Virginia Judge, ALP MLA
The creation of a new on-premises liquor licence for live music venues will bring a number of existing licence categories into a single, simpler and cheaper class that will support entertainment venues in New South Wales for years to come.
Ms VIRGINIA JUDGE (Strathfield—Parliamentary Secretary) [10.25 p.m.]: As a passionate supporter of all of the creative industries I am absolutely thrilled about, and pleased to speak in support of, the Liquor Bill 2007, the Casino, Liquor and Gaming Control Authority Bill 2007 and the Miscellaneous Acts (Casino, Liquor and Gaming) Amendment Bill 2007. I commend the Minister for Gaming and Racing, and Minister for Sport and Recreation, his hardworking ministerial staff and the department for all of the work they have done to bring the bills to the Chamber tonight. The Minister has eruditely talked about the wide-ranging benefits associated with this new liquor licensing framework. In my presentation tonight I would like to primarily focus on the great benefits and outcomes that this will bring to the wide range of those involved in live performance industries.
Many people that I have spoken to support the new liquor laws. All are seeking a safe place for us to not only listen to but also to see and be part of live entertainment. The musicians I have spoken to are also looking forward to the modernisation of our liquor laws. For example, I have spoken recently with Paul Joseph, a musician since 1983. He has been playing professionally for more than 30 years. He is a very talented and experienced person. He has told me that in the last 15 to 30 years there has been, sadly, a steady and constant decline in employment opportunities across the board for professional players. As hole-in-the-wall venues are unable to comply with the rigorous and over-the-top licensing regime, little venues started to disappear suddenly and without explanation, without a trace. Everyone started to wonder why this was happening. Many fine musicians in this State, very sadly, lost the opportunity to find work. Perth, Adelaide and Melbourne have healthy, vibrant music scenes. It is absolutely imperative that we do not waste an instant and that we provide the environment and culture for these music scenes to grow and to flourish.
Currently in Sydney if people want to see a band it is commonplace for them to have to walk through a venue, sometimes a club, past wall after wall of poker machines, and finally find a small stale room where they might see some live entertainment. That is very uninviting and totally inappropriate for families, especially those with small children, and for our youth. I am not criticising our wonderful clubs; everyone in this Chamber knows how much I have fought for and try to support the club movement. Many clubs are doing a fantastic job, they are thriving and prospering, and so be it. They put so much back into the community through their benefits scheme. We should be able to take our children and young people to see and hear affordable, good quality live music. It is great if people can go to a venue and see someone like Justin Timberlake and cough up the $145 or so to do so, but that is not for everyone. There has to be choice.
The reforms that will come about as a result of these bills will make a profound change to our cultural heritage. Sydney was once recognised as one of the great music centres of the world. Many musicians gravitated to Sydney, even those from New Zealand. Sydney was recognised and talked about as a great cultural hub. Indeed, many of our great bands that have become internationally famous cut their teeth in this music scene, some in venues in King Street, Newtown, others in the southern and western regions. They had a chance to cut their teeth as part of the live music scene. Of course, the economic value and the export dollars that this reform will bring will guarantee wonderful benefits to New South Wales and to our city, but also will benefit the cultural environment.
Many musicians have told me that the only place they can find work is in an RSL club, which is great. They also play for corporate clients. Their choices have been severely restricted. There is a ripple effect from the thousands of fine musicians who are out of work, and also many people in ancillary occupations suffer similarly because ancillary people go with live music and live venues.
A musician should be financially stable just like every other talented and skilled person. One musician told me that he travels to a show, unpacks, practices, performs, prepares the pays and packs up and, excluding his travel costs—the petrol, wear and tear on his vehicle and so on—he ends up working for around about $2.50 and $5.00 an hour. That is absolutely appalling. Plumbers and sparkies can earn $75 an hour. That is good, but why can our talented musicians who have studied for years not be treated fairly? I cannot understand why members of the Opposition are not champing at the bit to support this legislation.
[Interruption]
Not everyone fully supports it. Comments were made about insufficient consultation. This draft bill has been out for 18 months, which is plenty time for consultation. Every day that we dilly-dally limits the opportunity for musicians to improve their situation. Some members over there must live in a cocoon or a bubble; they do not know was happening under their very noses. They should take a walk around the streets and look at what is happening. Legislation will no longer stifle musicians from playing to the public and promoting their music. These reforms will provide for lively entertainment. Of course, competition will still be an aspect of the industry, and that is great because it will provide musicians with the opportunity to hone their skills, which will benefit everyone.
I also spoke with Richard Ruhle, a blues drummer and industrial organiser with the musicians section of the Media, Entertainment and Arts Alliance. He said that the live music industry has been regulated out of existence and that these changes are a big step towards reversing that terrible situation, or at least providing the opportunity and incentive to change it for the music industry. I hope these reforms create greater competition and more opportunities in hotels, clubs and licensed venues. It would be wonderful to revert to the 1980s and 1990s, when it was possible to be part of the vibrant music scene and to watch 100 musicians playing every night in the hub of the city.
I recently organised a concert in my electorate of Strathfield—the greatest electorate in the State, although some members might disagree. One of the reasons I organised Oz Rock Rescue at Burwood Park was to provide a venue for musicians. The performers included Backsliders, Rattlesnake, a couple of young men from Liverpool and some very fine Australian musicians who did a Pink Floyd extravaganza. In fact, that act had a two-night engagement at The Basement. How many places like The Basement are there left in the city?
Ms Clover Moore: One! The Basement.
Ms VIRGINIA JUDGE: There are very few. Performances on both nights were sold out. My hardworking colleague the member for Sydney endorses what I am saying. She knows what is happening in the city. We need more venues at which these people can perform to vibrant audiences of people who enjoy this great music. Of course, music has a great civilising effect. It helps to build communities and to connect people. Everyone benefits from the music scene. Dave Theak, a lecturer in jazz studies at the Sydney Conservatorium of Music, has advised me that Australia produces world-class jazz musicians and that we must make it easier to set up venues so these musicians can practise their craft. That says it all. It is great to hear support in that regard from my colleagues. They know that this legislation will facilitate that goal.
A nightclub licence in Sydney costs $60,000 under the current Liquor Act. Presently grassroots venues and alternative entertainment are not viable and that diminishes the cultural landscape of our city and our State. With the enactment of this legislation the licence fee for live music venues will be about $500. These reforms specifically encourage grassroots entertainment while also supporting larger initiatives. The creation of a new on-premises liquor licence for live music venues will bring a number of existing licence categories into a single, simpler and cheaper class that will support entertainment venues in New South Wales for years to come. That is great. These bills provide a series of eagerly anticipated reforms that will benefit the live music sector and offer public entertainment in cinemas, theatres or any other premises whose primary activity is to provide entertainment to members of the public.
Many Australians are screaming for an alternative to reality and pay television. Music lovers want live music—be it fringe, reggae, developmental, hip-hop, grunge, opera or divas. Creative industries also want live entertainment—be it Shakespeare, poetry, storytelling, recitals or stand-up comedy. Some clientele may even want to have debates and discussions at their local invite-a-politician night and have an evening discussing representative democracy interspersed with music. Why not? The world is our oyster. These reforms will unshackle the live music industry, enhance the quality of entertainment venues, strengthen the tourism and hospitality industries and ultimately give everyone more choice.
More than 900 submissions were received during the consultation process from community organisations, the general public, local councils, businesses and industry associations and government agencies. That was a lot of consultation. Of those 900 submissions, 650 were about the struggling live music industry. I hope that these reforms will result in the revival of the village artist, the neighbourhood poet and the backyard musician. I hope that they will create family-friendly watering holes on our local street corners for neighbours to meet. They will provide a place for family and friends to celebrate and share experiences, to soothe the soul—or perhaps to enliven it—to cure loneliness or perhaps to rebel against mainstream media and large sports screens. They are fine, but we need more choice.
In 1998 the Musicians Union of New South Wales surveyed its members on why work was disappearing. The driving force behind this survey, Professor Bruce Johnson, then teamed up with Dr Shane Homan. In the 2003 they received funding from the Australia Council and the New South Wales Ministry for the Arts to prepare the "Vanishing Acts Report". The findings in that paper then informed the drafting of an issues paper for government by the Premier's Department in early 2005. Special mention must be made of the contribution of Victoria Owens, Program Manager, Music, from Arts New South Wales, who has played a major part in the implementation of these reforms, Shane McMahon from Arts New South Wales, Richard Ruhle from the Musicians Union and the Media, Entertainment and Arts Alliance, and, of course, John Wardle. John is in the Chamber with supporters tonight. I am inspired by the enormous amount of work he has done on this issue over 3½ years. I have heard that he is a talented musician. He knows many people in the industry and I trust and have faith in his briefings. I commend him for his energy, drive and intelligence.
These new liquor laws strike a balance between community and music industry needs now and into the future. This is yet another example of the Iemma Government taking proactive steps to provide the best possible environment for all. I encourage all members of Parliament to support these necessary reforms.