50 years of Triple J: challenging censorship, supporting Australian artists, and ‘no dope in the studio!’

Originally known as 2JJ, or Double Jay, when it launched in Sydney at 11am on January 19 1975, Triple J has since become the national youth network. The station now encompasses broadcast radio, live events, social media and a huge digital and cultural influence. It’s been the beating heart (or beating drum, as its logo depicts) of generations of young Australians.

With a target audience of 18–24-year-olds (ish), what does it mean when the national youth broadcaster hits middle age?

A station for young Australians

Triple J was born out of the Whitlam government’s commitment to young Australians. In addition to lowering the voting age from 21 to 18, the introduction of a dedicated space for young people provided by the national broadcaster allowed for greater cultural and civic participation.

The first song played on air was You Just Like Me ‘Cos I’m Good in Bed by Skyhooks. Banned by commercial networks for its explicit sex and drug themes, the ABC – not beholden to advertisers – pushed boundaries by starting with this song.

The station became known as Triple J in 1981 when it shifted to FM radio, and the move to become a national network started in 1990, rolling out across the decade.

A station for Australian talent

People like Mark Colvin, Wil Anderson, Zan Rowe, Myf Warhurst, Judith Lucy, Roy and HG and Dr Karl all got their start at Triple J, often moving beyond the right “look or sound” for the commercial networks.

Triple J’s influence on Australian musical culture is almost impossible to understate.

Playlists for Australian music have been consistently and significantly higher than commercial competition.

The station has long run programs designed to support local artists. Cooking with George, a new Australian music show in the early 1980s hosted by George Wayne, created a platform for new artists to connect with audiences.

The Long Live the Evolution campaign in the early 1980s encouraged audiences to buy Australian music by offering a free Australian music compilation record with purchase of any Australian album.

The new talent competition Unearthed began in 1995 and now counts among its alumni Missy Higgins, Flume and Grinspoon.

One Night Stand is a semi-regular festival the station takes to different regional or rural Australian towns. The station’s coverage of festivals like Big Day Out and Splendour in the Grass provided a way for audiences who couldn’t afford to attend to still listen along.

A station for chaos, and youth politics

The appeal has always been the energy, if not occasional chaos, of having young people in charge and on air.

Clashes with ABC management have been inevitable. A memo distributed internally in 1976, and redistributed in 1979, gave “a very stroppy reminder to all staff of our self-imposed rule – NO DOPE IN THE OFFICE OR STUDIO!!”

In 1989, presenters protested the censorship of N.W.A.’s Fuck Tha Police. To show their objections, staff played N.W.A’s Express Yourself – a song rallying against censorship, and also the only song on the album without swear words – repeatedly for an entire day.

This again played out in the early 2000s when the presenters played The Herd’s 77% in full, complete with explicit lyrics which target the government and commercial broadcasters, saying “these cunts need a shake up”. ABC management argued that the language was unacceptable. But announcer Steve Cannane instead used the song to spark a 90 minute talkback special.

Overwhelmingly, Triple J presenters felt the strength of the language reflected the strength of the artists’ activist feelings.

Tracing the station’s approach to social issues is a way to trace the priorities of many young people in Australia. In 2017 the Hottest 100 countdown was moved away from January 26, following a listener petition and survey.

Over the years the station has promoted activists standing up against racism and homophobia. In 2023 after the Voice referendum, announcer Nooky gave an impassioned personal statement, followed by Yothu Yindi’s Treaty on repeat for the rest of the show.

A station for audiences

As I found studying Triple J’s impact during COVID, providing listeners with a range of listening options remains vital.

In May 2020 listeners across the country took over the program grid and requested songs – literally anything – as part of a week-long “Requestival”.

Hilariously the audience trolled the broadcaster, requesting everything from The Antiques Roadshow theme to Beethoven, as well as local artists and international pop.

Triple J became a clear place where the pent up energy, fear and loneliness of the young audience could be shared.

Room to grow

There were rumours Triple J was on its last legs even before it completed its first year on air.

While general and music outlets seem to periodically publish “is Triple J still relevant?” opinion pieces, most often these pieces are written by people who have aged out of the station’s target.

But commentators past the target demographic, judging it from their nostalgic perspective, aren’t the right people to decide if Australians 18–25 are getting what they feel they need.

Generational battles over the role and importance of Triple J continue to rage.

This is not to say older audiences should stop caring about Triple J. Nostalgia is powerful and important, shown by audiences who attended the sold out 20 year anniversary show by former breakfast hosts Adam Spencer and Wil Anderson.

Since 2015, the digital station Double J has served the “former” Triple J audience, complete with former Triple J presenters, music specials and music aimed at an older demographic.

Triple J is etched in the memories and forms a legacy for older Australians. Those who remember that first broadcast in 1975 will even get to relive it this weekend on Digital Double J, but Triple J is still a vital resource for its target audience.

At a time when media outlets are increasingly concentrated, more regularly incorporating AI and moving away from rigorous fact checking, there is even more need to promote and protect an outlet that embraces the distinctiveness of young Australians making new work now.

Liz Giuffre does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.