Sting, a choice that not anyone particularly excited.
Sting, that is.
Can it be more boring?
as when the Peter Gabriel received the polar music prize 2009 is my ryggmärgsreaktion "has he not already got it?".
Sting is just like Gabriel a so urtypisk the recipients of the prize that it feels almost mocking. He has a long, commercially successful career behind him (over 100 million records sold), from the breakthrough with The Police in the new wave-the wave in the late 70′s over a number of solo albums where he’s never been content to just do pop, but often drawn to jazz, world music and – jajemen! – lutmusik from the renaissance. In addition, he received three years ago, even a success with the musical "The last ship", about his growing up around the shipbuilding industry in the nort h west of England. He also has a large, paid attention to social and political involvement in the Amnesty and his own foundation for the preservation of the rainforest, which never is wrong in this context.
at the same time, it is everything else than a bold statement to assign this 65-year-old a music prize. He has already won 16 Grammys.
at Home on the shelf (although the prices from the Emmy – and Golden Globe-would. He has received four academy award nominations for film scores and has been elected into The Rock And Roll Hall Of Fame with The Police. In fact, he has received the british empire before he became the current for the polar music prize.
I defended the Polar-jury’s controversial choice of Max Martin in the last year, when it freshened up to give the prize to someone who is still in the middle of his career and also is not a "cross-border genreutforskare" without a passion for writing super hits. It was an unexpected choice, something that shook, upset and stuck out his chin.
Sting is so expected, it can be. He also belongs to the modern time’s most boring pop stars feel in the context is almost incidental.
The Police songs like "Every breath you take", "Message in a bottle", "Roxanne" and ” Don’t stand so close to me", absolutely. It is clear hits, which probably also managed to lead the a and another poplyssnare to reggae.
But in my more than 20 years as a konsertrecensent on this magazine I have also been a member of several Sting-hours of patient jazzpop and sönderslipade etnogrooves which, given its base in the rhythms tend to have strikingly difficult to start swinging for real. When Sting and Paul Simon – a former Polarpristagare, incidentally – did the joint tour of two years ago, it was like it blew in a hefty whiff of fresh air every time Simon had to take over the scene. With its respons ive curiosity feels Simon that everything Sting really wants to be but fails to do, or dare to.
And why Sting now? Not that it says anything about the order in Stikkan Anderson’s guidelines for the polar music prize but we can not turn a blind eye to the first pop and rockgenerationen starts getting on in years. For example, if the Smokey Robinson, Brian Wilson, Sly Stone, George Clinton, Van Morrison, Joan Baez, Al Green, Dolly Parton, Neil Young, Aretha Franklin, Carole King, Kraftwerk, Rolling Stones, and, not least, Little Richard and
Jerry Lee Lewis should have the chance to get the prize, it is the de facto bit of a hurry.
Now, can we possibly imagine that one or another of the above have declined, but still. After 25 years, there are quite a lot of questions about what so far has been the price and not.
There is also no doubt that views on gender. There were two guys this year, so it is now 41-10 in the men’s favor. Even if it possibly says something about the history of music, there is nothing that prevents the polar music prize from the to counter that image by highlighting women. Worthy female recipients had missing hardly. To the above list we could add the name as Madonna, Kate Bush, Said and – if the jury wants to "do a Max Martin" again – Beyoncé.
Finally: When "poppriset" sometimes have gone to a jazz musician, it felt possibly a little bit unexpected to the "serious" prize this year went to Wayne Shorter. Nevertheless, it is more than well deserved. Tenorsaxofonisten from Newark who played with Miles Davis and Art Blakey in the 60′s and not least became the norm with the band Weather Report in the 70′s is already highly esteemed in jazz circles for decades, but deserves an even wider recognition. After all, it is Shorter, which has made the Blue Note classic "Speak no evil" written and Miles Davis-the cornerstones of "Nefertiti" and "ESP".
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