Clinton Walker
Everything Clinton
  • HOME
  • ABOUT
  • NEWS
  • BOOKS
    • Soundtrack from Saturday Night Fever
    • Suburban Songbook
    • Wizard of Oz
    • History is Made at Night
    • Golden MIles
    • Buried Country
    • Football Life
    • Stranded
    • Highway to Hell
    • Next Thing
    • Inner City Sound
    • Deadly Woman Blues
  • MUSIC
    • Silver Roads
    • Inner City Soundtrack
    • Buried Country CD/LP
    • Buried Country Roadshow
    • Studio 22
    • Long Way to the Top
    • Killer Sheep
    • Painted Ladies
    • Lagoona Records
    • D.J.
  • FILM & TV
    • Buried Country
    • Rare Grooves
    • Studio 22
    • Love is in the Air
    • Long Way to the Top
    • Sing it in the Music
    • Notes from Home
    • Monaro Pictures
  • BUY
  • BACKPAGES
    • Fanzines (1970s)
    • Journalism (1980s>90s)
    • digitaloosends (2000s)
    • Talking Head
  • RE-MIXED
    • House Without Music
    • Leaving Home
    • Bodgie Boogie
    • Rock Ink
    • Vinyl Age
    • Lowest of the Low
    • Low Biblio
    • Inner City Video
    • Co-Dependent
  • ART
  • PHOTOS
  • MEDIA
  • CONTACT

one for tom

12/6/2017

0 Comments

 
Picture
Picture

​​When Leah Flanagan announced early this year that she was pregnant, we at Buried Country: Live in Concert were all not only naturally delighted but hopeful-confident it wouldn’t cause too much disruption to her regular schedule. But when the baby refused to emerge for a few weeks beyond the due date, it was clear the Buried Country show at Dark Mofo in Hobart would have to do without one of its star attractions. 

And so, when young Tom Emilio Jones, aka Tuco, was born on Monday, May 29, just days before the Hobart show – and it should go without saying that all our congratulations went and go to Leah, Tom and the little fella; we know they’ll make a great, loving family – we thought the show would have to be dedicated to him… so, this one was for you Tuco…
​
​And happily, as the Buried Country mob has made it fairly standard practice, it was a top show.

The festivalisation of culture is a syndrome that seems to enjoy almost universal approbation. But I am surprised there isn’t a tad more wariness about it, or concern, like I feel. I mean, it’s state-controlled culture after all, and at worse when, say, in a place like my hometown of Sydney, the grass-roots that was once a thriving live music circuit has effectively been killed off – meaning if nothing else, where do to tomorrow’s festival stars come from? In Hobart, it’s a bit different, because the Dark Mofo festival of which BC was part largely comes down to one man, David Walsh, who’s not a bureaucrat or public servant but rather a wildcat philanthropist who’s almost single-handedly put Hobart on the culture map, and certainly bolstered its tourist trade, with his amazing MONA gallery and all the events that spin off it, like DMFO. Walsh and his empire is not beholden to the corporate-politics that so often stultify festivals. I’d been to MONA on one previous occasion and while there was almost as much art there that I wasn’t fond of as there was that I did like, that’s the point, and what’s great about it.

DMFO was much the same, among the attractions I was able to squeeze in, some fantastic, some less so I thought, but all of them adding up a vibrant variegated whole, which is how it ought to be.

I’d like to think Buried Country was generally one of the highlights. If audience reaction is anything to go by, certainly they seemed to enjoy it. In fact, I don’t think we’ve had a better audience, in terms of foreknowledge. There was a real nice little record shop (remember them?), Music Without Frontiers, virtually next door to the Odeon Theatre, and walking past it on shownight the strains of “Blue Gums Calling Me Back Home” rang out, and that was a lovely little touch that doubly encouraged me to buy a couple of disks (remember that too?). The audience for the show recognised many of the songs and gave them encouragement in anticipation, and responded with terrific applause and, at the end, with a standing ovation. We were all humbled and so, thank you, Hobart. Thank-you too to more than a few friends from Sydney and other parts of Tasmania who made the effort to be at the show, and played a part in its success.

In the absence of the new young mum, we re-shuffled the set slightly. Warren Williams, who opened the show as he usually does and with his usual stirring spirit, is to be doubly commended for pushing through some tragic sorry business back home. Luke Peacock has been enduring some trevails too and apart from wrestling one of our hire cars in an altercation, performed well too. Nobody was going to tackle Leah’s “September Song,” but Franny was game to take on “Brown Skin Baby,” as on offering to Leah, Tom and Tuco, and she pulled it off, again, with customary verve, a bit more country than Leah’s version.
Picture

​The following morning, a few of the mob went into to the ABC for a session with Radio National’s Books and Arts program, which you can listen to here, and then over the next two nights, a few of ’em played short solo spots at the Winter Feast. For me, I finished my five days with a visit to MONA to see the opening of its latest exhibition, the Museum of Everything, and I was totally blown away by a vast show of outsider art or whatever you call it that I couldn’t see any other state-controlled gallery in the country ever daring to put on. Buried Country is a bit like outsider art too – my favourite kind! – and we will continue in our campaign to storm the citadel. ​
0 Comments



Leave a Reply.

    Picture

    CLINTON WALKER

    clintonwalker.com.au

    Archives

    March 2025
    January 2025
    December 2024
    October 2024
    September 2024
    August 2024
    June 2024
    January 2024
    July 2023
    June 2023
    April 2023
    November 2022
    September 2022
    June 2022
    May 2022
    February 2022
    January 2022
    December 2021
    November 2021
    October 2021
    September 2021
    July 2021
    May 2021
    March 2021
    February 2021
    January 2021
    July 2020
    January 2020
    December 2019
    November 2019
    October 2019
    May 2019
    April 2019
    February 2019
    January 2019
    December 2018
    October 2018
    August 2018
    June 2018
    May 2018
    March 2018
    February 2018
    January 2018
    December 2017
    November 2017
    October 2017
    September 2017
    August 2017
    July 2017
    June 2017
    May 2017
    April 2017
    March 2017
    January 2017
    December 2016
    November 2016
    October 2016
    September 2016
    August 2016
    June 2016
    May 2016
    April 2016
    March 2016
    February 2016
    January 2016
    December 2015
    November 2015
    October 2015
    September 2015
    August 2015
    July 2015
    May 2015
    April 2015
    March 2015
    February 2015
    January 2015
    November 2014
    October 2014
    September 2014
    August 2014
    July 2014
    June 2014
    April 2014
    February 2014
    December 2013
    November 2013
    September 2013

    Categories

    All
    Festivals
    Publications
    Speaking Engagements