‘People power’ of booze and music.

It has been difficult to try and argue that Sydney’s Inner west music and pub culture is historically relevant to an audience that does not necessarily recognise that attending pub gigs is culturally powerful. Perhaps it was arrogant of me to think that the community I socialise within is as captivating as I believe it to be, historical or otherwise. Everyone sort of already knows that music is an important aspect of life – the number of people walking around with headphones in attests to this. Though is it really worth historically investigating? I doubt my contact seems to think so either… he loves what he does and thrives on it, but that satisfaction does not seem to encourage greater investigative curiosity. One thing is for sure, a study on music and booze does not par with some of the more noble community causes that my peers are engaging with. It is stressful that this is what I am thinking at this stage of the project.
I blame the inextricability of music for my project’s current limbo state. Music is so connected to the experience of being human, played whenever people gather. Its accessibility means that people likely don’t think about its cultural role beyond entertainment. It operates or ‘plays’ in a free space, autonomous from politics or other rules, but is reflexively influenced by them as well. It has also been expressed that music has influenced the course of history through mobilising people power. Rodriguez, Bob Dylan, Bob Marley and Midnight Oil immediately come to mind. So yes, music is arguably historically relevant, but Australian pubs and drinking culture? I’m yet to articulate how.
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At first look, the archives I have accessed seem to further trivialise music and booze to only have entertainment and business value. The drum ads collated by a colleague of the Rule Brothers in tribute to their work at the Annandale Hotel undoubtedly holds sentimental value, but they require a historical perspective – mine – to apply the advertisements to a broader cultural context and argue that they evidence Australia’s cultural development. While myself and the Rule Brothers confidently argue that pubs are communal spaces where ‘people power’ can be unleashed, it is difficult to find clear evidence. I can only think of Keep Sydney Open as an obvious example of this.
The fact that I could spot some familiar musical names amongst the drum ad collection ensured me that this project was personally significant: I want to prove to my audience that the two very separate worlds of history and music and booze can collide. This project presents an opportunity for me to defend my interest in history to those who perhaps are distracted by the performance factor of music.

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