Writing the record on music journalism

Music and arts journalists work quickly, often under-resourced, underpaid and underslept. We write the first drafts of cultural history, knowing a misquote might not start a political battle, but could still ripple through the attention economy. Even now, in the hyper-curated (or AI-curated) world of online music and arts journalism, audiences still rely on a trusted eye or ear to cut through to the good stuff.  

But how do we ensure a diversity of representation when talking about music and journalism and its influence?  

Dr Gregory Ferris and I are currently working on a large-scale research project for the Powerhouse Museum called ‘Spirits of the Hoey’. Using the iconic Sydney music venue The Hopetoun Hotel as our focus, we’re reconsidering how music and arts culture in Sydney developed and has persisted over time, and the first (and often only) drafts of history that music and arts journalism provided are essential to that work. The Hoey was home to little acts who would become legends – Paul Kelly, the Hoodoo Gurus, Weddings Parties Anything – a great, male-dominated bunch, according to current histories.    

So far we’ve spoken to artists, punters, managers and bookers – including CMT’s own Sacha Molitorisz, whose 2009 obituary of the venue is the stuff of legend. Working backwards from recently published reissues, memoirs and testimonies, one could easily assume that the scene was the exclusive domain of white male rock gods. However, just a small amount of archival work from the time shows a much broader media and musical landscape. The invaluable archive is music and arts press. 

An important voice for our project is Tracee Hutchison, whose trip from Melbourne to Sydney was sponsored by the Centre for Media Transition. A writer, broadcaster, presenter and producer – a multiplatform journalist well before smartphones and social media - Tracee’s eye-opening contribution to our project means a fuller representation of the music and community culture at the time, as well as a reminder of the importance of diversity in journalism practice for current and future practitioners. Got to see it to be it, right?  

Tracee pointed us towards Margaret Cott, the founding editor and publisher of Drum Media, and Kathy Bail, the first female editor of Australian Rolling Stone, as well as reminding us that music journalism was, in a golden era of Oz Rock, actually championed by the work of excellent female journalists. As she says, ‘For all the maleness going on on-stage, it was the women that were actually very much the powerhouses of the music media scene at that time.’ 

If we’re really going to understand how music journalism influences culture, we need to make sure we’re capturing as many practitioners and perspectives as possible.  

Liz Giuffre, Senior Lecturer - Fcaulty of Arts and Social Sciences