I'm getting dizzy already from the table of contents that begins and ends with Zara Larsson. In short chapters interspersed with the names from the 90s riot grrrl movement, which has leaderboards with today's ditto, narrow and wide alternately. But it is something that music journalist and the author of the Annah Björk can, it is to tell a story quickly, snärtigt and live.
”You must move on you,” is described in the preface as a true history. The book is based on interviews with a range of artists, producers and songwriters as well as archival materials and social media.
Björk together a nice mosaic of the music industry's development in the modern glow of the metoo. She writes inventive and exciting, if popfabrikens fulspel, slimy skivbolagsgubbar and more subtle snubbeltrådar as snuvar women at kredd and jack. But also if how to Bikini Kill and Kathleen hanna's punkfeministiska slogans ”girl power” hijacked by the pop group the Spice Girls. And how, precisely, the simplification and commodification allows a younger generation can relate to the message. Female artists find new shortcuts to the fans directly via social media, without having to ask any record label for permission.
Until it grows a new sisterhood. But even the digital revolution affected by the setback; the comments field is filled with threats and sexual harassment. There is no doubt that the music industry is suffering from structural problems and unhealthy male power. Not just externally, but also in the hidden with the phenomenon as the ”boys club”, the male producers grabbklubb who carefully guards his territory. Networking, which makes it hopeless for women to reach prestigeuppdragen. Lalaland, the commercial life's pressures and technology capital of Los Angeles, is still a man's, man's – and in particular Max Martinsk – world.
the form of facts has its disadvantages. Birch emphasises that the book is her interpretation, but närvaroperspektivet is problematic. Just like in the series ”Herman's history” sounds often as if the author was there, even when she can't have been it. Oddly, it will even be when Björk lamented how the middle-aged male artists have begun to ally themselves with women, preferably those with a feminist approach. ”A new kind of exploitation and exploitative”, according to her cynical. Men in the music industry may as well not do the right thing.
As some seem to women to be required to share any personal responsibility for the economic resources which rolls in the way. For in the case of Rebecca & Fiona would be just as happy to be able to talk about the two chicks that end up in the lyxfällan for the chasing fame and do not want to ”destroy vibben”.
also makes it attractive easy to skew the selection so that it fits the thesis. When Björk fulciterar a male music journalist. It can google the review in its entirety see that the text neither criticizes the ”pink fluff” or Laleh as a woman, but the rigid atmosphere that easily occurs when the artists perform with the chamber orchestra.
It is a pity. Birch had had fog for the book's enjoining the title right without such tricks, and a whole bunch of unnecessary korrfel.