Still 'Rage'-ing
Australia’s music video programme at 30
DOI:
https://doi.org/10.1558/prbt.36724Keywords:
Australia, popular music, public service, televisionAbstract
The music video programme Rage celebrated its thirtieth year on air in April 2017. A staple of the Australian media landscape and an important music source for industry and audiences, Rage provides national exposure for emerging artists as well as a platform for tributes, recommendations and popular music histories. The programme is also unique internationally, with a longevity and influence that television outlets in comparable markets like the US and UK have been unable to replicate. This article explores Rage's continuing broadcast as well as evolution and expansion into on-demand and digital television services. I argue that the music programme continues to innovate in the post-broadcast television and digital music industries, as well as provide an important touchstone for traditional Australian television and music outlets.
References
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ABS. 2018. ‘8146.0—Household Use of Information Technology, Australia, 2016–17’. Australian Bureau of Statistics. Online at http://www.abs.gov.au/ausstats/[email protected]/mf/8146.0?OpenDocument (accessed 4 June 2018).
ACMI. 2010. ‘Rage with Guest Programmer John Safran’. ACMI Online. Online at https://2015.acmi.net.au/acmi-channel/2010/podcast-rage-with-john-safran/ (accessed 6 June 2018).
Adams, C. 2017. ‘The Secrets of Rage—now the longest-running music show on TV’. News.Com.Au. Online at https://tinyurl.com/64f1edc1ece (accessed 10 February 2018).
Airoldi, M., D. Beraldo and A. Gandini. 2016. ‘Follow the Algorithm: An Exploratory Investigation of Music on YouTube’. Poetics 57/1: 1–13. https://doi.org/10.1016/j.poetic.2016.05.001
Bastow, C. 2017. ‘Guest-programming Rage has been a great Australian dream for 30 years. Here’s to 30 more’. The Guardian. Online at https://tinyurl.com/m6ltvs6 (accessed 10 February 2018).
Bennett, J., and N. Strange, eds. 2014. Media Independence: Working with Freedom or Working for Free? New York: Routledge. https://doi.org/10.4324/9781315776392
Beyoncé. 2016. ‘Lemonade: Visual Album’. Beyoncé official website. Online at https://www.beyonce.com/album/lemonade-visual-album/ (accessed 10 February 2018).
Byron, T. 2017. ‘Rage: the weekend all-night music show still rocking in the YouTube age’. Sydney Morning Herald. Online at https://tinyurl.com/gvg2g0 (accessed 10 February 2018).
Daalton, L. 2017. Comment made on Rage Facebook post: ‘29 years later and we’ve finally made it’. Online at https://tinyurl.com/y9cdgar4 (accessed 10 February 2018).
Dixon-Smith, M. 2017. ‘An Ode to “Rage” on its 30th Birthday’. Junkee Online. Online at https://junkee.com/ode-rage-30th-birthday/102144 (accessed 9 February 2018).
Fauteux, B. 2017. ‘“Songs You Need to Hear”: Public Radio Partnerships and the Mobility of National Music’. Radio Journal: International Studies in Broadcast & Audio Media 15/1: 47–64. https://doi.org/10.1386/rjao.15.1.47_1
Gee, N. 2015. ‘Maintaining our Rage: Inside Australia’s Longest-running Music Video Program’. PhD thesis, Queensland University of Technology. Online at https://eprints.qut.edu.au/85665/ (accessed 10 February 2018).
Gibsone, H. 2013. ‘Prince sends his first tweets, no symbols included’. The Guardian Online. Online at https://www.theguardian.com/music/2013/aug/14/prince-sends-first-tweet-twitter (accessed 10 February 2018).
Giuffre, L 2009. ‘Maintaining Rage: Counting Down without a Host for over 20 Years’. Perfect Beat 10/1: 39–57. https://doi.org/10.1558/prbt.v10i1.39
—2013a. ‘Rage against the Machine: Music TV Still Important for the Australian Industry’. The Conversation. Online at https://tinyurl.com/y7gt9yq3 (accessed 3 May 2018).
—2013b. ‘Countdown and Cult Music Television Programmes’. Intensities: Journal of Cult Media 6 (Autumn/Winter): 31–56.
—2017. ‘30 Years of Rage, and No Signs of Quietening’. The Conversation. Online at https://theconversation.com/30-years-of-rage-and-no-signs-of-quietening-75852 (accessed 10 February 2018).
Hesmondhalgh, D. 1999. ‘Indie: The Institutional Politics and Aesthetics of a Popular Music Genre’. Cultural Studies 13/1: 34–61. https://doi.org/10.1080/095023899335365
Koh, T. 2017. i/v with author, face to face, Sydney, 4 March 2017.
Knox, D. 2017. ‘The Loop goes Primetime for Summer’. TV Tonight. Online at https://tvtonight.com.au/2017/12/the-loop-goes-primetime-for-summer.html (accessed 6 June 2018).
Liikkanen, L., and A. Salovaara. 2015. ‘Music on YouTube: User Engagement with Traditional, User-appropriated and Derivative Videos’. Computers in Human Behavior 50/2: 108–124. https://doi.org/10.1016/j.chb.2015.01.067
McMahon, K. 2017. ‘Tim Rogers’. In Rage 30: Celebrating Thirty Years of R-R-R-R-Rage, ed. K. McMahon, 58–59. Sydney: ABC Magazines.
Nugent, M. 2014. ‘Video Cassette Revolution: The VCR in Australia’. MA (Research) Thesis, Macquarie University.
Rage. 2016. ‘Noel Fielding’. Rage. Online at http://www.abc.net.au/rage/guest/noel-fielding/9646512 (accessed 10 February 2018).
—2018. Homepage—The Official Rage Website. ABC online, at https://www.abc.net.au/rage/ (accessed 19 February 2018).
Reid, P. 2017. ‘How Do You Get Triple J Airplay? Music Director Nick Findlay Explains’. The Industry Observer. Online at https://www.theindustryobserver.com.au/how-do-you-get-triple-j-airplay-music-director-nick-findlay/ (accessed 6 June 2018).
Salter, L. 2017. Comment made on Rage Facebook post: ‘29 years later and we’ve finally made it’. Online at https://tinyurl.com/196766868707 (accessed 10 February 2018).
Stockbridge, S. 1992. ‘From Bandstand and Six O’Clock Rock to MTV and Rage: Rock Music on Australian Television’. In From Pop to Punk to Postmodernism: Popular Music and Australian Culture from the 1960s to the 1990s, ed. P. Hayward, 68–85. Sydney: Allen and Unwin.
Strong, C. 2015. ‘Shaping the Past of Popular Music: Memory, Forgetting and Documenting’. In The SAGE Handbook of Popular Music, ed. Andy Bennett and Steve Waksman, 418–33. London: Sage.
Strong, C., and B. Lebrun. 2015. ‘The Great Gig in the Sky’. In Death and the Rock Star, ed. Catherine Strong and Barbara Lebrun, 1–16. Surrey: Ashgate. https://doi.org/10.4135/9781473910362.n24
Vernallis, C. 2013. Unruly Media: YouTube, Music Video, and the New Digital Cinema. Oxford: Oxford University Press. https://doi.org/10.1093/acprof:oso/9780199766994.001.0001
—2017. ‘Beyoncé’s Overwhelming Opus; or, the Past and Future of Music Video’. Film Criticism 41/1. Online at https://tinyurl.com/ydc5ne6z (accessed 10 February 2018).
Vlegels, J., and L. Lievens. 2017. ‘Music Classification, Genres, and Taste Patterns: A Ground-up Network Analysis on the Clustering of Artist Preferences’. Poetics 60: 76–89. https://doi.org/10.1016/j.poetic.2016.08.004
Published
2018-12-29
Issue
Section
Articles
How to Cite
Giuffre, L. (2018). Still ’Rage’-ing: Australia’s music video programme at 30. Perfect Beat, 19(1), 32-50. https://doi.org/10.1558/prbt.36724
