AKA THANK GOD FOR CLINTON WALKER
One of the best Australian music books you could read this year was published on a small academic press and unless you’re a nerd (or an avid reader of Mess&Noise, same difference) you probably didn’t notice. This book – History is Made at Night: Live Music in Australia by
Melbourne Sydney-based music writer Clinton Walker – is the sort of thing a lot of musicians should get ahold of.
Because it’s a sustained, thoughtful and entertaining argument for something most of us hold very dear: live music. It’s written in the shadow of the recent strife with Melbourne’s Tote Hotel but for a writer of Walker’s talent, this is just a starting point. He takes that moment and succinctly unravels why and how it could ever have been seen as acceptable to close down a beloved venue for virtually no reason.
As such, this book is all the ammunition a musician (repeatedly) need to clarify and defend what we do against a range of things: the real estate industry, bad policy, snobbish arts funding and an exploitative commercial industry. And this is the exact sort of work my discipline (popular music studies) needs to be doing in Australia.
That said, I figure you’re probably not going to find it at your local book store, much less read it.
So here’s my notes:
On the function of venues:
‘…I can vouch for what goes on in these rooms: a ritual of social and artistic communion and transcendence that is increasingly rare in a world of virtualization, isolation and commodification.” (3)
On vocational training:
‘You don’t learn how to write a song in school,’ (Paul) Kelly said. ‘You can’t do a TAFE course on how to play in front of an audience. These places were my universities.’ (5)
The live music industry is big:
…the value is enormous. The industry boasts nearly four thousand venues nationally which put on more than three hundred thousand gigs a year and attract forty million punters, generating more than a billion dollars’ revenue and employing fifteen thousand. (6-7)
‘Popular music isn’t in search of an audience, nor is it seeking to remix its demographic; it’s already got a vast and incredibly diverse audience. It doesn’t seek grand public monuments like an Opera House either. Everybody knows it’s (almost) never received government funding, and it’s hardly about to start sticking its hand out now. All it’s really asking is that when it does find some little hole in the wall in which to perform without harming anyone, it’s not harassed in doing so. All it’s asking is that the contempt, vilification and harassment stop. Now.’ (9)