February 21, 2009
A 17-year old girl died from a reported drug overdose at the Perth Big Day Out music festival earlier this month, after taking three ecstasy pills to avoid being caught by police at the gate. This was an unfortunate, but unsurprising occurrence.
The surprising element is how Big Day Out publicity have marginalised her behaviour by silencing their highly active online community.
A statement published on the BDO site on 2 February 2009 reads:
Perth drug overdose statement
Early yesterday afternoon a 17-year-old girl was taken to hospital after a suspected drug overdose at the Perth Big Day Out. Tragically she died overnight.
While details have yet to be confirmed, it has been reported that the teenager consumed a number of pills outside the event to avoid being detected by police sniffer dogs that were in operation, in this instance with fatal consequences.
Big Day Out does not condone the use of drugs at the event. The same laws of the outside world apply inside the event. Over 3 million people have attended the Big Day Out in its 17 year history and this is the first time an incident of this nature has occurred.
Sniffer dogs are commonly used outside large events like the Big Day Out and are part of the police’s harm minimisation responsibility.
The investigation is being followed up by the Police.
To respect the privacy of the family, no further comments will be made.
In contrary to that final statement, there’s also a dedication page on the BDO site, containing a message from the girl’s mother.
While the Big Day Out brand will remain untarnished by this event – it’s arguably stronger than ever – this sad occurrence is now inextricably linked to the event’s brand in the same manner as 16-year old Jessica Michalik‘s death during the 2001 tour.
Where Michalik’s death was the result of inadequate crowd control measures – a mistake rectified from the 2002 tour onwards – Thoms’ drug-related death requires a conversation between Big Day Out publicity and the hundreds of thousands who attend the tour across Australia and New Zealand each year.
Critically, the online community who follow the event have been silenced: the highly active Big Day Out forum was disabled immediately after the news of Thoms’ death broke, and it remains closed almost a month later.
Silence isn’t the best response here.
In this case, Big Day Out publicity invite criticism by refusing to allow a dialogue to occur.
The only publicised offshoot of Thoms’ death is a Western Australian police commissioner agreeing that “amnesty bins” should be installed outside music festivals, to allow punters to deposit their drugs without fear of prosecution. And to minimise the likelihood of festival attendees overdosing in a panic before entering the venue, as in Thoms’ case.
There’s nothing new about youth drug culture. But when an unfortunate event such as an overdose occurs, people start asking questions of the police, of the festival organisers, of each other.
In a time of crisis or confusion, people want to connect with each other. And while an isolated festival overdose isn’t the strongest catalyst for either impulse, it’s still an occasion better met with community encouragement than marginalisation; with noise instead of silence.
I understand that moderating public opinion becomes exponentially more difficult as a greater volume of people converge in one location. The need to consistently and accurately monitor the fine line between opinion and libel is likely at the forefront of the organisers’ swift decision to close the public forum.
Censorship aside, an alternative forum named Small Night In has sprung up following the closure. But many questions remain unanswered:
- Why silence an established, highly active online community following a drug-related death?
- Why not encourage a dialogue between festival attendees and festival organisers?
- Why not partner with an established organisation such as the Australian Drug Information Network (ADIN) and encourage participation – both online and in BDO-sponsored community forums held in capital cities – to gauge youth opinion on drug use, so as to minimise the chances of a repeat e?
- Most importantly: why not work harder to turn a negative event into a positive by reinforcing a sense of community?
Funnily, I was only provoked into thinking about the BDO organisers’ handling of the Thoms death after I received an email sent to the BDO user database advertising Lily Allen’s June Australian tour.
Promote a tour; marginalise the voices of Australian youths itching to converge and converse.
Poor form, Big Day Out.
January 19, 2009
That saxophone melody. I realise on the bus ride down the mountain that I could probably listen to it forever.
The band had the restraint not to play the song as on record, which frustrated me for several minutes. Here it is, in many ways a perfect song, and they have the nerve to modify it?
Which is, of course, an entirely irrational line of thinking, and it was soon flung from my mind.
And so five humans stood before me, carefully dabbing with brushes at the canvas of a masterful creation. That saxophone melody fills me with the most extraordinary feeling of elation, optimism, joy, compassion. Some truly primal emotions were awakened within me, and as I don’t fully understand them, I feel inadequate to even mention them.
“See you again in 2034,” smirked the guitarist, as they left the stage.
Damn him. Damn him and his band and their talent and whatever remained between them for 25 years. This was a musical experience on par with few others in my lifetime. I am thankful that I will get to experience a similar performance at least once more.
The above was written following the All Tomorrow’s Parties festival that took place at the Mount Buller Ski Resort, January 9-10 2009. The band in question is Ed Kuepper‘s Laughing Clowns, and the song is Eternally Yours.
My short review of the weekend:
Friday is for wide-eyed exploration of the festival’s unique locale: hitching a chairlift ride just metres away from the main stage’s massive sound system is exhilarating. We bear witness to Bill Callahan as Smog, accomplished blues artist James ‘Blood’ Ulmer at the Ampitheatre and five Kim Gordons masquerading as Beaches – a compliment, make no mistake. Not-so-secret mystery act Grinderman squint into the afternoon sunlight and pound out a powerful set of masculine depravity, which provides stark contrast to the restrained brilliance of improvisational maestros The Necks.
Dirty Three greet the night with an edited performance of Ocean Songs, while The Saints re-enact 2007’s Pig City performance with striking accuracy and largely without passion. Guitarist Ed Kuepper is much more comfortable fronting the reformed Laughing Clowns on Saturday, who turn in an enrapturing performance of their jazz-affected post-punk and conclude with the towering saxophone melody and festival highlight of Eternally Yours.
The aging faces of Silver Apples and Harmonia are visually anachronistic and aurally futuristic, yet this doesn’t stop the buoyant crowd from engaging with the pioneering electronic sounds of either act. This open-mindedness rates among the most attractive trait displayed by festival-goers; though, perhaps this willingness to trial uncharted sounds is more indicative of our trust in the curators’ judgement, which remains impeccable across two days.
The earth-shattering electronic distortion of British pair Fuck Buttons is sonically distant from the cute thrash-pop of Japanese girl duo Afrirampo, yet both acts win legions of new fans following outstanding performances. Greek lyre-playing wonder Psarandonis inspires mass-gypsy dancing as light fades on Saturday evening, before Spiritualized conquer the main stage with their powerful, gospel-inspired noise rock. Fourteen arms and fourteen legs comprise festival curators Nick Cave and the Bad Seeds, who see off a memorable weekend in their affecting, incomparably badass style.
While failing to reach venue capacity, All Tomorrow’s Parties organisers succeed in ensuring that the inaugural ATP Australian festival is smoothly-run and highly memorable. It’s heartening that this boutique event can cater for the more discerning music fan; the overwhelmingly positive consensus among attendees leads one to believe that the market for future events is only going to increase.
I reviewed the Brisbane Riverstage ATP show, too.
The Gold Coast Big Day Out yesterday was such a departure, or more accurately, a return to the reality of Australian music festivals. Unpleasant isn’t the right word, but it’s the first word that comes to mind.
Where ATP was about open spaces, hand-picked artists, musical exploration and community, BDO represents crowded spaces, populist musical decisions, overt nationalist pride and exceeding one’s limits, ostensibly in the name of a good time. Like some kind of devolutionary race to the bottom.
I’m not complaining. I chose to attend, and I enjoyed myself. It’s just interesting to compare the objectives for but two of the dozens of festivals that dot the Australian summer calendar.