The whiteness of David Bowie

During the 1980s, in particular, Bowie embodied particular notions of white masculinity that were on the one hand supportive of its idealized hegemony, and on the other subverted its normative power. I will take 1983 as the year when his whiteness is particularly visible and unstable. Bowie, as either the blonde dandy from Let’s Dance; the enigmatic character, Maj. Jack 'Strafer' Celliers from Merry Christmas Mr. Lawrence (1983); or the simmering vampire, John Blaylock from The Hunger (1983), crystlised the pure qualities of white masculinity while demonstrating its violent, queer and subversive nature. The chapter will suggest that Bowie has constantly operated along a white continuum, self-consciously embodying it, granting it carnal and ideological power, while drawing attention to its death-like instinct, its anti-reproductive progeny, its implicit queerness.I have chosen to read Bowie’s whiteness through this shortened window of temporality to enable me to draw into the analysis the historical and cultural issues of the period in question. 1983 registers as the year in which whiteness is acutely imagined to be under threat from the Asian tiger and transforming geo-political realities, its own languid anti-corporeality, the AIDS ‘epidemic’, and from the rise of racism in Europe and elsewhere - realities which require it to re-position its power relations with the sexual, and ethnic Other. The whiteness in/of David Bowie speaks particularly eloquently to this historical moment.

A 'fair cop': queer histories, affect and police image work in Pride March

This article investigates how proactive police image work contends with the politics of queer history by drawing from aspects of affect theory. It asks: How does police image work engage with or respond to ongoing histories of state violence and queer resistance? And why does this matter? To explore these questions, the article provides a case study of the Victorian Pride March in 2002. It analyzes textual representations of Chief Commissioner Christine Nixon’s participation in the parade to show how histories of homophobic police violence can be used strategically to fortify a positive police image among LGBT people and the wider community. Police image work carried out at Pride March becomes a means of legitimizing past policing practices with the aim of overcoming poor and antagonistic LGBT-police relations. The visibility of police at Pride March, this analysis suggests, contributes to the normalization of queerness as a site to be continually policed and regulated. Image work here also buttresses police reputation against the negative press associated with incidents of police brutality. This investigation contributes to the literature on police communications and impression management by demonstrating how police can mobilize negative aspects of their organizational history as an important part of police image work in the present.