Triple J

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Programming

Current programming mix

As well as general pop music broadcasts (with a strong bias towards new music, Australian performers, and against bubblegum pop), Triple J has nightly specialist programs in different musical genres (see the programmes section below). It also covers news and current affairs from a youth-oriented perspective, although this facet of their programming has been considerably reduced since the station's inception.

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The broadcaster retains a somewhat anarchistic air, and in its earlier days there were certainly times when anything could happen (see History section).

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In common with other Australian radio stations, Triple J has also gradually increased the amount of talkback content in its programming. There are several reasons for this. Most importantly, talkback provides an inexpensive and popular source of program content, and also provides the appearance of listener interactivity and involvement. And, like many other former 'all music' stations, Triple J has had to respond to the advent of music file-sharing, the iPod and other digital music innovations, which have drastically reduced listeners' dependence on radio as a means of accessing new music and/or their favourite music.

Related Topics:
Talkback - IPod

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Although the station still promotes itself as being "free and easy" and it remains far more open to new music than any of the commercial stations, there is in fact a high degree of programming structure at Triple J, and while presenters retain a degree of autonomy, most of the music played on air is part of a carefully structured playlist, posted in the studio, to which presenters are obliged to conform.

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Evolution of programming

The evolution of Triple J's programming has always been contentious. In the Double Jay days, commercial stations and conservative types regularly cried foul over the station's free use of expletives on air and its ability to ignore the censorship restrictions that were in force on commercial radio. This situation stemmed from Double Jay's status as a special unit of the ABC, which at that time was only answerable to the ABC Board and the Minister for Communications, unlike the commercial stations, which were subject to regulation by the old Broadcasting Control Board (now the Australian Broadcasting Authority) and by their own peak body, the Federation of Australian Commercial Broadcasters (FACB), now known as Commercial Radio Australia.

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Over the years the station gained considerable renown for breaking new local acts -- Midnight Oil are probably the prime example of this, and the group would almost certainly not have had anything like the success they enjoyed without the help of Double Jay/Triple J. The station also broke countless overseas acts who were being ignored in their home countries. Double Jay was virtually the only 'pop' station in Australia in the late Seventies to play reggae, dub, punk rock, New Wave, world music electronic music and ambient music. It is indisputable that scores of bands in all of these genres owe their Australian success to the support of the Jays.

Related Topics:
Reggae - Dub - Punk rock - New Wave - World music - Electronic music - Ambient music

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Over the years the station moved away from its early style, which featured a high level of news, features, documentaries, current affairs and comedy, and was gradually steered towards a non-commercial version of the continuous music format that prevailed in commercial radio. Many original Double Jay segments -- the nightly "What's On" gig guide, its extensive news and current affairs coverage (which was often criticised for its alleged left wing bias), and its 'community noticeboard' segment -- were gradually eliminated, as were almost all the character comedy spots that had been popular features in previous years..

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Effects on local record companies and radio stations

The station also exerted a noticeable effect on local record companies. For many years, local record labels would only import recordings that they knew would get a good commercial return and they were often unwilling to take risks on local releases of unknown acts. Much new music was routinely only available as expensive imports in specialist shops. This began to change almost as soon as Double Jay came on air. A good example of the stations influence was in 1976 when Double Jay championed a new album, 801 Live, recorded by a one-off group that included former Roxy Music members Phil Manzanera and Brian Eno. Although the LP was hailed overseas as one of the best live recordings ever made and set new standards of technical excellence, the Australian distributor at first refused to release it locally, in spite of the fact that it was one of the most requested items on the Double Jay playlist at the time. As a result of the remarkable import sales that Double Jay generated -- it became the highest selling import album that year -- the company was effectively forced into releasing it locally.

Related Topics:
1976 - Roxy Music - Phil Manzanera - Brian Eno

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Triple J routinely championed many local and overseas acts -- e.g. Midnight Oil, The Models, Paul Kelly, The Clash, Sex Pistols, Public Image Ltd, Nirvana, Foo Fighters, Pixies, Ben Folds Five and hundreds more -- whose music would never have been played on Australian commercial radio. As with the ABC's long-running pop TV show Countdown, the support of Triple J in Australia also had a strong effect on the success of emerging overseas acts.

Related Topics:
Midnight Oil - The Models - Paul Kelly - The Clash - Sex Pistols - Public Image Ltd - Nirvana - Foo Fighters - Pixies - Ben Folds Five - Countdown

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A classic case in point is American group The B-52's and it is believed that Double Jay was the first radio station in the world to play their debut single Rock Lobster. The support of the Jays had a significant effect on the worldwide success of many acts including Blondie, Devo and more recently Ben Folds Five and especially Ben Harper, whose popularity in Australia -- which was entirely the result of support from Triple J -- was instrumental in breaking him back in his home country, the United States.

Related Topics:
The B-52's - Blondie - Devo - Ben Folds Five - Ben Harper

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It is also notable that Triple J was for many years routinely used as a free market research facility by commercial stations. As mainstream pop radio struggled to establish itself on the FM band, commercial stations like those owned by Austereo constantly monitored what songs and acts were doing especially well on Triple J and would then introduce the most 'saleable' of them into their own playlists. The huge commercial success of acts like The Police and Nirvana in Australia unquestionably stemmed directly from the support of Triple J.

Related Topics:
Market research - Austereo - The Police - Nirvana

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Music

Specialty music genres

Triple J programming schedule includes some shows featuring many specialty genres:

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• Hip Hop Show (hip-hop and rap)
• Groove Train (electronic and trance)
• Full Metal Racket (heavy metal - formerly 3 Hours of Power)
• Short Fast Loud (punk)
• The Sound Lab (experimental)
• Roots N All (roots and blues)

J-Files

The weekly J-Files show has had two incarnations over the years. From 1996 to 2003, it was a three hour late weeknight show hosted by Richard Kingsmill. Each show would be topical; it may feature an artist, a particular year in the past, or songs with a certain theme. Examples of themed shows include #9 songs (which was the theme on 9 September 1999's show), cats & dogs, New Zealand bands, or banned songs.

Related Topics:
#9 - 9 September - 1999 - Cat - Dog - New Zealand - Banned

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Today, the J-Files is a one hour Saturday afternoon show, hosted by various Triple J presenters. Generally it is pre-recorded, and only artists are featured.

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Live at the Wireless

Main article: Live at the Wireless

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Live at the Wireless is a long standing tradition of Triple J. It is a weekly broadcast of live music, of a number of forms - open air festivals, smaller concerts, or acoustic performances in the studio. Occasionally, Triple J will host a live performance in a secret location, and give away tickets to a limited number of listeners, to allow them to be a part of the special event.

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Home and Hosed

Up until 2002, the Australian Music Show was Triple J's all-Australian music segment, broadcast as a three hour late weeknight show (10pm to 1am) and hosted by Richard Kingsmill. Starting in 2003, the format changed to a two-hour show every weeknight (9pm to 11pm, shortening Super Request and the late night specialty shows by an hour each) and Robbie Buck became the presenter. It proved to be one of Triple J's most popular changes, as the audience (and the station itself) has traditionally been very supportive of local talent and unsigned bands.

Related Topics:
2002 - 2003

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Net 50