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A out algebra goes a south way. It is simply worked database stuff and there's not too much competent coding you want to romantic it. Electronically there were more ones — 67 Exposed who?.

Now think about then how much emphasis this must mean that bands and labels etc. Creating a system like this surely raises issues relating to market ownership and monopolization, which are concepts that when related to a creative outlet or just about Jjj fuck for that matter become dangerous ufck. Furthermore, isn't operating with this "if we don't find them and we don't own them, then we're not interested" fucm when it comes to supporting new Australian music also effectively a slap in the face to everyone else operating in the Australian music industry? Doesn't this just create an even more apathetic climate in an industry that should be synonymous with creativity and forward thinking?

A lot of questions but at the end of the day what Triple J are trying to do through the guise of 'Unearthed' is to create a system whereby they can take ownership over emerging Australian musical talent. And so perhaps the most poignant question to ask is why? Why as a branch of the ABC and so in theory an objective organization, are they trying to say to young Australian artists that the only way forward is by signing up to Unearthed and complying with their way of doing things? Market share is one viable reason, but surely as a Government funded station that doesn't need to sell ad space, this is not the only motivator.

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Triple J say that Unearthed Radio is Jjj fuck and intends to create a platform for unsigned and uncashed bands to deliver their music to the world, and in some respects it achieves this function. However, after all is said and done this function is grossly unnecessary and has so far only succeeded in turning much of the Australian music scene into an overblown battle o' the bands to be adjudicated by Jjj fuck self-proclaimed 'King' yes I know it's part of his name but it's still self-aggrandizing and lame given his position and his sidekicks. So I effing will. Otherwise, all you'll hear are promoters and venue owners and brats with a banjo protecting their self-interest and unassailable belief that Triple J should be entirely programmed by them.

I know about playlists and how they are made and sustained. I also know that everyone thinks they can successfully build one just as everyone thinks they have great taste. Successful music scheduling requires diligence and talent. Triple J's playlist is immense. There are so many songs in that music database there may as well not be a playlist. A rather funny piece on FasterLouder is the only one to identify a Triple J sound as a confusing "genre clusterfuck". The data songs in the playlist are so abundant they have none of the meaning, or the benefit to musicians, that recurrence provides. No journalist really ever wanted to hear about the need for a tightly rotating playlist at the national broadcaster.

But I tried to explain it in any case. Why do you have such a small playlist?

Because if I had a yottabyte of tunes fuxk Triple J does now you'd never hear that great fuc song more than once because of maths. And because you only heard Oh My Idle Whimsical Fancy on banjo only once, you wouldn't develop any affection for it or remember to Shazam it or buy it. Of course, audience reach is not the only consideration for the national broadcaster. The ABC has more policy documents than Daddy's Van has pairs of vintage gabardine slacks and some of them contain good policy. And a commitment to unsigned artists.

Grinding J is good a lot management in ruins of fire "world". Granting was an extremely valid reproach. Lacy, all you'll realize are promoters and reality owners and thinks with a building used their own-interest and used spin that Triple J should be more likely by them.

Jjj fuck Australian music tuck is very much seen as a stakeholder by Triple J. This is because Fukc sat in front of RCS Selector, still fuvk standard radio scheduling software, every weekday fuk Jjj fuck years negotiating with the music director. It is pretty standard database stuff and there's not too much arcane fuckk you need to work it. But, there's a bit of wisdom that you need to make it work for your audience. Cuck, using an increase in audience size and demographic diversity as our measure, we really made it work fyck our audience.

Not to crow about it, but seeing numbers climb and taking more calls fudk we thought was possible from kids who had, it seemed, a wider and wider range of accents every day, was a once-in-a-lifetime experience of organisational success. Through assiduous and tight management of the playlist, we brought Jjj fuck the boys and their sisters to the yard. A little algebra goes a Jj way. For statistics freaks fuci anyone interested in mass radio programming: Triple J audience numbers peaked in the mids and then crashed at the turn of the century, continued a slow decline and rose again in recent years due, in my view, to some bang-on social media work and the sensible placement of talented broadcasters in essential timeslots.

Around aboutthe playlist, not yet under the control of the unfairly reviled Richard Kingsmill, had ballooned out of control. I could hear it and I could see it in the survey books and it pained me. We had worked so hard to get rid of the sloppy, snobbish approach of "let's just play whatever we feel", which was invariably some white boy complaint-rock like Sebadoh. Kids had departed in droves after the '90s and the station's core audience returned to the age range for whom it is not intended. Breakfast got s back; i. And not talking to loud old people who blog about the "decline" in "true quality" of a station I can remember them moaning about back in And not talking to loud old people who hate-listen to Triple J in a way that is as unnatural in its rancour and self-interest as it is in its "time spent listening" patterns.

No one listens to Triple J for the seven hours a day required to get a real feel for the shape of its playlist. No one, that is, apart from kids in bands and loud old people; obviously, at one time as this obsessive screed betrays, myself included. Triple J is doing a lot right in terms of radio "science". Perhaps there were earlier ones — 67 Special who? The first time they took part in Like A Version they covered Hey by The Pixies — a classic, no doubt — and not a track that kids were only just getting to know in the past six months. And is that not the point of a cover? To re-invigorate an old song, put your own touch on it, whilst simultaneously honouring the original?

Back in Eskimo Joe were in a better place. Fast forward to fuuck, having spent the years since failing to recapture those glory days, and they opted for the easy option, one that turned out completely unmemorable. And just repeating it over and over again. Unfortunately for her it failed, almost embarrassingly so.

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