This article considers how cultural narratives of queer migration to urban centres are understood through media and cultural references that mark specific non-urban places and times. Through an analysis of queer migration narratives in Smalltown Boy (1984), a song and music video by UK band Bronski Beat, and Boytown (2012), its suburban Sydney reimagining by artist Daniel Mudie Cunningham and DJ Stephen Allkins, I argue that the interconnections between visual, media and cultural artefacts are not merely an additive way to understand queer cultural geographies but rather signal intertwined geographic and aesthetic registers. In Boytown, the explicitly gay lyrics and imagery of Smalltown Boy are paired with other songs and music videos that connote queerness but also directly relate to suburban images of youthful alienation. The attachment to urban narratives and images is supplemented by this distinctly suburban attachment. In this article, I argue that conventional statistical figurations of changes to gay ghettoisation and now well-established critiques of queer urbanity are usefully combined and expanded by considering cultural attachment. This article demonstrates the generative intersection of creative geographies and geographies of sexualities attuned to the queer suburban.

本文考虑如何通过标记特定非城市地点和时间的媒体和文化参考来理解酷儿迁移到城市中心的文化叙事。通过对英国乐队 Bronski Beat 的歌曲和音乐录影带Smalltown Boy (1984) 和Boytown (2012)（艺术家 Daniel Mudie Cunningham 和 DJ Stephen Allkins 重新构想的悉尼郊区）中的酷儿移民叙事的分析，我认为这种相互联系视觉、媒体和文化人工制品之间的联系不仅是理解酷儿文化地理的一种附加方式，而且是相互交织的地理和审美记录的信号。在博伊敦，小镇男孩明确的同性恋歌词和意象与其他歌曲和音乐视频配对，这些歌曲和音乐视频暗示着古怪，但也直接与郊区青年异化的形象有关。这种明显的郊区依恋补充了对城市叙事和图像的依恋。在这篇文章中，我认为，通过考虑文化依恋，对同性恋隔都化变化的传统统计数字和现在对酷儿都市化的成熟批评进行了有益的结合和扩展。本文展示了创意地理和与酷儿郊区相协调的性地理的生成交叉。