Pop Music

MEP 14. Mikael Damberg delar ut regeringens musik export pris till Max Martin och Spotify. Foto: Martina Huber/Regeringskansliet

Let’s be honest, today’s Top 40 pop music all sounds more or less alike, and Beyonce, Katy Perry, Rihanna, Bieber, The Weeknd, et cetera, mostly perform songs written by a very, very small group of Scandinavian hit-makers with an eye for demographics and an ear for up-the-minute musical trends.

That being the case, when we express preference for, say, Beyonce over Katy Perry – just as an example – what are we really expressing preference for? The way their public image speaks to us? Who we imagine them to be as people? The way they dance? Their stage-show? What they represent culturally? Or do we not like one and like the other simply in the way we might not like Nestle Crunch but like Twix, and there’s just no accounting for taste?

Honestly, it makes the most sense to me to either not like all of it, or basically like it all, because it all comes from the same place – a place that used to produce Vikings, then produced democratic socialism, and now produces records by American pop artists.

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