This copy of 'Juke' magazine has significance as an example of how rock music magazines helped to promote Australian recording artists. Australia has enjoyed a healthy supply of magazines documenting the local and overseas rock music scenes. 'Go-Set' (1966-1974) provided news, gossip and interviews. Soon after its demise, there emerged successors aspiring to be the leading rock music trade paper. 'Sound Blast' had been running for several years before 1975 when it was joined by 'RAM' (Rock Australia Magazine). Started by Anthony O'Grady, a former 'Go-Set' contributor, and publisher Philip Mason, 'RAM' was modelled on English papers such as 'New Musical Express' and 'Melody Maker' and quickly flourished. It was the era of Skyhooks, the early 2JJ and 'Countdown', and 'RAM' enhanced the sense that something was really happening with contemporary music.

Three months after 'RAM' started, a Melbourne competitor emerged in 'Juke'. Established by Ed Nimmervoll, a former contributor to and editor of 'Go-Set', 'Juke' aimed to be 'as visually exciting as the music is'. Despite early financial troubles, 'Juke' outlasted its main competitor 'RAM', surviving until the mid 1990s.

This copy of the magazine also has significance as visual evidence of the image and profile of Renee Geyer, Australia's gifted and enduring soul-blues vocalist. In the 1970s she released several albums for RCA, with hit singles including 'Heading in the Right Direction' and 'It's a Man's Man's World'. Renee Geyer came to Mushroom Records in the early 80s and recorded a number of albums including 'So Lucky', featuring the single 'Say I Love You'. Mushroom's records were manufactured, distributed and marketed by Festival Records, which was therefore responsible for promoting Geyer's music. This often involved liaising with rock music magazines to gain coverage.

As an Australian record company, Festival Records was for over 50 years a significant force in the music recording industry. It financed, recorded, manufactured, promoted, marketed, distributed and published a huge range of local and overseas music, from classical to popular, under an equally vast number of labels. Although a major record company, it was independent of the five multinational companies that dominated the industry worldwide.

Festival Records manufactured vinyl discs in Sydney for 40 years. At the height of production in the 1980s Festival's factory was buzzing with 26 record presses pumping out 25,000 records per day. In addition there was a cassette duplicating plant, an art department, a printing department for album covers, plus a huge warehouse for packing and distribution. Festival Records' distribution of the Johnny Young newsletter exemplifies its efforts at promoting its local recording artists.

Festival Records provided a home to a vast array of musical styles and many independent labels, not readily identified with the Festival brand. For over fifty years its existence as a major independent record company, competing with the multinationals, helped to create a healthy environment for Australian music.

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Powerhouse Museum