Debate | Issue 4 | Drugs

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EDITOR

Sam Clark

DESIGNER

Charlie Ratahi McFarland

ASSOCIATE EDITOR

Vivien Whyte

FEATURE WRITER

Liam Hansen

LIFESTYLE & CULTURE WRITER

Thomas Giblin

CHIEF NEWS REPORTER

Nic George

NEWS WRITER

Vanessa Elley

SOCIAL MEDIA MANAGER

Frances Revita

CONTRIBUTORS

Haydn Nixon, Lucy Higgins, Brodie Hunter, Izzy Drew, Bailey Dixon

COVER ART

Haydn Nixon

ADVERTISING

Jesse Jones jesse.jones@autsa.org.nz

PRINTER

Nicholson Print Solutions

DISCLAIMER

Material contained in this publication does not necessarily represent the views or opinions of AUTSA, its advertisers, contributors, Nicholson Print Solutions or its subsidiaries.

This publication is entitled to the full protection given by the Copyright Act 1994 (“the Act”) to the holders of the copyright, being AUT STUDENT ASSOCIATION (“AUTSA”). Reproduction, storage or display of any part of this publication by any process, electronic or otherwise (except for the educational purposes specified in the Act) without express permission is a break of the copyright of the publisher and will be prosecuted accordingly. Inquiries seeking permission to reproduce should be addressed to AUTSA.

Debate is a member of the Aotearoa Student Press Association (ASPA). Follow

From the Editor

Low trust in news cause for concern during election year

AUT needs to improve its approach to cultural competency training, says student association

08 Music is better with drugs (is better with music): Making music while under the influence

12

Curiosity didn’t kill the cat, but it sure got stoned

14

Artwork by Bailey Dixon

From big rigs to dispies – since when was vaping cool?

Why the ‘War on Drugs’ Failed —An Inside Story.

Artwork by Izzy Drew

What's On

Gig Guide

War on Drugs: Aotearoa Edition Puzzles

Well, well, well - you’ve made it to the drugs issue. Don’t worry, we won’t nark on you. Inside you’ll find some exciting tales of drugs in Aotearoa. And just like sex, (our last theme) sometimes drugs are great, but sometimes - you could take it or leave it.

Unfortunately, it sounds like bath salts are back in Auckland. They’re often bagged up as MDMA, but as we all know, they’re far from it. Granted, they feel similar at first, but users are quickly hit with some very gnarly paranoia and insomnia. We know how scary and dangerous they can be from the ‘summer of salts’ a couple of years ago, when they flooded into Aotearoa after MDMA supply dried up. There’s plenty of horror stories from New Year’s festivals around the countrypeople getting carried out of the mosh in a stretcher, taken to hospital or worse. The last thing we want is for any of this to happen again. It’s also a reminder of how important it is to get your drugs tested. Kits are cheap, there are free testing services monthly at The Hemp Store, and Know Your Stuff has stalls at many festivals. It’s so much better to find out you’ve got duds from a testing kit than staying up all night, grinding your teeth. With the election looming, we need to vote for parties that want to improve drug policy in Aotearoa. There’s a lot of work to be done in drug education, harm reduction and rehabilitation.

Lately I’ve been listening to Stuff’s podcast, ‘The Commune’ which is about Centrepoint, Albany’s infamous cult from the 1980s. Centrepoint manufactured acid and ecstasy on-site - not only to sell, but to control and influence its members. Sounds like a seriously bad trip to me. The podcast is an impressive piece of investigative journalism, transporting you into the social and political atmosphere of the time. I ended up listening to ten hour-long episodes in three days, totally consumed by the ins and outs of the cult, its members and their leader, a self-proclaimed guru named Bert. I was really enjoying the show until I had a dream that I had joined them, which I took as a sign to dial it back.

Lastly, I’d like to mention the case of the missing Debate stands. In WG, we often find them facing backwards, behind a wall, or even behind rubbish bins. It’s a sly way of censoring the student voice, which is problematic considering it’s our job to hold AUT to account. This is not the first time this has happened. In 2018, AUT removed all Debate stands on their open day, which they claimed was for health and safety reasons. Get real! That particular edition had a story that was critical of the AUT’s mental health services - you connect the dots. That same year, an estimated 2,000 copies of Otago’s student magazine, Critic Te Ārohi were destroyed after the Proctor found the cover (a woman menstruating) offensive. It’s a slippery slope when the university starts to choose what students can and can’t say. If you notice that AUT has messed with one of our stands, please feel free to move it back - this is your magazine and your campus.

Low trust in news cause for concern during election year

By Vanessa Elley (she/her) News Writer

Trust in news is declining and news avoidance is high, according to a new report by AUT’s research centre for Journalism, Media and Democracy (JMAD).

The annual Trust in News in Aotearoa New Zealand report shows an ongoing downwards trend in general trust in news, which fell from 45 percent to 42 percent in 2023.

News avoidance in Aotearoa was also found to be at a higher level than in comparable markets internationally, with around 69 percent of New Zealanders avoiding news often, sometimes or occasionally.

Co-author of the report, Dr Merja Myllylahti, says that during an election year low trust in news can create an opportunity for misinformation to spread as people turn to alternative sites or social media for their news.

“The news system again depends on where the people get their information about the elections. So if they don’t consume the news, where do they get that? Is it their friends, is it their family, is it the alternative sites? Is it Facebook or YouTube, do they actually know what’s verified information and what’s not?”

Myllylahti says that fringe and alternative sources can weaponise low trust in the news media, framing themselves as the real “places of truth” in order to discredit journalists.

“They other the news media, and say that they're not telling the truth and that they're corrupt and they’re woke and things like that.”

She says this rhetoric is heightening political polarisation and allowing sources of misinformation to flourish.

“In [a] polarised society of course then there is a danger that people who feel that they are not heard, and their voices are not heard, can easily slip to those places, alternative sites which don’t operate with the verified facts and data and information.”

In order to rebuild trust in the news media, Myllylahti says that younger voices are needed in newsrooms, and the process of journalism should be more transparent.

“Younger people have a different kind of experience and different kind of views and bring those perspectives… you live in a different kind of world, so I think it has to be young people in the newsrooms, and the newsrooms have to be open for that.”

The Trust in News in Aotearoa New Zealand report can be found on JMAD’s website, www.jmadresearch.com

AUT needs to improve its approach to cultural competency training, says student association

By Nic George (he/him) Chief Reporter

Inconsistencies with AUT's approach to cultural competency training for staff were discussed after a student spoke out at a Student Representative Council meeting on March 17th.

An international student shared her experience with lecturers at AUT mispronouncing her name, even after being corrected multiple times, as well as asking her to change her display name in online classes to convey the English spelling.

She said these comments were offensive as she views her name as a key part of her identity, and being asked to change it for someone else's benefit was demeaning.

Council members discussed the underlying causes that could lead to these situations and collectively agreed there should be an expansion of cultural competency training for AUT staff.

Tom Vasey, Student Advocacy Team Leader for AUTSA, spoke to Debate about how the university could improve on this front, calling for more consistency.

"If the training is to be given, then I would expect that it is given in a standardised format to anyone that might be expected to engage with a student."

AUT says they have multiple programs for staff that address inclusivity and cultural sensitivity.

“All staff new to teaching are required to participate in AUT Essentials run by AltLAB. This covers the fundamentals of teaching which includes respect for the learner and inclusivity

“The Ki Uta Ki Tai - Student Success Plan includes an element of cultural capability in its broadest sense and has a proposed first initiative of the development of a professional programme to support the enhancement of staff cultural capabilities.”

The university is also introducing a new project this year that should be implemented heading into next year.

“There is a project starting this year to develop principles of good teaching at AUT – inclusivity and respect are fundamental principles of teaching.”

Vasey emphasised that this does not appear to be a widespread issue for students when looking at the complaints records.

"Of the complaints we deal with in AUTSA Advocacy, I would chance that this is one of the less common complaints."

However, he highlights how impactful this experience can be for students.

"Where such cases do occur, I would say that the effect is substantial […] It is reductive and leaves students feeling like less of a person."

Vasey also points out that these reports are not a "definitive measure" of the student experience as there could be a sense of hesitancy around raising these types of complaints.

He lists a variety of reasons students may hold back from lodging a complaint against staff.

"Fear of reprisal, worry that they’re just overreacting, the workload giving them other things to worry about more imminently, or even just the feeling that AUT staff may not change their behaviour."

Vasey also cites a lack of awareness of AUTSA's services as a potential reason for students not raising these concerns.

"One of the most common things that we hear is that students didn’t know about our service, and I’m eager to change that.

"I would encourage those students to drop in and have a chat with us, just to get a second opinion, and we can go over the ways forward that may be available to you.

"We can escalate complaints and engage in discussions on your behalf if you need us to, keeping you from any potential backlash and giving you the peace of mind to continue with your studies."

If you are a student who has experienced culturally insensitive comments from AUT staff or other students, please email advocacy@autsa.org.nz or scan the below QR code:

Music is better with drugs (is better with music): Making music while under the influence

By Liam Hansen (they/he) FEATURE WRITER

This article contains references to drug use

Musicians do a lot of drugs - or at least, they talk about it the most. A musician and a sales assistant may take the same amount each week, but only one of them has an audience to discuss it with (that is, unless you have a teenage sales clerk bragging about how they smoked ‘three whole weeds’ last week while you’re trying to buy an air fryer). But it’s often difficult to separate the two, as so many genres, like stoner rock, acid rock, and psychedelia, are linked to substance-use, from everything down to their names. While not all purveyors of these styles are necessarily druggies, the origins are impossible to ignore. This is especially true if you're a square like myself, who had half their drug education take place through song lyrics I didn’t understand yet. Having a GeorgeFM Mum and hearing "I'm in love with the coco'' on repeat really does something to ya.

But does taking drugs actually have any impact on the sound, style, or quality of your music? Sure, there’s links between certain substances and subgenres, but I doubt a swig of rum will cause a group of regular dudes to start singing sea shanties at the top of their lungs… Okay, maybe it would, bad example. But it’s an aspect of music that often feels exaggerated for the sake of vibes and impact, creating atmospheres through lyrics that aim to replicate the feeling of being high, to varying results. Do these styles of music come directly from drug use? If psychedelic musicians went sober, would their style of music change? I wouldn’t know, because Harold the Giraffe’s anti-drug trauma continues to permeate my mind, and the music I make is very, very bad. I had a chat with a few local musicians (who are actually good at making music) to discover if all that’s holding me back from musical greatness is a hit of DMT.

*All names have been changed, except for Sam Denne because they were keen for their music to be plugged. Listen to Baecorps' Joy on Tick if you haven’t!

99% of musicians would probably rather be asked for their Luxon, Seymour, and Peters Fuck-Marry-Kill ranking than explain where their ideas come from. Creative expression can be drawn from so many different areas of your life, relationships, and worldview that it's impossible to define through any medium beyond music. That, or you can have a few drinks and immediately assume you’ve become the god of sonic creativity. “It's easier to write a shit song and think it's good when you're wasted,” Sam Denne told Debate. The producer/songwriter behind Skody Banks and Baecorp has been through the ring of it, seeing the highs and lows of drug abuse at the peak of their angsty punk songwriting era. While they don't think the years spent making music on the piss were particularly healthy, it doesn't seem like they were necessarily unproductive.

“I played in a goon-themed (and oriented) ‘crust-punk’ band for a while and I think it was definitely some of the more rudimentary music I've ever put together. Written drunk, designed to be played drunk and amped up on gear to punters on any combination of cheap booze and bad drugs that I'd liken to Marie Antoinette's head - chopped and removed from their original structure,” they said.

Sam’s thoughts on their creativity are backed up by science. Dr Alice Flaherty, a Harvard researcher focusing on writer's block, writes “When your alcohol level first starts to rise, the first thing that it inhibits is some of the inhibitory systems.” So, alcohol in particular doesn't really help your creativity at all, but it sure makes you think it

Illustrations by Lucy Higgins (she/they)

does. Flaherty later adds “It reminds me a little of William Stafford, who said that all you have to do to get rid of writer's block is just lower your standards.”

With other drugs, the results can be slightly more hit-ormiss. Dan, another young Tāmaki musician, has found using drugs has changed their approach to songwriting both for better and for worse. “Some drugs can be really good circuit breakers if I'm stuck in a particular creative rut. Psychedelics like LSD obviously are quite conducive to creativity, Ritalin/ADHD medication is also good?

I think it’s the focus and warped euphoria - but weed is inconsistent and I find it lowers your own creative standards. It’s great for looping chords for an hour, not great for other stuff.”

The general consensus is that uppers - drugs that serve as a stimulant to raise energy levels, tend to raise one’s levels of experimentation in methods for songwriting. The one true variable can be seen in cannabis - Tom, another local drummer and musician, has found that weed allows him to find “Way more audial exploration and

creative freedom. It unlocks new parts of my brain and allows me to easily leave my comfort zone.” Dan held a similar sentiment, noting a lowering of personal musical standards but also a rise in drone-based soundscapes. Sam very much does not agree. “Weed is for hippies. IMHO no one in the global north has written a good song stoned since the year 2000, except for Reuben Winter.” Listen to Milk - III, if you haven't. You’ll understand why Reuben was Sam's exception. RIP.

The varying level of creativity brought about in the songwriting and recording process through drug use is incredibly random when it comes to gigs. If you’ve so much as stepped foot into the Tāmaki underground, you’ve probably seen a handful of bands borderline fall apart on stage in their menagerie of wastedness. Sam told me about when they used to play in a more technical band. “I can think back to being on stage, stressing like 'I really, really hope I can play this next part', looking down at the lights of my pedal board from a million miles away, like city lights from an aeroplane window.” Dan agreed, preferring to play relatively sober: “The most might be a

drink at the show, or some weed at some point of the day, or something like Ritalin. I find it too stressful to manage being actually intoxicated before going on stage, so I avoid that for the most part.”

Tom’s experiences also vary between drugs - he talked about how LSD has led to him spending an hour tuning a guitar and being unable to get it to sound right, and how caffeine leads to him playing songs so fast that thirty minute sets are split in half. But he also touched on the impacts drugs can have on his mentality while playing. The antidepressant sertraline can lead to a performance he’s been told is still good, but which he dissociates through. “There’s no joy in it for me and I barely even remember the actual performance. I also tend to blank on my parts more often, and am forced to improvise to get back on track.” His experiences are sometimes similar while on weed. “There are two options: 1, a terrible performance because I’m so anxious and in my own head; 2, an amazing flowing performance because I’m really feeling the music and rhythm.”

Tom has also found while taking Rubifen, a slow release Ritalin he uses to manage ADHD, he finds he can follow the dopamine and fully immerse himself in performances. But a similar positive experience can be found whilst drunk - which is a bit confusing and surprising to him. “Of course there’s a limit for a lot of people where they get too drunk and can’t play well, but I’ve never hit that limit and that scares me. I could be so drunk I can barely stand and am one sip away from vomiting, and then get on stage and play a better gig than I’ve ever played before,” he says.

Reflecting on their goon-themed punk band, Sam noted how their performances and composure faltered over time (despite never really being great in the first place). “One friend of mine said that 'we were killing ourselves in public and it is no longer fun to watch'.” His band's dependence on alcohol led to a moment in which, while recording music at a uni, a lecturer told them they couldn’t drink the stolen booze they had in the studio. “We produced paper bags and slotted our bottles into them. He just gave us this resigned look and carried on instructing the class.”

Tom also noted various moments where both prescription and recreational drug usage had an impact on his musical output, as well as his relationship with bandmates. Both sertraline and tramadol affected his motivation to show up for practices and made him incredibly apathetic about music, whereas Rubifen helped him get into the zone

while recording. “It improved my relationships with band members due to being able to consistently bring my all, AND due to being far more practical and neurotypicalpresenting. Great for recording because you can consistently give the same high quality performance and you’re full of ideas for improving the recording/production of the rest of the parts/song.” The more recreational usage of weed and alcohol had similar impacts on Tom’s relationships with other bandmates - both could generally improve productivity in recording sessions considering the lowering of excessively high standards, and lead to improving relationships with other bandmates - at times. But both could also lead to excessive usage, where bandmates could end up excessively wasted or high all the time to the point of doing problematic things on stage.

At the end of the day, the impacts drugs have on musical skill, productivity and enjoyment vary greatly between substances. Tom found the prescription use of Rubifen incredibly beneficial - but someone could take the very same drug and see their music fall apart. It’s important to know what you’re taking and your own limits when mixing performance and drugs - and it may be safer to avoid them unless you know for sure they’ll have a positive impact. Sam was open about the change in output that came with going sober, seeing their prioritisation of mental and physical health lead to less quantity, but more quality. “I'm writing songs which are much more expressive, adventurous and that I personally enjoy,” they tell me. “Music has again taken a therapeutic role in my life, full of exploration and connection with others. I kinda attribute this to the emotional growth that has come with ditching booze and drugs. I don't create as much as I used to, but I'm glad I still do.” The mention of their experiences isn’t to dissuade anyone from experimenting with drugs, or seeing how different substances affect their sound. But it’s worth checking your gear, doing your research via sites like thelevel.org.nz, and not being an annoying wanker about how many or little drugs you take.

By Brodie Hunter (he/him) CONTRIBUTING WRITER

CURIOSITY DIDN'T KILL THE CAT, BUT IT SURE GOT STONED

Picture this: you’re in year 8, lining up outside the Life Education van waiting to hear Harold the Giraffe talk to you about a strange-smelling plant and why you should stay away from it. Afterwards, you promise yourself and Harold that for as long as you live, you will never go near it. Fast forward a few years to your first party and someone hands you a joint. Curious, you take a hit while knowing deep down just how disappointed Harold would be. This is the case for roughly 80% of teens in New Zealand - who by the time they turn 21 will have smoked weed, according to data from the University of Otago. I am one of them.

Although people around me were experimenting with drugs, I was still a bit apprehensive and didn’t try them until I was a bit older. I grew up in a police family - my mum was in the courts and my dad is a police officer to this day. He’s actually the head of road policing for Tauranga, which made me very popular at school, not. So, it's safe to say that drugs were a hard no in my house. I also attended a heavily Christian school *makes the cross sign on my chest*, where they seemed to really hammer home the evils of marijuana, the devil's lettuce (I always thought this made it sound so much cooler). My upbringing gave me a very antidrug stance; to the point where I was afraid if I took more than two Panadol at once I was going to start chomping them down on the side of the street, with police sirens blaring in the distance. But as I got older, my developing

adolescent brain became curious - surely it must be good if people keep using it? My favourite films Harold and Kumar, and Cheech and Chong probably didn’t help either. With my curiosity growing larger and the heart-breaking failure of the referendum 48% - 51% - thus went my only chance to try it legally without my dad arresting me. So I decided to give it a try.

Let's set the scene: I'm with some friends, chilling out on a hill behind one of their houses. Suddenly, one of them whips out a joint and a few puff puff passes later, it comes my way. With everyone waiting to see what I do - I put it to my lips and give it a good drag. Pretty soon the world became less overwhelming, everything seemed to move in slow motion and I had the unstoppable urge to smile. “Now,” I think, “I'm officially breaking the law and it’s not actually that scary.”

The joint goes around a few times, and each time I take a hit. Don't worry, I definitely didn't double over in a coughing fit.

That afternoon, I was dropped home by my friend who was our sober driver, (very responsible!) only to find a bunch of police officers in my house. In my smokey haze I forgot that my dad was hosting an afternoon tea for the staff in his section, and I had just walked in on them, stoned out of my mind. For the next hour, I had to socialise with these people - focusing on every word to make sure I sounded normal. I sprayed almost a whole can of Lynx on me to hide the smell and squinted the whole time, to not give away my red eyes. I felt like I was walking through a minefield, where any wrong step was going

to land me in some really deep shit. I'm not sure if I managed to play it off, or if they just didn’t say anything because I’m the boss’ son.

Although I'm still not a big smoker unless someone offers me a hit (I'm a broke freeloading student, after all), my attitude to it has definitely changed. When it comes to weed, I have come to the conclusion that it’s pretty harmless, and seeing as everyones going to come across it at some point - we should make sure people are using it safely.

Anyway, that’s my little story about my experience with weed. I'm looking forward to my parents reading it and giving me a lecture.

War on Drugs: Aotearoa Edition

Associate Editor, Vivien Whyte (she/her), discusses the Sale and Supply of Alcohol (Harm Minimisation) Amendment Bill after it fails its first reading.

Amongst news dominated by fervent questions about the cost of living crisis and many head-smacks caused by Wayne Brown, you may have completely missed the Sale and Supply of Alcohol (Harm Minimisation) Amendment Bill being drawn from the parliamentary biscuit tin and its subsequent progress towards (maybe) becoming part of the law.

Dubbed the “Booze Bill” by Radio NZ, the Bill seems to be grappling with much more than alcohol harm. It has come head to head with alcohol’s place in “Kiwi culture”. Alcohol is, by far, Aotearoa’s favourite drug. Built on a foundation of the ‘six o’clock swill’ - a binge drinking frenzy caused by restrictive licensing laws from the 1910s to 1960sexcessive and binge drinking culture in Aotearoa has been normalised to the point of glorification as a quintessential part of our identity.

On paper, the Bill aims to reduce alcohol harm by improving community input into local alcohol policies and ending alcohol sponsorship of broadcast sports. And it’s this last point in particular that seems to have people stumped. Sports and beer. Friday nights at the pub. Getting pissed with your mates. They’re all Kiwi-as. Why would anyone want to attack that? Especially whilst our businesses are struggling in the wake of the COVID-19 pandemic.

Sports and beer. Friday nights at the pub. Getting pissed with your mates. They’re all Kiwias. Why would anyone want to attack that?

News headlines like “Banning Booze in Sports” and opening lines like “The fight for people’s right to be able to buy alcohol…” clearly suggest that Kiwis should be steeling themselves for an epic battle to defend our cherished cultural norms. It’s my opinion that this has been an unfortunate case of correlation without causation. Misassociation and misinterpretation.

Easily accessible and highly addictive, alcohol is not only our favourite drug. But our most harmful. In 2020/21, one in every five New Zealand adults were identified as having a hazardous

drinking pattern that places them and/or others at risk of harm*. The cost of this harm is overwhelming - affecting lives, families and community well-being. Not only that but the harm caused by alcohol is experienced disproportionately by Māori, Pasifika and low-income communities. This is a systemic flaw in our laws that, without change, will continue to create harmful cycles for generations to come.

Unlike funding decisions and tax cuts, it’s not immediately obvious how our laws around alcohol perpetuate this harm and its disproportionate impact on certain communities. Over the last 30 years increases in the number of places selling alcohol (particularly in low-income areas), the variety of products available, reductions in pricing and increasingly pervasive alcohol marketing strategies have all sealed our fate. Put together, this availability and exposure to alcohol - especially from a young age - has permeated the subconscious of our nation and left us blindsided when it comes to addressing the key drivers of alcohol harm.

Whilst advertising other drugs, including vaping and smoking, is prohibited, our laws provide very little protection against the most harmful of them all. That’s what the Bill is about. Reducing the harm of alcohol on individuals, communities and our nation as a whole. That’s also why it’s sad to see how much the Bill is stumbling towards the finishing line. Having already failed its first reading and both National and ACT likely to vote against, things are looking rather bleak.

*source: Ministry for Health’s New Zealand Health Survey.

Debate spoke to Chlöe Swarbrick about her new alcohol sales reform bill, her long-time passion and advocacy, and where we go from here.

What has fueled your passion and advocacy for drug reform and, in particular, the Bill?

For an abridged history of why Chl ö e came to care so deeply about drug law reform, check out her speech on the Misuse of Drugs Act Amendment Bill in 2019 - where she fought for decriminalisation and managed to win ‘police discretion ’

Alcohol is a drug; the most harmful and widely used one we have in this country. I believe in sensible regulation of all substances to reduce harm; currently, we have regulation of alcohol that enables far too much corporate power and no regulation of illicit substances in the black market. In both of those extreme ends of the spectrum is where you see the maximisation of harm.

How will the Bill help us empower our communities?

The Bill would have removed the 'special appeals' process in the Sale and Supply of Alcohol Act 2012, which currently bakes in disproportionate power and unique, novel rights for alcohol corporations to prevent community rules on Local Alcohol Policies - in practice, that's stuff like how many off-licences there can be and where.

This situation has meant that Auckland Council has spent seven years and over a million dollars in ratepayer funds trying to implement the will of the community; they're currently still awaiting a Supreme Court decision. Christchurch City Council spent the same amount but ended up giving up.

Special appeals are not the same as judicial appeals - which is important to note because the National Party have been seeking to conflate the two in patronising the intelligence of New Zealanders. Judicial appeals still exist when you take away this extra, bonus right for alcohol companies. A right that doesn't exist for any other form of social harm - gambling, tobacco, or otherwise.

What important information or facts about alcohol harm do you believe are frequently overlooked, particularly in the context of the normalisation of alcohol in "Kiwi culture"?

The alcohol lobby has been so successful in their work these past few decades that any question of better alcohol regulation is almost immediately hysterically and illogically conflated with criminal prohibition. I'm the last politician you'll ever find advocating for criminal prohibition of drugs. The Greens are the only consistent, persistent voice for drug law that pulls back power from criminal and commercial organisations in order to get evidence-based harm reduction.

For more, check out Chl ö e ’s First Reading Speech, which outlines a number of inconvenient truths about the substance.

What role will drug reform policies play in the upcoming election, and why should students be paying attention to them?

It can play as much or a little a role in influencing the election as we, the people, would like to organise to make happen. I would highly recommend that people who are interested in this kaupapa band together to coordinate campaigns, demand responses from politicians and hold our Parliament and Government to account on policies that all MPs at least pretend they want - but often don't have the spine to see-through - drug harm reduction.

I'd recommend reaching out to the Students for Sensible Drug Policy in Otago if anyone's interested in starting a local chapter!

From big rigs to dispies –since when was vaping cool?

By Sam Clark (he/him) EDITOR

Vaping used to be all about huge clouds, blowing o’s and devices that looked like walkie-talkies. Now, they’re sleek, affordable and maybe even cool. What’s changed?

Professor of Public Health at the University of Auckland, Chris Bullen, recalls the first e-cigarettes arriving from China – but he never expected them to take off the way they have.

He says, “Over a decade, vapes have become a lot more sophisticated, reliable and deliver more nicotine more quickly – like cigarettes.” He explains that the look and feel of these products are hugely appealing, paired with enjoyable flavours.

The ‘pull’ on these devices is also designed to be tighter, imitating a cigarette. They even look like them - with modern products favouring long, slender designs, over the boxy, flashy ones of the past.

Bullen explains how these new devices are small and discreet, and have a small cloud with interesting flavours. “The product marketing and normalisation of vaping as a lifestyle option for people changed the game in the last few years,” he says.

Then there’s the price - your typical disposable vape costs $10 and lasts a few days. That’s compared to a pack of twenty cigarettes, which costs up to four times the price. The expense is only one aspect of the government’s smokefree strategy, recently banning smoking for the next generation.

Illustrations by Haydn Nixon (he/him)

Of course, all cigarette packaging is now plain – it’s actually ‘the ugliest colour in the world’, Pantone 448C. Australia was the first country to roll this out and has taken a similarly hardline approach with vaping, making them prescription-only.

However, ReNews recently published an article on how Australia’s ban on vapes has led to a black market. What can we learn from this?

In Aotearoa, the government has been a bit more relaxed – vapes can still be bought at liquor stores, dairies and petrol stations. There’s about seven vape stores in walking distance from AUT City Campus - and even more if you count dairies.

The government has also proposed:

• Limiting the concentration of nicotine salts in disposable vapes

• Restricting the names of flavours

• Considering new vape retailers’ proximity to places like schools and sports grounds

Chris Bullen says that the quality and convenience of vape products in Aotearoa means that many young people are vaping without ever having smoked. And for many of them, it’s a social activity.

University graduate, James* says most of his friends vape, but some manage to limit it to social occasions. He started out the same, but slowly began vaping outside of parties. “Before you know it, you’re doing it all the time,” he says.

Smoking has a few extra steps - often you have to go out on your own and the smell lingers for a while. But it’s become very tricky to enforce rules like ‘no vaping on campus’, because the clouds are so discreet. People can get away with vaping in lecture halls, or at their desks.

James vapes throughout the day at work, usually in the bathrooms – and at home he vapes all the time.

These days ‘mod’ devices – (replaceable coils, adjustable settings) are few and far between, and refillable devices are quickly being replaced by disposables, which are ready to use as soon as you tear them open.

Another young worker, Bella*, uses disposable vapes occasionally. She says “Instead of blowing o’s and big clouds, it’s more sneaky now. It makes it easier to be constantly vaping.”

“There’s no signal you’ve finished a ciggy, it’s just infinite. You can’t really track how much you’re consuming.”

Bella also says she believes part of the reason disposables are so popular at the moment is because of the design and colour. She says people even match them with their outfits.

Bullen says that like any trend, a big driving factor is the people you see using a product. And of course, the marketing.

*Names have been changed.

‘Big bad vape’

The tobacco industry is known for its aggressive advertising and marketing - and some are worried that vaping companies may start using similar tactics as they grow in influence.

Chris Bullen says that you could argue that vape marketing has been targeted at young non-smokers, making it seem like a cool thing to do. But he doesn’t see a ‘big bad vape’ in Aotearoa, at least not to the same extent as tobacco companies.

He explains that in Aotearoa, the main difference is that the vaping industry is mostly run by boutique retailers, who are focused on helping people quit smoking. He says the situation is a bit more problematic elsewhere, as tobacco companies buy shares in successful vaping companies to control the market.

In Aotearoa, there are a few vaping brands owned by tobacco companies. For example Vuse is owned by British American Tobacco and Iqos and Juul are owned by Philip Morris International. In 2019, RNZ revealed that Philip Morris was targeting Māori by visiting marae and sports clubs to offer free trials and discounts.

Bullen says that over time, it’s possible that corporatisation of vape companies (and possibly behind them, big tobacco) could lead to similar marketing tactics.

“Before you know it, you’re doing it all the time”

Risky business

Bullen says that part of the appeal of vaping is its risk - much like smoking. “It’s something your parents don’t want you to do, which is appealing to young people.”

He also attributes the rise of disposable vapes amongst young people to how easily they can be exchanged and sold at school without the teacher noticing.

However, Bullen says “Disposables are having a heyday at the moment, but something else will probably take their place in the next few years.”

At the end of the day, Bullen says that nicotine is the real problem. “Once people start using them, the nicotine can dig in and make it difficult… that’ll drive their behaviour.”

“Buying the occasional vape to puff on at a party is one thing, but buying them every week and waking up in the early hours of the morning needing to have a puff – that suggests that you’ve got a problem.”

James says, “I would quit if I got really sick or got an illness directly caused by vaping – or if all my mates didn't do it and it wasn't normalised.”

What now?

Chris Bullen says “ I hope our government is enlightened enough to make sure that for people who want to switch to vaping… That vapes are available, they’re competitive prices to cigarettes, relatively accessible, high quality and safe to use.”

In the meantime, disposables are in, tobacco companies are still raking it in and many young people are vaping, having never smoked. Vapes are also cheap, and sold virtually everywhere. It’s unlikely we’ll see an outright ban like in Australia, but tighter regulations could be on their way. Even if it’s safer than smoking, vaping is still an addictive, and eventually expensive habit.

By Thomas Giblin (he/him) CULTURE & LIFESTYLE WRITER

Why the ‘War on Drugs’ Failed —An Inside Story.

Fifty years ago President Nixon called for an "all-out offensive" against drugs and addiction—this ‘war’, a staggering policy failure, has led to decades of death and violence. Now as the conversation around drug law reform grows, two former drug traffickers and a drug policy expert provide us with the case for legalisation.

"Do you live with the regret—the guilt that you've taken part in this trade?"

"No. I did what I did."

Pieter Tritton, now in his 40s, works as a painter and decorator - he's managed to clean most of the paint off his hands. We make small talk before the interview begins. "So my name's Pieter Tritton, otherwise known as 'Posh Pete', which is a nickname I absolutely hate, to be honest. I'm known for being an ex-cocaine trafficker."

I spoke to Tritton via Zoom; his friendly demeanour and knitted jumper didn’t give off the impression of an ex-drug trafficker. Instead, he could be a neighbour or a colleague. Tritton speaks so calmly of his trade and, despite his PTSD, the unimaginable horrors he witnessed are recounted with pained earnestness. He describes impregnating cocaine into rubber with such nonchalance that at times our conversation seemed as normal as if we were discussing the weather.

"They would put the cocaine into the solution, mix it with liquid latex, let that set in very thin layers and then open the groundsheet of a tent and stick these sheets of latex onto the groundsheet of the tent."

The blossoming rave scene of late 80s and early 90s Britain was a springboard for Tritton—the free parties he and his friends attended were full of drugs. Throughout his school years, he was “selling drugs every weekend.” But one morning he woke to a knock on the door and was arrested. Not wanting to jeopardise pursuing his lifelong passion and studying archaeology at university, Tritton stopped dealing.

When Tritton arrived at Cardiff University, he identified a gap in the market—thousands of students new to the city, and none of them knew where to find drugs. "Trying to survive as a student is pretty difficult.” So, in order to pay his bills and support his mother, Tritton "stupidly decided to start dealing drugs again.” One bad decision and it snowballed from here. He went from being a local drug dealer to trafficking cocaine from South America.

"The selling of drugs was more addictive than the taking of drugs" is a phrase Tritton uses. As an adrenaline junkie, it was the thrill of picking up drugs, the cat-and-mouse game with the police and role-playing as a 'gangster' which got Tritton hooked. Even though he’s gone straight, this still provides a lingering temptation. But, as he points out, he'd receive a life sentence if he was caught dealing drugs again. "My dad's getting old now, he's had a stroke. I don't want to put my family through any more fucking grief and stress."

Now living an ordinary life, Tritton had spent nearly half his life behind bars. In 2005, he was caught in an Ecuadorian hotel room with 8 kilograms of cocaine and sentenced to 12 years. Tritton "went through hell" during his decade in the notorious Litoral Penitentiary of Guayaquil, Ecuador. With gang violence being a regular occurrence, he witnessed death “any which way you can think of.” To survive, Tritton realised that it all was about money and if he could be “of some potential to them (the gangs), then it would give them some reason to keep me safe.”

He survived a decade in Ecuador, and upon his repatriation to Wandsworth Prison, Tritton experienced a sense of culture-shock. Despite returning home, society had moved on so fast and Tritton had been left behind. The whole of society had changed—the Internet had blown up, pubs had shut down and people weren't going out drinking on a Friday night. Now that Tritton has acclimatised and life has returned to ‘normal’, he works as a public speaker on the dangers of drugs alongside painting and decorating.

When asked about the war on drugs, Tritton says, "it's never going to be won." He’s pro-legalising drugs to regulate the market and "take out the financial gain." Governments should "manufacture them under licence, sell them in a controlled form and tax them to offset the negative health effects."

"How else are you going to control it?"

Conversations around drugs are driven by morality, so Tritton doesn't feel guilty for his part in the trade. "I was an entrepreneur", "a businessman", and "I viewed it as a commodity." Why should Tritton feel guilt if people die from drinking alcohol or smoking cigarettes? Those companies don't feel guilt—the profits are too good.

Pieter Tritton and David McMillan briefly met in Wandsworth Prison in London in the early 2010s. They ended up on the same wing, living three doors down from each other, serving out their sentences. Tritton recounts watching a pirated copy of Underbelly Files: The Man Who Got Away, a telemovie based on McMillan's escape from Bangkok's Klong Prem prison. He turned to his cellmate and said, "I've got a funny feeling I'm going to bump into this guy."

David McMillan has a lengthy, laudatory Wikipedia page— it makes for odd reading. There's a sense of mythicism and romanticisation around McMillan, who is described as a "gentleman rogue.” McMillan's charm is evident, but there's an uneasy air about him even if Youtube commenters consider him a "hero.”

"I'm David McMillan. This battered old wreck of a face you see is attached to a body that's been through a disjointed career as a smuggler for probably 40 years or so." Now 66, his smuggling career started in the 70s with hashish from India. As his network of mules, 'passengers' and 'couriers'

grew, his smuggling ring spanned Australia, Thailand, South America and Europe. "It was not practical or safe to carry more than three and a half kilos or so - whatever it was had to be high value. It had to be either China White or heroin from northern Thailand or good South American coke."

"Illegal trading is not much of a thing to devote your life to."

McMillan now lives a life of domesticity with a partner and a job installing CCTV cameras. This lifestyle is a far cry from his life in the 80s as a multi-millionaire. McMillan states he's "made every mistake possible in the trade but survived." Most famously, after being caught in Thailand and convicted on drug trafficking charges, McMillan escaped the 'Bangkok Hilton' weeks before he was scheduled to be executed - the only Westerner to ever escape. When recounting this brush with death, he's humorous - "it was by machine gun in those days. I can recommend it because at least it's relatively quick." This exploit has made him a fetish object for true-crime fans.

Although this prison escape made him famous, McMillan's happy this interview has a broader scope. His view is that "everything needs to be legalised." He uses the Swedish Systembolaget, a government-owned chain of liquor stores, as an example of what drug law reform could look like. "You fill out a form and line up with your tray. They give you what you came for."

McMillan damns the war on drugs as "artificial and fake—that every government knows it's unwinnable." He once told a judge, "I didn't set the price, the government did,” so if drugs are ever to be legalised, they must be priced accordingly—"if you open weed shops, they won't compete with the local dealer because the price would be so high if they were taxed on the same basis as tobacco." The approved duty on approved drugs like alcohol and cigarettes means there's a lack of political will and pressure from industry lobbyists.

As a young man, McMillan lobbied for change; he distributed a monthly magazine, The Australasian Weed , a drug-reform periodical, which advocated the complete lifting of the prohibition against drugs for recreational use. Forty years later, with 20 years spent in prisons worldwide, he's sure he would have had a much happier life being a "research scientist or something."

"We need to rethink and reform our drug laws completely.”

Hailing from the north of the United Kingdom with an accent to match, Fiona Hutton is an expert on New Zealand drug policy, drug reform and harm reduction. She's an Associate Professor at the Institute of Criminology at Victoria University and was active in the reform space around the 2020 cannabis referendum. You may have read her Spinoff articles.

We don't have much time together, so I ask Hutton about the current state of drug policy in New Zealand. "It was thought that prohibition would stop people from taking substances and therefore it would reduce harm...dry up the demand, etcetera. We can see that drugs are cheaper than they've ever been, and they're more available than they've ever been, that they're purer than they've ever been. Drug markets are thriving, and so it hasn't worked."

What stands in the way of drug reform? Stigma, politicians, lobbyists, misinformation, moral ideas about drug use and people who use drugs—it's complex. The "Say Nope To Dope" organisation, a significant voice in drug reform, says, "New Zealand is too precious to be wasted." A series of campaign posters uses the tagline, and one image stands out—a classic Kiwi dairy reimagined as a "Dope Shop". These advertisements, "based on outdated moralised notions of those who use drugs, influenced by rightwing religious groups from the US,'' are a triumph for fear-mongering.

New Zealand’s Misuse of Drugs Act, 1975 was influenced by the even older Single Convention on Narcotic Drugs, 1961. The evidence suggests that the approach to our drug laws, which govern our drug policies, is "not fit for purpose." Our approach has "caused harm more than anything," with our Māori population, who comprise about 15% of the population, being significantly overrepresented in drug conviction statistics—this is the case for most indigenous people worldwide.

Hutton would love to say, "in ten years' time, all drugs will be legally regulated in the New Zealand context, and drug harm will have dropped significantly." But as momentum for drug reform grows internationally, there's a fear that New Zealand will be the "last country standing that insists on clinging to these outdated laws."

El Infierno: Drugs, Gangs, Riots and Murder : My time inside Ecuador ’s toughest prisons by Pieter Tritton is available online and in all good bookshops.

Unforgiving Destiny : The Relentless Pursuit of a Black Marketeer by David McMillan is available online.

"I got really high on edibles and drew the creepiest face ever. Coloured it in sober. I think being high made my lines really loose and that’s what made it so interesting in comparison to my sober art."

@izzydrewapicture

Self Portrait by Izzy Drew

Poems

News tips

Art

Pitches & submissions open for 2023! We’re looking for… Contributing Writers, Illustrators, Designers, Photographers and Artists

Issue 7 | Te Ao Māori

Pitches due: Monday 12th June

Contributor deadline: Monday 26th June

Issue 8 | Communities

Pitches due: Monday 26th June

Contributor deadline: Monday 10th July

Issue 9 | Seasonal Depression

Pitches due: Monday 10th July

Contributor Deadline: Monday 24th July

Email debate@autsa.org.nz to become a contributor!

Illustrations

Personal essays

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SPIN SESSION

Spin Class - Open Decks

Cupid Bar, Pt Chev

Wednesday, April 26th

Free!

Attention vinyl lovers! BYO records and hang out with Alix and Phil for a night of music, cocktails, craft beers, vibes and vinyl-spinning.

Whether you need a refresher or are a complete beginner, these sessions are all about having some fun on the decks and Phil is here to teach you the basics to get you going.

If this sounds like you, head to Cupid and get grooving!

ART

Selwyn Muru: A Life’s Work

Pah Homestead

Now - May 28th

Free!

This exhibition celebrates the pioneering legacy and artistry of Senior Māori artist Selwyn Muru, once described as one of the most original Māori thinkers of his time. Highlighting his work as a visual artist, broadcaster, playwright and social commentator, an actor, professional musician, orator, teacher, and tribal knowledge repository. Curated by Dr. Moana Nepia, it showcases previously unseen paintings, drawings, and audio and video.

FESTIVAL / PROTEST

J-Day

Albert Park

Saturday, May 6th

Free! R18

J Day. How fitting for our Drugs-themed issue!

Running for the 31st year in a row, J Day is Aotearoa’s annual cannabis festival and protest for law reform. The free community event famously features market stalls, food trucks, bands and more - all gathered in celebration of Kiwi canabis culture.

MARKET

Morningside Market

34 Rossmay Terrace, Morningside

Sunday, May 7th

Free!

The Morningside Market is a new community-driven space, just ten mins from the city centre. You can expect a curated selection of handmade and vintage clothing, art, crafts and nail art. Also - live music, DJs and flash tattoos from Madoggy!

G G ig u id e * *

APRIL + MAY 2023

TĀMAKI MAKAURAU - AKL

Dominic

Where? The Wine Cellar

When? Friday, April 28th Cost? $20

Soft Plastics

Where? Whammy Bar

When? Saturday, May 13th Cost? $20

King Brothers w/ Bloodbags & Cindy

Where? The Mothership

When? Thursday, May 25th Cost? $45

Tiny Ruins

Where? Hollywood Avondale

When? Saturday, May 27th

Cost? $45

Sleaford Mods (Second Show)

Where? The Powerstation When? Saturday, May 27th Cost? $80

Weyes Blood

Where? The Powerstation

When? Monday, May 29th Cost? $80

Hoey, Roy Irwin, Stellar Pritchard

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