, Columbia And Master Recordings Of Duke Ellington And His Famous Orchestra (Mosaic disc 08) 3:08

Hello Little Boy 1950 Duke Ellington and his Orchestra 180bpm Duke Ellington and his Orchestra: 1949-1950 2:50

Hi Ho Trailus Boot Whip 1946 Roy Eldridge and his Orchestra (Zutty Singleton) 224bpm After You’ve Gone 2:46

All She Wants To Do Is Rock Wynonie Harris 145bpm Greatest Hits 2:34

Froggy Bottom 1957 Jay McShann and his Band (Jimmy Witherspoon) 155bpm Goin’ To Kansas City Blues (Mosaic) 2:37

C Jam Blues 1994 Statesmen Of Jazz 161bpm Statesman Of Jazz 6:32

Every Day I Have The Blues 1959 Count Basie and his Orchestra (Joe Williams) 116bpm Breakfast Dance And Barbecue 3:49

Hallelujah, I Love Her So 1958 Count basie and his Atomic Band 133bpm Complete Live at the Crescendo 1958 (disc 2) 3:03

What did you do?

I began with an acknowledgement of the Gadigal people of the Eora nation, traditional custodians of this land (where I was speaking from), and a shout out to the Black history of jazz music and dance, to the elders of that community.

Why did you play that?

Then I played one of my favourite songs, Hootie’s Boogie.
It has good energy, but isn’t too up in your face crazy loud/fast. Also it’s LOLsome.

Then Tempo deLuxe, which is another of my faves. It’s a song I’ve started a jillion sets with in the past, because it builds from a mellow intro to an upenergy, fun finale with shouting and shit. It’s a live recording from the 1939/1940 New York World Fair. This is a pretty fun connection for dancers, as the Savoy Ballroom had an exhibition at the fair. And there’s footage of it:

Yep, that’s women dancing with women, and men dancing with women. Always has been, always will be.

There are HEAPS of photos of people dancing lindy hop (and of lindy hoppers and jazz musicians), including this one:

You might recognise that jacket logo from the repro Chloe Hong from Seoul did a few years ago for Frankie100. When you think about the fact Whitey’s Lindy Hoppers were promoting the Savoy, it makes complete sense that they were basically walking billboards.

Apparently working the World Fair gig was HARD WORK, with long hours, few breaks, hot sun, and bullshit working conditions. It gave us footage like the Hot Mikado, but it also pushed the Black dancers far too hard. Check out Frankie Manning’s bio for stories about his experiences, and the Alan Lomax bio, ‘Man Who Recorded the World’ for stories about how Lomax’s original ideas for showcasing Black music were curtailed by bullshit.

There’s a heap of stuff from the World Fair in the NY Public Library, so you should defs hunt that down!

Anyhow, I played that song second because it’s by Harry James’ Boogie Woogie Trio (though I think it’s more than three musicians :D) and I dig the boogie vibe.

Then it was Ridin On The L & N, which is one of my most faves. It also has a boogie piano feeling, this time feeling like a train (the L&N) riding down the track.

Then we had radio transcript, ‘A Touch Of Boogie Woogie’ by Teddy Wilson and his Sextet. I had intended to play the 1941 Wilson Orchestra version, because it’s such a surprise to hear that band play something so chunky and exciting and pulse-poundingly good. But the sextet version is equally good, BUT it features some interesting musicians: Sidney Catlett and Slam Stewart. We all know Teddy Wilson for his work with Billie Holiday, and then Benny Goodman’s small groups, but Catlett is a drummer who played in Goodman’s band too. But only for a few months.


Apparently Catlett was so charismatic, so exciting, and so popular, that Goodman fired him in a fit of jealousy. I don’t know if it’s true. But luckily we have some of his recordings with Goodman’s band, including the live album ‘Roll Em!’ from 1941. I don’t have that album, but there is photographic evidence of the gig:


(from the Gottlieb Collection in the Library of Congress)

And of course, Slam Stewart we know from Slim and Slam, and thinking of him in Mr Tighty-Whitey Rules Mc Rulesington Benny Goodman’s band is just weird. But there are recordings of him with the Goodman orchestra, and they are FANTASTIC.


(Stewart and Goodman waiting for something in 1945 (source)).

Anyway, I played ‘The Count’ by Goodman’s orchestra, featuring Catlett, so we could feel just how exciting the band was with this drummer. Incidentally, this song is a nice follow-up to the previous one, as it carries that big energy, lindy hopping fun with it. NB it’s just as great for balboa :D

I followed up with another Goodman Orchestra recording from the same year, this time with Dave Tough (our beloved Dave) on drums. Still amazing, but also different. Two songs by one artist in a row? Don’t mind if I do!

A Note: Catlett and Stewart are Black. Goodman was putting mixed race bands on stage for years, and copped flack for it.

After that, it was a complete change of pace, with Kay Starr singing ‘If I could be With You’. This is another transcript, and the band features Joe Venuti, which is weird, because I associate him with gypsy jazz. But by this point, he was major famous. But it’s also wonderful. This photo of them in the ABC Studios was taken ~1945, while the song was recorded in 1948.

circa 1945: EXCLUSIVE American jazz violinist Joe Venuti (1903-1978) and American vocalist Kay Starr smile and sing while playing a violin together. They stand by an ABC microphone. (Photo by Metronome/Getty Images)

Onwards!
Then we had some Billie Holiday, because I wanted to hear some more nice female vocals, with a bit of charm. 1936 put us back into the period I wanted to explore next.

Then ‘Day Is Done’ by Mildred Bailey and her band, featuring her husband Red Norvo.

This song is a nice companion to the previous two female vocals, and she and Holiday match well. But I wanted to play these two artists because they were important in the story of Goodman’s small groups. The story is that Bailey used to host great parties at her house, and at one of these in 1935, Goodman and Teddy Wilson met, and started jamming together. Later that year the Goodman Trio was born.

Bailey herself is super important as this sort of social lubricant, but also as a musician.

Then I played ‘Rose Room’ by an Esquire band, because it’s a live recording, and it features Catlett talking to the audience directly. And it has an epic drum solo at the end.

Then I just went with that exciting big band sound, and another live recording, this time Ella Fitzgerald with Webb’s band in 1939. I wanted to just play some good hard party music. YEAH!
Same for the next song, really: straight up party music. I ADORE this version of Flying Home.
And again – just another uptempo party song.

Then a slight change in tone, with Algier’s Stomp by the Mills Blue Rhythm Band. I do recommend reading up about them. This song features Lucky Millinder.

Which was my segue to playing Apollo Jump, classic lindy hop party song.

Then I switched it up a smear, to play Harlem Air Shaft, by Ellington of course. I like this song for the story about it: that Ellington composed it to reflect the sounds that carry up the internal shaft in an Harlem apartment building.

Now I’m reading about airshafts in Harlem, it’s FASCINATING! Here’s a little article about them.

I dropped a word here about the extreme crowding in Harlem in that 1920s-40s period, where thousands of Black Americans travelled north in the Great Migration, fleeing lynching and violence, and looking for jobs. This crowding led to extremely high rents, rent parties, and competition for housing. It also led to the burst of creativity and political activism that was the Harlem Renaissance.

[I didn’t say it, but in my mind, I was thinking about how these close conditions, everyday stuff like Mildred Bailey’s parties, etc all led to people living and working and writing and thinking and playing music in very close quarters. Harlem really was an important place in that moment.]

Then on to something else by Ellington, but one of his smaller groups, playing something calmer. Here, I wanted to chill us out a bit, emotionally, but stick to Ellington and that period and sound.


And another Ellington, Harmony In Harlem. Because Harlem. Musically, it’s a bit chill, but it grows in energy. It’s a nice dancing song at first, because it’s quite simple and calm, but it gets louder and more exciting. Break over. Party time.

ANOTHER Ellington, but this is one of my super faves. It has a chill start, but a snappy tempo, and what makes it really interesting and fun, is the combination of characteristically weird Ellington harmonies with a solid, chunking beat, all over an old school blues structure and blues vocals. It’s about as Ellington as Ellington can get. You can enjoy it for the stompy rhythm and salty lyrics, for the clever harmonies and almost-dissonance, or all of it combined.

Then I just went hardcore with ‘High-ho trailus bootwhip’, which is loud and fun and exciting. In my head, I was thinking ‘let’s strengthen that blues structure and element, and go further towards jump blues. But I didn’t say that. I was just thinking it.

That song is quite quick, but it feels EXCITING. So I pulled a standard DJing stunt, and built energy with that, then followed up with a solid party hit at an accessible tempo, with shouting and clapping. Something that would fill the floor after the faster song. Wynonie Harris is straight up party music.

Then I just felt like it was a party.
So Witherspoon.
Then I realised I hadn’t cued up a song :D So I fumbled, and pulled out the Elder Statesmen of Jazz, playing ‘C Jam Blues’.

Then back on party track with ‘Everyday I have the Blues’ from Breakfast Dance and Barbecue, the first Basie album I bought. It has a great story: held at about 3am, a party held by the American Disc Jockey’s Association, and everyone was drunk and tired. Then Basie’s band hit the stage, and it was PARTY TIME. Worth buying the CD for the liner notes!

And then the final song, a party version of Basie’s Atomic band playing ‘Hallelujah I love her so’. This is from a huge, multi-CD set, ‘Complete Live at the Crescendo 1958’, which you can listen to on youtube. Or buy for the liner notes.

WHAT a fun set. Lots of nice people talking and having fun. I love it.

test early test often

Sydney: test early, test often.
Check NSW Health on fb for testing locations.
The 2 pillars of our orsm covid response are contact tracing and testing.
Apparently we aren’t testing as much as we were when we were shitscared a couple of weeks ago.
If we don’t test, the contact Tracys can’t do as orsm a job tracking us.
Got a symptom? Get a test.
Tests are free. Private clinics may require a GP’s referral.

What are the covid symptoms?

Say it with me:
fever (37.5 ° or higher)
cough
sore throat
shortness of breath (difficulty breathing)
runny nose
loss of taste
loss of smell
Other reported symptoms include:
fatigue
acute blocked nosed (congestion)
muscle pain
joint pain
headache
diarrhoea
nausea/vomiting
loss of appetite

source

Quick, what’s a casual, non-confrontational way to tell your fave barista doods to put their masks over the mouth and nose, not just chin?

Is COVID testing free?

Is COVID testing free in NSW?
YES.
Even if you’re not an Australian resident?
YES.

Testing at private clinics
– Some private clinics need a referral from a GP to get the test, and the GP may charge or bulk bill for that appointment.
– There are some dodgy private clinics with misleading fb ads talking about charges. If you’re confused, go to a govt testing centre to be sure.
Nb Victoria beat us in testing numbers today. We can totally win tomorrow.

source

a new cluster in Sydney

It’s interesting to read that Sydney is still the main point of arrival for overseas visitors. So more people come through this city as they return to this country. And the chance of them having covid is increasing as numbers increase overseas.

The latest cases come from transport workers, who caught covid at work, driving o/s people.
Clusters then spread out from there, mostly into families and work networks.

I get quite upset when i read comments about the ‘thoughtless selfishness’ of infected people in the community. We know workplaces and extended family gatherings are key points for transmission. Being angry and nasty with people doing risky, low status work, who then spend time with (and often caring for) their families is… well, it’s poor form. Particularly from people who have the choice to work from home, self-isolate, and so on.

I don’t feel right about being nasty to infected people, who have, after all, contracted covid, and know they have infected their friends and family.

This type of angry fear leads to the authoritarian actions of police, which result in violence towards people of colour, the homeless, the disempowered. And it’s worth remembering that for wealthy people fines are just an inexpensive ticket. For the poor and disenfranchised fines mean incarceration, children and dependants left homeless, and time in the dangers of prison.

If you feel super angry about rising case numbers in NSW, that’s ok. When we’re frightened, we often get angry. If you’ve just come out of lockdown, you’re probably still dealing with the distress and tension of that experience. And being angry at people who seem to be triggering that happening again makes sense.

But you can’t change other people’s behaviour. You can only change how you respond to it. Be kinder to yourself. Stop looking at case numbers. Call a friend and tell them you love them. Go watch dogs play in the park. Have a swim. You’re doing a good job, and you deserve a break.
If you can, please donate to Sisters Inside.

Happy covid new year

If you are feeling a bit worried about the covid cases, Sydney, NSW Health on fb has the most up to date info. Our new local case numbers are low, and all are from known sources. It’s ok. ❤️👍🏼

Tip: don’t monitor it in real time. It will stress you out.
Tip2: melbourne people, maybe check the attached image.
Tip3: everyone: blaming people or getting angry will just make you feel awful. Just wash your hands, send love to friends, and do what _you_ can.
Tip4: Sydney, you rock at tight social timetables. Use that super power to avoid crowds and keep track of your movements.
Tip5: Sydney, no one can accessorise like you bitches. Mask up, peace fabulously out.

NSW Health fb updates:
They are super quickly tracing where infected people have been, and when, posting new lists of places every few hours. Following it in real time will freak you out.
The nsw health posts generally have 3 lists of places:
1. Urgent ones. If you were at these places at these times, get a test and isolate yourself immediately.
2. Less urgent, but still SRS. If you were at these places at these times, get a test and isolate immediately.
3. ‘Casual contact’. If you were at these places at these times, watch for symptoms and test if you have them.
So your jobs are as per usual:
1. Watch for symptoms. These vary as we learn more about covid, so refresh your knowledge regularly.
2. If you have symptoms, get a test.
Testing is the contact tracing super power. Testing is FREE and needs no appointment. Test early, test often.
3. Stay 1.5m away from people. Wash your hands PROPERLY. Wear a mask indoors. Your basic covid fighting super powers. You are SO good at this already.

Extra stuff:

  • check your diary and the lists of venues. Know where you were at.
  • avoid crowded indoor getherings in public places. Bars, supermarkets, public transport.
  • if you can’t (going to work, at work, essential shopping), do no.3 jobs above.

I’m thinking of this as ‘be alert, not alarmed.’
Not full-on self isolation, but no indoor restaurants, crowded shops, etc. i’m being strict about hand washing and not touching my face. I wear a mask indoors, mostly so i can help ‘normalise’ mask wearing, and help the people panicking feel safer.

And because the tracing is including my neighbourhood now, i’m also keeping track of the places/shops i visit, so i can help with tracing if nec.
Keep being excellent, frens ❤️