The Problem With Disqualifying Taylor Swift

By now you probably know that Taylor Swift was disqualified as a contender on Triple J's Hottest 100. Although I wouldn't have voted her in, or voted at all to be honest, the decision to disclude her not only goes against the idea of the Hottest 100 supposedly being the "biggest music democracy on earth", but shows just how out of touch Triple J is with modern music.

In omitting Swift Triple J have dealt a massive blow to any claim they represent a youth audience. For the Hottest 100, and I'm being generous here, is supposed to be an even handed presentation of what Australia's youth is listening to and caring about. Sorry to break your heart guys, but a lot of people are listening to Taylor Swift, and it's not just closeted 13-year-olds and recently dumped high schoolers.

Triple J mistakenly assumes that this is a campaign led by frenzied teenie boppers trying to take down independent music one Twitter campaign at a time. But those kids don't give a shit about Triple J. One look at Twitter will reveal that the people calling for this are mostly adults, many of whom listen to the station, and like a lot of the world were surprised to find themselves liking an album outside their usual favourites in Swift's 1989. And, as the institution of the Hottest 100 has tried to impart to us, if you really like something, let them know by voting for it.

Obviously this outcry and following disqualification came about because they decided that the work wasn't good enough to grace the stations airwaves. But to this I say two things: Fuck you, you have a voting system because this is supposed to be the moment Richard Kingsmill relaxes his vice like grip for a moment; and that album shits all over anything Peking Duk ever put out.

It's a slap in the face to the few listeners left who not only care enough to vote, but actually create a campaign around it. But it also begs the question, in the checkered history of the Hottest 100, why put your foot down now?

This isn't the first time an outsider has broken through, U2's "Elevation" and Green Day's "Good Riddance" both ranked in years they weren't nominated. On both occasions they weren't disputed and are remembered as funny little footnotes in the stations history. You could even say at the time they were a testament to the station's sportsmanship and good humour. As if to say, okay guys, not my choice but if that's what you want to hear…

Which begs the question—why is Taylor Swift so offensive? In terms of being tainted by mainstream appeal she's committed no crimes U2 haven't. And before you jump to the usual, 'pop is shit', conclusion make sure you have actually listened to this album. Whatever you thought of her in her cowboy boots wearing past, Swift did manage to put out a very real, very popular album dealing with a lot of issues many young people would understand that was a huge commercial and critical success. There is no way you can tell me that "Cosby Sweater" is going to be able to stand up to anything on 1989 in 12-months time.

Again, I don't want to throw the baby out with the soft rock bath water, there was once a role in Australian music Triple J played very well. And maybe one day they'll get back there. But their endless dedication to boring, middle of the road, Big M soundtrack bands has left them in the 20th century. And other than being disrespectful to voters, this recent issue also highlights their ability to recognise a breaking wave in music.

Yes Swift is a pretty pop star with a lot of money. But she's also an impressive performer who works hard, tours constantly, writes all her own songs and is fiercely protective and in control of her own image and career. On paper, the only massive differences between her and Triple J favourite Lorde is hairstyle and accent.

Feminist tirade about the patriarchy's crippling fear of a powerful woman aside, the biggest issue is how the station has demonstrated how massively out of touch the Hottest 100 is. Noisey hansn't exactly held them on a pedestal, but you would be hard pressed to find anyone under 40 who doesn't carry a weak flame for the station. Don't deny it, at one point or another you probably really did give a shit about it.

But by throwing off Swift they not only say they think their opinion trumps their listeners, and that they feel it's within their right to disregard an opinion so loudly sounded, but also that they can't take the hint over the music they're playing.

This is a golden age for smart, powerful, often female driven pop. Not that they have to play it everyday, but the station does need to address that it's a reality. And by just letting people vote for Swift would have been an elegant way to say, we get it, we're hip to your guitar driven jive, while never having to actually give the album any real time.

You could write a thesis on their delusion that they are about musical diversity while ignoring all the great punk, metal, and hip hop that's not about bucket bongs out there; but by playing one Taylor Swift song, literally as a joke, they could at least show they understand that pop music is a real force right now.

It's that inability to get in on the joke that stings most of all. Triple J does have a history of being able to have a laugh. Not only in their cultivation of comedic talent, but also in the aforementioned ability to let a couple of random entries make it through over the years. But by blocking this they not only show a lack of humor, but also prove what we feared, that they're fully dedicated to taking themselves too seriously. And nothing makes you seem more out of touch that not being able to laugh at yourself sometimes.

Who knew that Taylor Swift would be the one to ultimately highlight the stagnancy of one of Australia's great youth institutions. We'd offer a commiseration Triple J and tell you to "Shake it Off", but you've proven in more ways than one, you wouldn't get the joke.

For more of Wendy's writing check her site Good Good Girl.