Commentary: House shows are here to stay
By Marshall Pearson, News Editor
There is something inherently beautiful about selfless action. Humans are unlikely to provide for the needs of others without some type of monetary reward or significant favor, and it is rare indeed to encounter anything to the contrary. A few years ago, my jaded high school self would have agreed completely with this notion.
This was before I went to my first house show. What I saw there was so counterintuitive, and I remember walking away in a daze. I saw friends, strangers, artists and performers sharing music, sharing food, sharing literature, sharing beer and enjoying one another’s company. I saw a level of interaction completely foreign to me; no one was talking about others in a negative manner, no one was fighting about who got paid how much and no one was being judged based on their appearance. I was hooked.
House shows are a fundamental element of D.I.Y. culture, and as such, they are under attack. This has proven itself as a problem here in Athens in the past at house venues including the Bruce Manor (located 221 West Union Street) and Brown Town (located at 35 Brown Street). What Athens Code Enforcement Director John Paszke referred to as commercial venue use of a non-commercial, private residence is what sparked the summer 2009 controversy targeted at Brown Town.
But D.I.Y. culture and all its elements will always endure persecution because they challenge the traditional flow of cultural systems and offend the sensibilities of those in control. Concerts at bars are acceptable in the eyes of the powers that be simply because any counterculture is kept contained and subjugated. However, the unacceptability of house shows has always seemed preposterous to me.
Resourcefulness, while not explicitly mentioned in the Constitution, is one of the most historically “American” traits. “Yankee Ingenuity,” anyone? It worked for the early settlers of this country, and it worked for starving families in the Great Depression. Making the most with what you have is one motivation for holding a house show and seems to echo this tenant of American culture, yet the manifestation of this idea is being attacked. It seems that governmental bodies and the larger culture should realize that house shows, especially in college towns, exist because of the resourcefulness we are taught to possess. None of us owns a bar or concert venue, but we do rent houses. Some of us enjoy live music and socializing. Therefore, we make our own avenue for artistic expression and honest human interaction. Condemning house shows stifles the ambition of students and seems to tell them that the notion of using what one has effectively is wrong.
Such concerts are only one element of D.I.Y. culture but are targeted far more often than the distribution of radical literature, dumpster diving or making clothes. The reason for this? They make noise. They allow us to make noise about what pisses us off, what inspires us and what changes we want to see in the world. House shows allow us to step outside the bubbles to which we are often relegated and meet people from different places that want to share their art. Everyone has a voice, and every willing person should be allowed to express it. We can and should all make noise and, thanks to house shows, many of us can.
Perhaps the greatest argument for the prolongation of such concerts is the alleviation of apathy. Overall, the generation comprised of today’s college students is a lazy, disconnected one, myself included. However, we must combat the intrusion of apathy into our daily lives and house shows, as well as D.I.Y. culture in general, for it is one of the most accessible ways to make a positive change in our lives and become involved. The opportunity for an unpolished band to play to an audience would hardly exist if not for basement shows, and this chance could motivate aspiring musicians to create art for the benefit of everyone.
Having an art showing at such a venue could provide an atmosphere of friendly appreciation and create mutual respect for the artistic endeavors of others. Passing out political fliers or zines at house shows can expose a new crowd to the minority opinion, instigate conversation and intellectually enrich both parties. All of these activities occur at every single house show that I have attended. Thanks to house shows, up-and-coming bands, as well as artists, activists, cooks and craftsmen, are able to make their voices heard and engage positively with others in their community. Getting involved in a larger cause crushes apathetic behavior and, fortunately for those concerned, apathy has no place at a house show.
Granted, this may be an oversimplification of the house show phenomenon. Some elements have been left out, namely an opposing opinion (Athens Mayor Paul Wiehl declined to comment for this article). There are certain safety concerns that have legitimacy, and it is possible for neighbors near these venues to be bothered by the noise. However, I believe that as long as safety is a priority for those who run house show venues and neighbors give approval for performances, there is no genuine objection that can be made.
Stifling house shows and other elements of D.I.Y. culture means stifling creativity, stifling free expression, stifling activism and discouraging ingenuity. To me, house shows represent only positive action in the community and should remain free from governmental or legal interference. This is not likely to happen, but nothing can stop house shows and the creativity they facilitate. The locations may change and the residents of the venues may alternate, but wherever art and culture have a home, so will house shows.
