The Medusa Fora

Jon wrote:

jennylois wrote:Tickets are generally more expensive over here as well.

yep, regardless of working out the figures in comparison to the exchange rate (which I stopped doing as soon as a wage came in) they are not only expensive, but over-priced. The Special Beat played in one of the Brisbane suburbs and were charging $74 a ticket

Obviously, I don't have details of the Special Beat's contract, but my educated guess is that the economics for them are considerably more punitive than even for The Pogues, who do at least have name recognition and a more-or-less guaranteed bar turnover in the larger alcohol-licensed venues [this plays a bigger part in a local promoter's decision about where to put on a Pogues' show than you might imagine]. It's a little unfair to call a show "over-priced", with its implications of at least partial blame to the perfomer, if that's what it took to get the band over to Australia.

In the other arts, from theatre to dance to opera etc, nobody gets to or from Australia without massive financial support from Arts Councils, Local Education Authorities, Cultural Institutes, Sponsors etc etc. This is because most cultural organisations accept that art is expensive and, when it is as far away as Australia, is even more expensive. Arts bodies tend to accept that access to art should not come at a high cost to the Artist's income stream. Perhaps the time has come to ask Arts Subsidy people to stump up for certain contemporary music ensembles.

If you are U2 or the Stones, the counter-argument can easily be made that you are in Australia in the hope that your appearance there will generate even more zillions of album sales than you already enjoy. Indeed, a not dissimilar case was made in 1988 and onwards that The Pogues were also feeding their future by doing loss-making tours of the Antipodes. However, the Pogues have not put out a new record [with the current so-called "classic" line-up] in almost twenty years. We are not, in fact, competing much for record sales anymore, engaging though the annual saga of "Fairytale'" Top Three chart position has sometimes been. We are a crumbling yet surprisingly resilient cultural landmark, like the Abbey Theatre. We all individually have other projects we like doing for most of our time and cannot, therefore, be lured "back" to OZ/NZ at less than the rate we ourselves consider appropriate. What I'm saying here is we are not subject much to "market forces" or, if we are, we reserve the right to reject those forces and wait for a better offer. I do know we are a constant source of frustration to International Promoters who assume we're bluffing about this, that we'll somehow "come round" to a compromise. We're not and we won't. We mean what we say - we all "paid our dues" scrabbling for gig money from the mid-1970s/mid-1960s up to the late 1980s. It is not just the bathroom mirror which tells us we are no longer that eager kid who will make the necessary personal sacrifices in order to serve the common good.

As a long-suffering Melbournian who was present at the Festival Hall & Palace gigs in the late-80's, I have continued to hold out hope that you would return to these shores. As much as it pains meto say it, Mr. Chevron, I agree with everything you say. But I will still hold out in hope......

The general talk about the state of culture in Australia has been split here: viewtopic.php?f=30&t=9178

Zuzana wrote:The general talk about the state of culture in Australia has been split here: viewtopic.php?f=30&t=9178

Why, when it was relevant to the current discussion?

Because the discussion has exceeded the bounds of the original topic and turned into analysis of the current cultural situation in Australia. The split posts had nothing to do with the Pogues coming (or not coming) to Australia and belong to Speaker's Corner more than to Live Shows.

Fuck sake, I'm going to just miss the Pogues in New York when I go over there soon. Surely they will be touring in Austrailia in 2009? When was the last time they toured? I'm only a young bugger so I wouldn't know these things. If they could at least tour the easterb states... I wouldnt mind paying 100 a ticket, just have to pay the old man back!

Ah the way it looks, don't get your hopes up. But to put it in a more positive light, arrange another holiday another time to a place where the Pogues are playing. I ran out of money 2 weeks before the Pogues gig in LA last year and had to return to Australia, was a big regret. I had told myself for a while they would be coming to Australia soon, but from the looks of it (in particular Phil Chevron's posts) it is very unlikely. Unless of course the right people can put pressure on the right people down here.......

My mate from Canberra has emailed me to let me that the highlight of his xmas was the weather in comparison to what I'll get in in England (and some other stuff that he wants me to get him) I countered by telling him about the Pogues gig in Bristol, he seemed a tad jealous

I've decided if they do eventually come down, I am willing to shout Macgowan one light ale. I can't drink the light stuff, goes right through me. However, on certain special occasions such as an upcoming Pogues tour, I am prepared to make an exception.

come to melbourne we are waiting

philipchevron wrote:

Jon wrote:

jennylois wrote:Tickets are generally more expensive over here as well.

yep, regardless of working out the figures in comparison to the exchange rate (which I stopped doing as soon as a wage came in) they are not only expensive, but over-priced. The Special Beat played in one of the Brisbane suburbs and were charging $74 a ticket

Obviously, I don't have details of the Special Beat's contract, but my educated guess is that the economics for them are considerably more punitive than even for The Pogues, who do at least have name recognition and a more-or-less guaranteed bar turnover in the larger alcohol-licensed venues [this plays a bigger part in a local promoter's decision about where to put on a Pogues' show than you might imagine]. It's a little unfair to call a show "over-priced", with its implications of at least partial blame to the perfomer, if that's what it took to get the band over to Australia.

In the other arts, from theatre to dance to opera etc, nobody gets to or from Australia without massive financial support from Arts Councils, Local Education Authorities, Cultural Institutes, Sponsors etc etc. This is because most cultural organisations accept that art is expensive and, when it is as far away as Australia, is even more expensive. Arts bodies tend to accept that access to art should not come at a high cost to the Artist's income stream. Perhaps the time has come to ask Arts Subsidy people to stump up for certain contemporary music ensembles.

If you are U2 or the Stones, the counter-argument can easily be made that you are in Australia in the hope that your appearance there will generate even more zillions of album sales than you already enjoy. Indeed, a not dissimilar case was made in 1988 and onwards that The Pogues were also feeding their future by doing loss-making tours of the Antipodes. However, the Pogues have not put out a new record [with the current so-called "classic" line-up] in almost twenty years. We are not, in fact, competing much for record sales anymore, engaging though the annual saga of "Fairytale'" Top Three chart position has sometimes been. We are a crumbling yet surprisingly resilient cultural landmark, like the Abbey Theatre. We all individually have other projects we like doing for most of our time and cannot, therefore, be lured "back" to OZ/NZ at less than the rate we ourselves consider appropriate. What I'm saying here is we are not subject much to "market forces" or, if we are, we reserve the right to reject those forces and wait for a better offer. I do know we are a constant source of frustration to International Promoters who assume we're bluffing about this, that we'll somehow "come round" to a compromise. We're not and we won't. We mean what we say - we all "paid our dues" scrabbling for gig money from the mid-1970s/mid-1960s up to the late 1980s. It is not just the bathroom mirror which tells us we are no longer that eager kid who will make the necessary personal sacrifices in order to serve the common good.

I think, Mr. Chevron that you have indeed proved us all wrong. That is what one might call, one magnificent essay. Not quite as good as Thousands are sailing, but close.

And in which respect, exactly, have I proved you wrong?

phillipchevron wrote:....We all individually have other projects we like doing for most of our time and cannot, therefore, be lured "back" to OZ/NZ at less than the rate we ourselves consider appropriate. What I'm saying here is we are not subject much to "market forces" or, if we are, we reserve the right to reject those forces and wait for a better offer. I do know we are a constant source of frustration to International Promoters who assume we're bluffing about this, that we'll somehow "come round" to a compromise. We're not and we won't...

Well said.

That said, the barbecue is lit and waiting.