Every year, as my boyfriend James and I discuss how we’re going to vote in the Triple J Hottest 100, we have a faux-debate on some song that James thinks deserves to be in the 100, but I think has no chance. In the past it was Beyonce’s ‘Single Ladies’, Carly Rae Jepsen’s ‘Call Me Maybe’, and this year, James was determined that Gangnam Style deserved to be number one.
Now, to be fair, I don’t think I’ve ever really been against these songs making the top 100 (James may disagree with me on that), but every year I’ve been certain that none of them would come close. Every year I have been right.
But this year, as I’ve reflected on the top 100, I’ve had to really think about why Gangnam Style didn’t make the list. In fact it wasn’t even on the list of voting options in the lead up to the countdown. It’s strange, because in many ways Gangnam Style is the exact sort of song that Triple J listeners may love. It’s extremely political, with the sort of politics many in Triple J would like, and if you think about it is quite musically innovative. Clearly the music video had a lot going for it too. Psy was even the sort of alternative artist (before he became famous) that Triple J listeners love. In fact, the only thing that made it ‘non-Triple J’ was its overt commercialism (although that was clearly never intended when the song was written) and international popularity.
In their book, “Nation of Rebels”, Joseph Heath and Andrew Potter discuss the phenomenon that I think is largely behind the popularity (ironically) of Triple J, and the uniqueness of the Hottest 100 list; counter-cultural movements.
This is a book I read in 2009, so I can’t quote it off-hand, but at it simplest form Heath and Potter explore the growth of counter-cultural movements. They argue that these movements, ones that have aimed at separating themselves with ‘mainstream’ culture, have ended up being co-opted into a consumerist culture that they criticise. Looking at the birth of these counter-cultures, you can see how Triple J fits into this mould. It’s a radio station born for ‘young people’ and designed to showcase music that doesn’t make it into the mainstream. In doing so, Triple J has created its own Australian music ‘counter-culture’, one that rebels against the commercialisation of mainstream music, but in doing so creates its own commercial brand (see how many artists have started on Triple J and have gone to extreme commercial success).
Now, despite my concerns about the political effectiveness of counter-culture movements, I don’t have the problem with the existence of them. In fact, I am a big fan of Triple J and rarely listen to anything else. A diverse society in which people can express themselves in different ways is not a bad thing, and I thinking fighting against some of the bad things in mainstream culture is a good idea. The problem is that in the Triple J world, and the world of many other counter-cultures, we have seen a growth of cultural smugness.
In his chapter in the book Left Turn released last year Christos Tsiolkas described what he called The Toxicity of Smugness. In the piece, Tsiolkas discusses the use of the term ‘bogan’ in left-wing circles, and the smugness that surrounds the term:
“I think that just as the right-wing disavowel of the terminology of class is revealing of conservative politics…there is also something revealing about the evasions and fears of the bourgeois Left in the contempt for the ‘bogan’.
Tsiolkas explains that this toxicity of smugness is leading to an isolation of the working class in the left, a world in which the bourgeois left is pushing the working-class out.
“The toxicity of progressive bourgeois smugness can be ascertained by how contemptuous is the language used to define the behaviour and expressions for working-class and welfare-class lives. And the danger of this smugness is clear in how few working-class and welfare-class voices are given space to articulate an alternative left politics to one founded either on identity politics or categories of morality.”
Going back to Triple J and our counter-cultures, it has become clear to me how pervasive the toxicity of smugness has become as part of these movements.
Counter-cultural ideas are, and should be designed as a way to rebel against the bad parts of mainstream culture – to provide an alternative. However, as an agent of the left, many of these movements have developed a smug shield to them – one in which anything considered ‘mainstream’, ‘commercial’ or ‘bogan’ is discounted off-hand no matter its quality. Of course there are exceptions to these rules (Apple products being the perfect example), but these only really happen when it suits the needs of the movement.
We can see this clearly with Gangnam Style. Doing some reading on Psy, I could imagine that he would fit nicely within the Triple J counterculture. But, because of some thought of betrayal due to commercialisation he wasn’t allowed in. The same has happened many times in Triple J. I clearly remember a time when people complained heavily that they played Kanye West’s “All of the Lights”. Apparently, even though people loved Kanye’s album, they hated that song because it featured Rihanna.
This smugness has of course lead to a level of isolation within progressive, counter-cultural movements. Of course counter-cultures are designed to separate themselves somewhat, and there is no problem with that, but the idea is to resist capitalism and modern culture, not judge everyone who likes things within that culture. Hell, we should even be able to accept that some parts of mainstream culture are great.
On reflection, I think Gangnam Style was hard done by. I may not have voted for it, and I don’t expect everyone else too, but I also don’t want a smug approach to it just because it is ‘popular’.