Category Archives: travel

Could you just fuck off? Being a professional DJ when the DJ bros will NOT fucking leave you alone to do your job.

Hello!
As you may or may not know, I had some issues with a DJ bro pulling acts of Massive Sexism in my work place at Herrang this year. Despite our managers’ best intentions, the Herrang DJ team is still home to extremely bro bros. It’s also home to some of the very nicest reconstructed men in DJing, but let’s put them aside for a minute.

What about these DJ bros? Why don’t we just ditch them completely?
Mates, if it was up to me (and it has been in the past), I would. You hassle a sister? You’re out. That’s it. And all the time and energy we put into dealing with these jerks can be put into fostering new DJs and new DJ cultures.

Anyway, because I’m me, and I can’t stop thinking about things (ruminations are us), I started working on a way to develop a healthy DJing culture at a big event like Herrang that also draws on cultures from all over the world. Now, local DJing in many countries is not male dominated. Godddess bless the young man whose response to my story about being told ‘Women DJs can’t handle the pressure’ was honest befuddlement. He’d grown up lindy hopping in the Melbourne scene, where almost all the organisers are women, and most of the highest profile DJs are women. This generation of young people (ie the 20 somethings) is doing quite well. And we DJs in Australia have put a LOT of effort into getting rid of rapists and misogynists, and pushing women into DJing. As a result, we have some truly excellent (and definitely world standard) DJs.
But it seems the rest of the world needs to do some catching up. In my week as staff DJ in Herrang, I was the only woman on staff. Which SUCKS BUTTS. I love men, I really do, but I also really need to NOT WORK WITH JUST MEN. Because I need someone who can do the proper in-depth chitchat that non-bros do as a matter of fact. I don’t know want to know who broke up with who, I want to know the when, where, why, what, and how of it. I want anecdata. I want speculation. I want personal commentary. I want backstory. I also want at least one other person who’d shout “THAT’S BULLSHIT” when told women can’t handle the pressure of DJing.

Anyway, if Herrang has a safe space policy, and a general (though not terribly well articulated or publicised) anti-racist policy, how is it enacted at a departmental level within this sprawling organisation (that has about 300 people on staff each week)?
In the DJing team: not very well.
There are:
– no posters on the walls about it in the DJ office
– no paper flyers on it
– no social media campaigns or content
– one or two somewhat unexcellent pages in the DJ handbook
– a passing comment in one meeting.

No practical tips for:
– not raping or harassing or disrespecting people
– making reports
– trusting your own judgement if you think a bro just disrespected you
– dealing with unsafe situations
– making spaces safer
– intervening if you’re a bro watching a fellow bro go fully dodgy.

So of course, I decided to make some. Because fucking hell, mate, this is not brain surgery, and the rest of the world has been doing this for ten years now.

I also think that a good safety policy should involve:

1. an organisation-wide policy
That is publicly available (that’s usually a mission statement or set of values that says things like ‘We are trying to be anti-racist. And we don’t tolerate racism or sexual assault.”) This big picture policy guides the decisions individuals and managers make at lower levels or other places in the organisation.

2. A transparent reporting process
So you know what’s going to happen if you make a report. NB this is my example from Jazz BANG, and it’s out of date. We need to update it. But since we haven’t run an event since 2019… we are behind. This lets people know what will happen if they make a report. Most people make reports because they don’t want to be near the offender again, and want to know if he’ll be at the event. The other common reason is that they want to protect other people from him. I’ve never heard anyone say they want him punished. Except me. I FUCKING WANT THEM PUNISHED.

3. Visible safety staff, with photos in public place everywhere uniforms or badges, contact phone numbers, emails, and social media addresses, as well as physical offices!
this one is super important, as most people eye off the safety staff before making a decision to speak to them. They might even save reporting til well after the event (for safety’s sake), when they’re sure the safety people are actually safe.

4. A clear guide to what is considered sexual assault, racism, etc.
This one is especially important for letting everyone know what the event’s policies and ideologies are, and whether they take this seriously or are just cutting and pasting a random document. It’s very important for newer dancers who aren’t familiar with the way these issues play out in the dance world, and it’s essential as information for potential offenders, so they know what we count as harassment or assault or racism.

This info also plays a key role in dealing with offenders: if you kick them out of your event, you can say ‘you broke the code’, they can look at the code and see ‘oh, touching boobs is not permitted’, and they learn not to touch boobs if they want to go dancing. Well, that’s the goal. I don’t think it works that way. In fact, I know 99% of offenders know they shouldn’t touch boobs without permission, but they do anyway because they legit think they can do whatever they like because MAN.

I do know that it’s more likely to go: person has boobs touched by man, person sees the code on the website and thinks ‘fuck that; i was RIGHT to be shitty that he touched my boobs’; person speaks to safety person, saying ‘i saw on your website that boob touching in lindy hop is not ok!’, and the safety person says ‘you are CORRECT’; and then that unsafe creep gets kicked out.

5. A solid policy communication strategy.
This is basically a strategy for telling everyone – attendees, staff, randoms reading on the internet – all about your policy. It should also outline processes (eg how to make a report), identify safety staff, etc etc. It should be practical, and on-brand for your event (eg it should sound like you and the voice of your event, if you want it to sound authentic and real and trustworthy, not just cut and pasted and a token effort).
I like this stuff to be super simple, engaging and possibly funny, positive and empowering, normalising this stuff (eg the tone should be ‘of course we kick rapists out’ not ‘omg rapists?! how even? what ?!’), using photos and images rather than words. Fewer words. A catchy slogan or mnemonic is helpful.

It’s worth noting that the way you communicate your policy to staff is not always the same as the way you communicate to punters. eg staff will need to know exactly what to do if a banned man comes to the door, but customers don’t.
So you might divide your communication strategy between internal communication and external communication.

6. A solid process.
You have great ideas and policies, but what will you actually do? So, in my case, a guy spent a week pushing me about, challenging all my actions and thinking, making very sexist comments, and ultimately making me feel like shit. So I spoke to my managers. Who…. didn’t know what to do.

In this case, they clearly weren’t trained, and there was no internal documentation for practical responses to a report. I wasn’t sexually assaulted, so we didn’t need the cops or a doctor. All my managers and the rest of the team were men, and they hadn’t experienced or even noticed any of this shitty behaviour, so they didn’t really understand, or even know what I meant.
Because I’m experienced, and I am so fucking DONE WITH THIS SHIT. I refused to just leave it with my managers so they could quietly ignore it and move on. I spoke to the camp’s safety officer. Who also didn’t know how to deal with this. And now I am bloody well developing documentation, because if I’m dealing with this, imagine what it’s like for a new DJ who doesn’t speak English, in Herrang for the first time, dealing with a bossy white man (who isn’t a boss, but likes power) who keeps telling them what to play and that they aren’t actually capable of DJing under pressure?! Somebody needs to fucking well get this shit done.

I JUST WISH THE OTHER DJ MEN WOULD DO THIS WORK SO I COULD GET ON WITH BEING AWESOME.

Anyway.

7. Solid documentation.
Processes have to be recorded somehow. How do we handle reports? What’s the process for dealing with a rape versus a week of sexist harassment? What happens when the DJ managers change over at the end of the week, or resign from Herrang forever? Where are the reports stored? How do we measure the success of our response? And for me, specifically, how do I know this man won’t be on staff again next year the same week I am? Can I be sure he hasn’t read the report and correspondence? Will I be safe from his reactions? What if it happens again? At this point, neither Herrang nor I can answer any of these questions.

8. Retraining and retention or kick that fucker out?
You can see my position on this. I don’t think they’re worth the effort. These men know their behaviour is fucked up. But they keep doing it, because they think they’re fine. And retraining them takes SO MUCH WORK. So much time. And who’ll do that retraining? PLEASE don’t tell me it’s a woman (it’s always a woman). What are the metrics for gauging his ‘retrainedness’? What’s the time line? Where will he be trained? How do we deal with the effects of his mistakes (he will make mistakes)?

I would much rather spend all these resources on supporting those young women from China or Korea, that young Black man from the US, that clever and attractive middle aged feminist from Australia WHO JUST WANTS TO DJ FUCKING MUSIC AND NOT HAVE TO FEND OFF UNWANTED MANSPLAINING AND OTHER PEOPLE TOUCHING THE FUCKING SOUND DESK.

But that’s not the end!
What else do I look for in an event, to be sure its safety policy is both legit and 4real?

Other stuff:

  • A diverse staff cohort. eg if it’s all straight white bros, shit will not be safe there;
  • The organisation communicates about safety stuff. eg they have social media posts on the regular, talking about what they’re doing, introducing safety staff, marking milestones, etc;
  • Responding staff are trained in practical responses;
  • Staff making responses can access help and make reports quickly and easily;
  • Staff know how to make reports and are happy with the responses they get;
  • Workers feel safe enough to make reports;
  • Data is collected and used to improve policy and practice.

[all this stuff is from this pdf called ‘Good Practice Indicators Framework for Preventing and Responding to Workplace Sexual Harassment’ from Respect at Work.

So here we are. I’ve been at an event, had a moderately good time, dealing with the irritation and stress of making a report. And I’m going to make bloody sure no one else has to go through this again. I go through the DJ handbook (which the most excellent Yana developed in previous years), and I see some room for improvement, specifically in terms of safety stuff. So I write up some recommendations.

Here is a… probably third draft? It is just in what I call the ‘raw script’ form. From here it needs to be written and simplified, changed into pictures and photos, translated into at least Korean, Mandarin, and French, and then inserted into the relevant documents. To make this really work, it needs to be:

– In the official handbook in a ‘serious’ official form (that is still on-brand for Herrang);
– Made into a funny and accessible comic on a paper flyer to hang out in the DJ office, and in each of the four DJ booths;
– Made into a funny and accessible poster to be stuck up in the DJ office, in the DJ booths, in the staff lounge, the tech lounge, and music department offices (with extras for replacing them);
– Actually printed, then stuck up everywhere;
– Monitored for vandalism and graffiti (this tells what people are thinking about the issue and initiative) and replaced when it’s torn down or damaged.

All this, and it also needs:
– A script for managers to present it in meetings and revisit during the week;
– A script for DJs who are responding to harassment;
– A script for DJs who are intervening in bros’ behaviour.

And this is just one document that basically says ‘DON’T BE A FUCKING ARSEHOLE, ARSEHOLE.’
Anyhoo, here is the first draft.

Additions for DJ Handbook

Being a good colleague
DJs come from all around the world, and are all different ages, ethnicities, genders, sexual identities, and personalities. Hoorah! But this means we can occasionally miscommunicate or confuse each other. Here are some tips to make your work week extra smooth and fun.

Respect your colleagues. 

  • Assume every DJ is as capable as you are. That means you treat every DJ (even brand new ones!) as your equal. They will know things you don’t!
  • Don’t lecture or offer advice without first having enthusiastic permission (“Yes please!”) Had permission before? You need to ask every time.
  • They don’t need to tell you what song they’re playing now, what song they’re playing next, or what song they played last night. But if you’re a good colleague, they’d probably love to tell you!
  • Don’t like a DJ’s song choice? Keep it to yourself.
  • Love a DJ’s song choice? Tell them! Tell everyone!

Don’t twiddle someone else’s knobs.

  • Don’t adjust the mixing desk or sound gear unless you are DJing, or the current DJ has asked you to. Exceptions: the booth will catch on fire if you don’t.
  • Don’t tell another DJ what to play, or what to do with their set. They’re DJing, not you. Yes, even if they’re a brand new DJ. Step back.

Sex and the Herrang DJ.
Attracted to your colleague and want to take it further? Stop and think a minute.

  • They’re working, asleep, drunk, high, or injured: The answer is no. Nope. No way. Someone in this position cannot give you consent.
  • You’ve asked once, and they did not say “yes please!”: Back off. They’ll tell you if they’re interested.
  • You’ve had sex with someone once, and you’re keen for more: Use your words, ask respectfully, and if they don’t say “Yes please!” it’s time to back off. If they do say “Yes please”? Wonderful news – enjoy!
  • You want to ask someone about their sex life, relationships, body, sexual preferences: Not while we’re working, buddy. You might get to ask once, politely, and if they don’t want to answer, you stop! And don’t ask again.
  • No touchy! Don’t touch another DJ’s breasts, bottom, groin, genitals… without enthusiastic permission (“Yes please!”) And not while you’re working, please.
  • What about touching the rest of their body? If you have power in this situation (eg you’re a cisman, straight, white, an experienced DJ, on staff, older, and they’re not), you need to back off. If you’re equals and friends, maybe it’s ok? Remember that different cultures have different rules about touching other people, and always use your words if you’re not sure. It’s ok to say “Hey, I just patted your shoulder. Are you ok with that, or should I use my words next time?”
  • You’re a manager and you’re hot for a staff DJ or guest DJ: Think carefully about this. Let the person with less power (not you) make the first move. Check in with the Safety Boss Daphna to get clarification.
  • You’re a staff DJ or guest DJ and you’re hot for a DJ manager: Think carefully about this. Check in with the Safety Boss Daphna to get clarification. But if you make a move and they don’t say “Yes please!” say “No problem!” and back off.
  • Someone touched you/said something sexy/showed you sexy pictures or video/asked you about your sex life or sexuality, or did something that made you feel ‘urk! No! Unsafe!’: If you feel safe, say “Stop! I don’t like that”, holding up your hand like a stop sign. If you don’t feel safe to do that, leave the room straight away. Find or call Daphna and the Safety team straight away, even if you don’t think it’s important enough.
  • Someone said “Stop! I don’t like that!” to you, and held up their hand like a stop sign: Stop what you’re doing immediately! And you need to back up so that person can leave. Then you need to go to Daphne and the Safety Team and figure out what you did. If you’re not sure, they’ll help you figure it out! 

Be helpful.

  • Your colleague’s forgotten their record, the DJ phone, a bottle of water, a power cord, an adaptor: Offer to fetch it or find it. Team DJ: activate!
  • Finished your set (and your beers, dinner, and snacks)? Take all your junk with you. The only thing a DJ should leave in the booth is a bad smell.

———————————————–

You can see as you read through this that the beginnings of catch phrases are emerging: “Yes please!” is a good example. Here we’re trying to get people thinking about and practicing enthusiastic consent. So we practice saying ‘yes please!’ and ‘no thanks’ long before we get to the sex stuff. Hopefully. It’s important to practice these little scripts in non-stressful (safe) spaces, so when it comes to a stressful situation (300 dancers high on adrenaline staring up at you at 3am), you can say ‘no thanks’ and that DJ bro will FUCK OFF BACK TO THE DJ OFFICE and quit asking you what you’ll play next, and you can get on with being fucking awesome.

You should know that while I’m typing this up, I’m also assisting my male partner in making dinner (how could he not read the recipe? I don’t know. We will have a little fucking talk after this), booking a physio appointment for that goddamm sore hip, planning a balboa party, corresponding on this incident, asking a music friend to trust me with his CDs the way I trust him with mine, and trying to get it all done before I do my weights workout.

References:
This document ’Sexual harassment: practical resources and tools’ from Disrupting the System (a pdf https://championsofchangecoalition.org/wp-content/uploads/2021/05/Disrupting-the-System_Sexual-Harassment-Practical-resources-and-tools.pdf) gives a good overview of things to look for to see if your workplace is enabling sexual harassment and sexism. Much of it applies to assessing workplaces for racism as well.

This document ‘Everyday Respect: it starts with understanding’ from Champions of Change (a pdf https://championsofchangecoalition.org/wp-content/uploads/2022/08/Champions-of-Change-Consult-Australia-Everyday-Respect-Report.pdf) gives a good overview of understanding exclusionary behaviour in a workplace (including sexism and racism).

And the Champions of Change coalition also have this guide ‘Building confidence and trust in workplace responses to sexual harassment’ (pdf https://championsofchangecoalition.org/wp-content/uploads/2023/11/Building-confidence-and-trust-in-workplace-responses-to-sexual-harassment-1.pdf) which is very helpful.

This document ‘good practice indicators framework for preventing and responding to workplace sexual harassment’ from the Aus gov body Respect At Work is also useful (pdf https://www.respectatwork.gov.au/sites/default/files/2022-12/Attachment%20B%20-%20Good%20Practice%20Indicators%20Framework%20for%20Preventing%20and%20Responding%20to%20Workplace%20Sexual.pdf)

On being a woman in public

Dear friends, it was so nice to meet so many people in Herrang this past fortnight who said they read my blog, and that they liked it! It really made me feel good. It’s a little weird and kind of creepy to have so many people saying they’ve been reading things I generally think of as private thoughts, but it’s also reassuring to know you like it. And, after all, this isn’t private. It’s a blog.

It was especially nice to hear all this after thinking about that interview with Ryan for the Track podcast I did a few years ago. At one point Ryan was pressing me to explain why I wrote a public blog when I knew I’d be dealing with the hate mail I get. That little exchange really bothered me at the time (read: shat me to fucking tears), but I remember struggling to answer why.
Now, of course, I’d shout “WHY THE FUCK SHOULD I STOP WRITING JUST BECAUSE SOME ARSEHOLE MEN WILL SEND ME HATE MAIL? YOU THINK THAT IF I STOP BEING A WOMAN WRITER IN PUBLIC MEN WILL STOP HATING ME?!” With a follow up tirade about straight men tone policing women from the safety of their own international fucking platform.

After this week meeting a trans woman from China who read my blog, and then rereading her comments about how important it was to her to read something from a woman about gender in lindy hop, I am extra angry at Ryan for that rubbish. For her, it was enough to know at the time that she wasn’t the only one thinking about gender. For me, it’s hugely humbling to think that my rambling reached someone who could make use of it. After all, isn’t that why we all publish our writing – to make contact with other people?

One of my favourite ‘I read your blog!’ comments was from a bass player to muttered it in an aside, seconds before I introduced the band he was in in the late night jam. I do love using the mic, and it’s nice to have someone say “I like what you have to say!” seconds before I turn on the mic and say a whole bunch of silly things to a room full of people.

It’s also very lovely that you are all still reading it, even though I haven’t written anything new in… years. Yes, years. Friends, I can’t believe it’s been so long. But there was that pandemic. And I turned my attention to facebook, and to instagram. In fact, I moved into that area professionally. It turns out I love making ridiculous videos of myself speaking to camera as much as I like speaking into the mic.

Did you know I also send voice messages to my friends on messenger, and as texts? Of course I do. And my very favourite thing is to send recordings of me singing fruity versions of christmas carols and pop songs to my besties. If you ever need cheering up, remind me to send you a recording of me trying to remember the words to a Taylor Swift song in real time. It’s very quality. This point is pertinent because I am always tempted by the jams in Herrang. But not that tempted. I did a LOT of singing in school, from primary school to high school, from choral groups to musicals, and I can honestly say it traumatised me. All the joy I had in singing was squeezed out of me. I did go on to do other choral work, but eventually I gave up on that as well. My voice has also changed a lot since then (it’s definitely lower than that very high soprano of my adolescence), and much rougher. I also have a real problem finding a key and sticking to it :D That doesn’t stop me sending voice messages to my friends, but it does stop me getting on stage with a band and actually singing into a microphone. Ah well, perhaps I will give it a go for next year?

I can hear some of you saying that I should do it as a challenge, but friends, I’m not short of challenging and potentially humiliating things to do in public. It’s funny how I have no problem getting on a mic with zero prep to talk and make jokes, or getting up in in front of a crowd to dance. But ask me to sing? Yikes. That’s some scary shit. I still have nightmares about it.

Let me talk more about me for a second. I do love the mic. I don’t really know why. I do know that I try to speak slowly and clearly, and only get on the mic if I have a particular thing to say. I like to pause and wait, making eye contact with as many people as possible. Maybe mentioning them by name. I like to make jokes, but they’re more puns or plays on words. And I never try to prep and memorise a speech. That always goes badly (I have the worst memory ever), and always feels flat. When I get up there, I imagine that I’m standing with my friends (I am), about to tell them an excellent story (I hope). Something that I thought was funny, and which I hope makes them laugh. Or maybe something useful. Or perhaps a chance to say something reassuring that will make them feel a bit better in a trying moment. It could all go terribly wrong (it often does), but isn’t that also the point of it? The risk is what makes it so delicious.

I find that there are certain patterns and rhythms to public speaking that make it work. Repeating a theme, or returning to a topic about three times is one. You might not do that all in a single speech, but you’ll come back to that topic over the course of the night or the week. I don’t do it deliberately, but I’m the type of person who can’t leave a good topic alone. I can’t help going back to it, giving it another probe. Looking for another joke or something else interesting. I also really like the way we set up connections between topics when we read or talk or think or move. That intertexuality is how we make meaning in the world, after all.

There’s something about repeated rhythms and elements that humans like. We love patterns. I guess that’s why we love the AAAB structure so much. Or the ABAB structure. I know I really like to use AAAB, where the A is a familiar topic or line, and B is a twist on that same topic. Like the punch line, but not that obvious. But I definitely don’t plan this out in advance. I just start talking. But I do think that learning jazz routines has helped with this sympathy for rhythmic pattern. Learning the step-step-triple-step rhythm (aka long long long short-long rhythm), which we do first on one foot then the other has certainly set me up for enjoying a nice bit of repetition. But there’s also something lovely about returning to a theme. We start to expect it, anticipate it, enjoy it, and then feel a bit of explosive HA! when there’s a final twist on it.
And of course, this is why reading Shakespeare, or dancing Frankie Manning choreography is so satisfying. They’re both just so good at rhythms, and making combinations of sounds and movements that are very satisfying in the body and mouth. Think of that last rhyming couple at the end of a scene in Will’s plays. The stomp off as Frankie finalises a phrase. Predictable, invariable, but also wonderfully satisfying.

Herrang? Oh yes, I was there again this year. It’s been five years or so, since 2019 since I’d been. I went this year because the administrative board has changed, and it’s as though a sudden wild wind has blown in, knocking vases off tables, billowing curtains, and getting in people’s eyes. Some things are the same: the organised chaos, the propensity for long, slow jokes and gentle pranks, the way we all slowly melt into relaxed bodies and slow talking after a week on staff. But many things are different. No more sexist jokes in films, no more misogyny in the meetings, no more relegating Black culture to the past (and the power of white men).

This isn’t to suggest that all is well in the camp. Misogyny and white supremacy still exist. This is still a strange and manufactured moment in the Swedish countryside. But now there’s music other than jazz all over the place, and people feel free to talk about Issues. Sex. Sexuality. Gender. Race. Antiracism. Racism. Power. Exploitation. Fear. Excitement. Kindness. And there are so many young people. In the first week there one hundred and fifty children and teens. It is as though the changes have reminded everyone that jazz is fun, and improvisation means taking new risks as well as remembering the past. I enjoyed it a great deal. And we must remember that these changes were not easy, are ongoing, and are the result of some very hard work. There are people who’ve been struggling to make things better there for years, but have given up. And there are people who will come along and think this is how things have always been. So we will have to work very hard to keep that steady improvement happening.

Speaking of how things usually go, what music am I listening to? Well, my obsession with Talking Heads goes on and on and on. Especially that song Home. It makes me feel enormous feelings. I did DJ a lot this past week (week 2), on staff, and that was a lot of work. I hadn’t prepared properly, and I felt out of practice and clunky. But I also had one of the best compliments on my DJing ever. No not as good as that time the child of Russian friends shook my hand very seriously and thanked me for the music. But nearly. A woman I didn’t know took time to say thank you for DJing, and that she really liked my music because “It feels so playful.” This is quite the nicest thing anyone’s ever said to me about my music (except for that solemn handshake, of course).

I don’t understand why DJs insist that they are ‘educating’ or ‘pushing’ dancers. That doesn’t sound any fun at all. As I said on facebook this week, this conversation reminds me of something Ramona said once: when she’s in the studio she works very hard, practicing and training. But when she’s on the social floor, she just lets it all go and enjoys herself. In the moment. For me, this is the point of it all: to let it all go. To be present. For just a moment, there’s nothing but the way I feel, and that feeling is all major keys and swung timing, easy going home. For someone with a very busy brain, this is a real gift. A treasure. And I definitely don’t want to start messing with that feeling for other people. To paraphrase an Anthony Bourdain quote, I’m not there to be people’s task master or teacher. I’m in the pleasure business. And if we are talking about the Black heritage of lindy hop, we are, as Albert Murray says, stomping the miserableness and difficulties of everyday life in an ecstatic, cathartic moment of the body.

I suppose this is partly why Herrang felt so much better this year. In the past there had been this blind insistence (from the straight white patriarchal Board) that the camp only celebrate the good parts of Black dance. Not the real lives of Black people. Black dance mattered, but not Black lives. And now that it’s ok to talk about those everyday difficulties (and horrors and despairs), the sweet moments seem so much sweeter. A man respectfully address an older woman as ma’am. A young woman dancing with her friends, thoroughly enjoying being the center of attention. People’s bodies relaxing and melting into that perfect, sweaty happiness.

Things to take to Herrang

[this is a 2019 post updated for 2024]

Each year I forget something. So I’m going to write a list of stuff.
Most of my stuff also has to travel to places like Seoul and other cities before it gets to Herrang, so it has to be multi-use.
I’m usually in Herrang for two weeks, and I assume I’ll be staying somewhere where I’ll need to bring sheets and towels.

Before I leave on a long trip….

  • back up laptop files in triplicate, one online, one on hard drive, one in a third format
  • notify bank of countries and dates of travel
  • cash in Swedish kr (budget $AU50 a day + private accommodation rent + deposit for a bike)
  • cash in other local currencies for trip

Electrical stuff

  • laptop
  • power cord for laptop
  • power converter with usb plug point (Au -> Eu) x2 (one for accomodation, one for actually DJing)
  • sound card
  • headphones
  • headphone charging cable
  • headphone input cable
  • phone charger
  • phone charging cable
  • external battery and cable
  • kindle and charging cable

Clothes

  • raincoat
  • jeans or cold weather trousers
  • thick cardigan or jacket for cold weather
  • short legged pyjama bottoms
  • long legged pyjama bottoms/tracksuit pants/leggings
  • sulu
  • hot weather cotton dress
  • a nice dress or fancy outfit for slow drag night
  • fancy dress costume if there’s a themed party
  • clothes for workshops
  • clothes for parties
  • swimming costume
  • 12 x pairs socks
  • 12 x underwear
  • sports bras
  • fancy bras
  • belt(s)

Allow for a laundry that washes with hot water (and shrinks clothes) and tumble dries aggressively.

Linens and stuff

  • 2 x towels (so you can wash one while the other is in use, or use one for the beach and one for the shower
  • 2 x queen sized sheets (can be used as top and bottom sheets when one is in the wash)
  • 2x pillow cases

Random things

  • travel washing line
  • travel cup for coffees and teas
  • tea bags or special teas and drinks
  • special food or drinks (eg spices, instant noodles) that will make you feel at home in Sweden, land of no-flavours
  • presents for friends (from your home town, or your travels)

Shoes

  • thongs (or flip flops for non-Australians), for use in the communal showers, or in wet weather or just generally shlepping around
  • sandals for warm weather
  • 2 x sueded (or ‘fast’) dance shoes (these get used night and day, so just one pair will never dry out, and will get grooooss)
  • 1 x sticky (or ‘slow’) dance shoes
  • tap shoes

Medications and bathroom stuff

  • paracetemol
  • pain killer with codeine
  • anti-inflamatories
  • 2 x cold and flu tablets
  • prescription medications (enough for the entire trip + extra)
  • if you get a feeling you’ll be unlucky this trip, bring some anti-spew and anti-poo medications too
  • Bring copies of all your prescriptions, and letters from your doctor explaining what you take and why. Things like codeine are controlled drugs in many countries.
  • vitamin E cream
  • general moisturiser
  • 2 x deoderant
  • very strong mosquito spray
  • pads, tampons, moon cup (whichever you use)
  • toothpaste and toothbrush and dental floss
  • shampoo and conditioner
  • soap
  • nail file, nail scissors, tweezers, nail varnish, etc

Other things that people like to bring

  • make up and perfume
  • jewelry
  • alcohol from duty free
  • random costume things
  • musical instrument
  • promotional postcards for promoting events

Perdido Street Blues

More DJ prep.
It’s Brisbane Swing Thing: A Lindy Exchange 2024 on Friday, so I went looking for my small suitcase today. It’s lost two wheels. Good thing jazz still works.

When I do ‘pretend sets’, I like to imagine the room, who’s in it, and how everything feels. If the room is warmed up, and people have been dancing and feel the feels, I go with a big wall of high energy sound. Begin as you mean to go on, and all that. But if it’s the beginning of the night, and there are only a handful of people there (usually the same people who’ll be last to leave at 2am), I come in with something a little less intense. Something that says ‘hey, friend, would you like a nice warm up dance to get you in the mood?’

In today’s practice, I pretended it was about 12am, and I was following another DJ who’d pounded everyone into the ground with lots of crazy energy. So I wanted to come in with something that had an accessible tempo (no, you’re not too tired to dance this one), and something that featured an iconic musician.

Perdido Street Blues is one of my total favourite songs. Recorded in 1940, this version is recorded by Louis Armstrong and his Orchestra (feat. Sidney Bechet, Luis Russell, Wellman Braud, Zutty Singleton). Can’t get more iconic that that gang, really. It has strong nola vibes, but with good, swinging time that make you want to triple step.

The interesting musician in this group is Zutty Singleton on drums. He turns up in all sorts of groups. Lionel Hampton’s, Roy Eldridge’s, Una Mae Carlisle’s (❤ ❤), and Fats Waller’s. In fact, you can hear Fats call out to him at the beginning of Moppin’ And Bobbin’.
Anyway, Perdido Street Blues.

Blue Moon

DJing a big set at Brisbane Swing Thing: A Lindy Exchange 2024 next weekend, and Herräng Dance Camp next month, so I’m doing some DJ prep.
That mostly means listening to a bunch of music, adding details to songs I haven’t processed (omg this list never ever gets shorter), and doing ‘pretend’ sets where, I make sets in real time, to practicing combining songs in real time.

It’s been a while since I was DJing big events regularly (though I seem to have DJed a bunch of comps lately), so I’m making sure all my tech works properly (is everything updated?), my hardware works (headphones, I’m looking at you), and I have all the physical movements of switching between apps, looking at the crowd (Frank), and clicking and dragging.

It’s funny how these things never leave you. It’s even stranger to be back on the dance floor after literally years, and to feel jazz sequences, partner connection, and unconsciously hitting song structure happen. It never goes away, does it.

Anyhoo, always coming home to Billie Holiday. Truly, a magical musician, with such a short career. I love Blue Moon. It can be simple and wonderful or overdone and campy (I’m looking at you, Grease). This one is from 1952. The band includes Charlie Shavers, Flip Phillips, Oscar Peterson, Barney Kessel, Ray Brown, Alvin Stoller, and JC Heard. Yeah, it’s a pretty epic line up. I love Billie in every period, but the 50s stuff is especially good, as her timing and approach to phrasing and everything is just magic. Her voice is slowly degrading, but in this moment, everything is perfect.

It’s what I’d categorise as ‘groovy swinging lindy hop’ (ie it swings, but that beat is waaaaay down there in the pocket), but it’s just about perfect. It’s only about 115bpm, which is slow. Very 2002 era lindy hop, where you wear big pants and don’t really pick up your feet properly. I’d probably play this at about 6am, when people’s knees hurt, but they’re relaxed enough to really sink into this groove. It’s perfect.

The revivalist narrative will not die.

I keep coming across white organisations telling a ‘history’ of lindy hop that gives ‘the revival’ pride of place. ie white people claiming the modern lindy hop world as their own altruistic work.
So the term ‘revival’ is problematic because it implies that lindy hop was dead (replaced by rock and roll and/or bebop) before white people came along and brought it back to life. In this narrative, white people are heroes for saving ‘this wonderful dance’ and bringing it back to life.

Black people are totally absent from this story, except as venerable elders who teach eager white people. The white people are also credited with bringing these elders ‘out of retirement’ and back to the dance floor.
It’s all very problematic.

1. Lindy hop wasn’t dead. There’s a whole family of Black social partner dances that are thriving (Tena Morales’ event the International Swing Dance Championships showcases them every year, but white people don’t go to that and aren’t involved, so it must not exist).

2. Because it wasn’t dead, it didn’t need reviving. Declaring lindy hop ‘terra nullius’ (ie no people living in this territory) was white people giving themselves permission to take lindy hop. So the white people who ‘went looking’ for Black elders were pretty much just out on a bit of a colonial expedition. Just like Captain Cook expanding the British Empire, ‘discovering’ a huge big southern continent (‘Australia’).

3. Those Black elders, like Frankie Manning and Norma Miller and so on were still dancing, but in their families and homes and community spaces. Black spaces, to which white people did not have access. The story told most often about Frankie Manning, that his working in the post office was somehow less important or lower status than his dance career is classist and racist. The US Postal Service has a long history as an important employer and union locus for Black communities. It was good, solid work. Norma, of course, was running a dance business (managing troupes), Mama Lou Parkes was still dancing professionally… and so on.

4. The Black dancers who were involved in lindy hop in the 1980s tend to disappear in these revivalist narratives. Angela Andrew and other Black women have lots to say about the number of Black dancers out there lindy hopping in the 1980s, but they somehow disappear when white people tell the stories.

5. The white ‘ownership’ (appropriation) of Black lindy hop in that 1980s period is not only about selling places in classes and workshops (and thereby ‘creating community’ via economic relationships), but also about the exploitation of Black dancers working for white troupe managers (we won’t go into some of the more troubling accounts from that period).

RE the USPS:
I came across references to the importance of the postal service in Hidden Figures and the way it provided a pathway to the space program for Black women (SUCH a good book).

There’s also Philip F. Rubio’s book ‘There’s Always Work at the Post Office: African American Postal Workers and the Fight for Jobs, Justice, and Equality’ (which I haven’t read, but have read _about_.
This all makes the US govt’s cuts to the USPS a matter of institutional racism and white supremacy, rather than a push for smaller government generally (though I’d argue the two are the same thing).

The more I learn about the USPS as a site for unionising, civil rights activism and Black community empowerment, the more troubled I am by white histories of lindy hop that devalue the USPS in Manning’s life. If the civil rights elements of this workplace are ignored, then white ‘historians’ can continue with their bullshit about ‘Frankie never talked about racism in lindy hop, so it didn’t happen’. I’d say that Frankie, as with any other Black worker in America then and now, was very much aware of racism in the entertainment industry and in America generally, and was very careful about what he said to white people about it, and when.

As with the workers who continue to go back to places like Herrang, despite unsafe or inequitable working environments, when you don’t have the financial and personal safety of white privilege, you have fewer choices about the work you can do. And teaching middle class white kids to lindy hop might have suited Manning.

they are not shocked

They are no ‘outraged’ because they are not ‘shocked’. There is nothing shocking about racist violence perpetrated by police because it is normalised. It is seen as legitimate violence. It is this legitimate violence that was not only used to steal the country and assert white dominance but also maintain it through the oppression of Aboriginal people.
source

Bunya pines and murri knowledge

There are a bunch of bunya pines in Ashfield park, and a huge one up on Charlotte Street. The pine cones are epic huge. HUGE. And edible.

They only grow wild in Gubbi Gubbi, Waka Waka, and Yuggera country, places which have been called South East Queensland since invasion.
A story about Bunya Dreaming festival.

Queensland is a huge state, and the land it covers now is the country of a whole host of Aboriginal and Torres Strait Islander people.
The Bunya Pine grows in only a small part of this territory, in country cared for by three people (Gubbi Gubbi (aka Kabi Kabi), Waka Waka, and Yuggera.
I used the AIATSIS map and the The Australasian Virtual Herbarium map to figure this out.

There are other stands of Bunya Pines in other parts of Australia, but they are much smaller.
Bunya pines fit into the ‘bush tucker’ family of noms, and I know my local Sydney foody friends have been experimenting with using their nuts to make pesto.

This website is a useful tool for learning about agreements treaties and negotiated settlements in Australia.

Landrights in Western Australia and the Yindjibarndi people

Some very good news.
The High Court has upheld the Yindjibarndi people’s native title rights to their land.
Fortescue Metals Group applied to appeal these rights, and got a big ‘nope’ from the High Court.

The Yindjibarndi people live in what has been called Western Australia since invasion, but has been black country for 40 000 years. If you look it up on this great map, you’ll find them in blue on the far left of the continent, above the most eastern most bit.

You can read about the Yindjibarndi languages here, on this epic good map.

Languages are important, because you can trace who lived where by the languages they speak. A people will share some linguistic elements (and languages) with neighbouring people.
Language is culture, and the number of people speaking a language can tell you about that people’s history.
The Stolen Generations interrupted the transfer of language and culture between generations in many areas. Reconciliation Week is supposed to be (in part) about making amends for the Stolen Generation.
You cannot understand Australian history without reading the Bringing Them Home (1997) report.
Please note: this Report warrants a Content Warning for sexual violence, neglect, persons who are deceased, and so on. If you are an Australian, particularly if you are not a Aboriginal or Torres Strait islander Australian, you should try to read this Report.

What is Native Title?

Useful things to think about in regards to native title today:

  • water rights (who owns them, who can buy or sell them);
  • mining (who has access to land to mine);
  • continuous occupation of land (and proof thereof, including rock paintings and burial grounds).

    Note: native title is determined by the High Court. There are 7 High Court judges, 3 are women, none are Aboriginal or Torres Strait Islander. It’s worth noting that one of them, Justice Virginia Bell was a volunteer at the Redfern Legal Centre in the 70s, a centre that provided legal support for the 1978 Mardi Gras protesters (the first mardi gras march), for local Aboriginal community members, and other civil rights activists.
    Read more about the Redfern Legal Centre here.