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- Nordström, Marika, 1969-
(författare)
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Berättelser om livet som musiker inom populärmusikfältet
- 2014
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Ingår i: Bilder från musikskapandets vardag. - Umeå : Umeå universitet. - 9789176011904 ; , s. 131-163
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Bokkapitel (övrigt vetenskapligt/konstnärligt)abstract
- Stories about life as a musician in the popular music arenaThis chapter is based on two different kinds of material (four in depth interviews with semi-professional musicians, combined with a thorough review and analysis of printed interviews in the Swedish music magazine Sonic, published between the years 2000-2012). Life as a musician is portrayed in many varied ways in these texts and interviews. One common description is how the drawbacks are compensated by the joy and pleasure connected to music making, and the life style that it comes along with it. Quite many depict their music making as therapeutic and truly rewarding, and as an integral part of who they are. Many are in some way dissatisfied or feel that they are negatively impacted by the conditions of the music industry, for instance leading to economic difficulties and stress. Some feel anxieties of performing live, or discomfort in being publicly described and evaluated by music journalists/-writers. In the in-depth interviews it becomes clear that musicians develop strategies for their careers and lives. Quite many have shaped their lives to suit their dreams as musicians, for instance by having a separate professional identity where they earn their living. This means that they do not, in the same way, have to depend on the music industry – neither financially nor artistically. The "alternative" identity represented by Sonic, with its recurring scepticism towards the big music industry, is in several ways reflected in the printed interviews but is also clearly visible in the in-depth interviews. Artistic integrity is important for many and a great number become small business owners (for instance by starting their own record company). Still it can be strenuous to be a small entrepreneur, with a heavy workload and economic stress. However, for many there exists a dream to be able to freely create the music you want – independent of current market demands and trends.
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- Nordström, Marika, 1969-
(författare)
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Berättelser om skapandeprocesser inom populärmusiken
- 2014
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Ingår i: Bilder från musikskapandets vardag. - Umeå : Umeå universitet. - 9789176011904 ; , s. 63-89
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Bokkapitel (övrigt vetenskapligt/konstnärligt)abstract
- Stories about creative processes in popular musicThere are many threads in these stories about music making, of how musicians articulate the process behind the tunes. The chapter is based on two different kinds of material (four in depth interviews with semi professional musicians and an analysis of interviews in the Swedish music magazine Sonic). One frequent theme in these narratives is how the music business, in a multitude of ways, is considered as problematic as regards to artistic freedom and creativity. It is for instance considered being difficult to be truly creative whilst experiencing time pressure, or when dealing with expectations from record companies or music journalists. Different sources of inspiration are portrayed as essential in order to create new material: music, film and public debate are a frequently mentioned. It is regarded as important to have extended knowledge of music (history), but not be hindered by genre conventions. By analysing these stories, one emerging idea is that the best new music tends to exist in the perfect intersection between fragments and ideas found in other people's music and the unique, highly individual, impression. The importance or longing for authenticity is stressed time and time again. Many want their music, and not least their lyrical content, to be a reflection of their real, true selves: their personal history, experiences and emotions. The interviews of Sonic clearly resonate how authenticity, with its different manifestations, is perceived as something desirable, or as a matter of course. The texts often circulate around the background of the musician, for instance the place of birth – as if trying to find the roots of the lyrics and tunes. In this "alternative" context, authenticity is often seen as something that qualifies good, meaningful music. This discourse about authenticity, origin and artistic integrity is also clearly visible in the in-depth interviews, and musicians quite often say that they in their music want to contribute with something new and original.
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- Nordström, Marika, 1969-
(författare)
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”Nån slags soffliggande nomad i musikbranschen” : ett samtal med Max Mackhé om musik, identitet och politisk aktivism
- 2014
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Ingår i: Kulturella perspektiv - Svensk etnologisk tidskrift. - Umeå : Föreningen Kulturella Perspektiv. - 1102-7908. ; :1, s. 22-32
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Tidskriftsartikel (refereegranskat)abstract
- This article presents Max Mackhé, a pop musician and political activist. He comes from Sweden, lives in Norway and feels like part of the Sámi community. The article discusses Max’s own experiences concerning identity and shows how an ethnic identity can be culturally constructed and that this can be a complex issue that relates to civil rights, among other things. Early in his life he felt affinity towards the Sámi culture and has witnessed racism toward Sámi people. His music nowadays bears witness of his strong political engagement in environmental issues and the rights of indigenous peoples, for instance regarding the current mining exploitations in the north of Sweden. His political activism also takes place in social media, for instance on Twitter.
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- Nordström, Marika, 1969-
(författare)
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Rock och feminism
- 2004
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Ingår i: Respekt för rötter. - Slite : Wessmans musikförlag. - 9187710188 ; , s. 91-106
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Bokkapitel (övrigt vetenskapligt/konstnärligt)
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- Nordström, Marika, 1969-
(författare)
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Rocken spelar roll : En etnologisk studie av kvinnliga rockmusiker
- 2010
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This doctoral thesis is about female rock musicians who are involved in two Swedish non-profit feminist music associations; Rockrebeller, which is situated in Uppsala and She´s Got the Beat in Umeå. The aim of the study is to analyze how the informants describe their lives as rock musicians and as active participants in these feminist music associations. The main issues are musicianship, identity, feminism and gender. The empirical material consists of in-depth interviews with ten informants – five from Umeå and five from Uppsala – and these interviews are complemented by a number of participatory observations. The focus of thesis is on the informants’ self-presentations: their stories and experiences. One central theme is the ways that the informants’ different identities are interlaced and closely knit together in different ways: as feminists, as musicians and as active participants in the associations. Two major themes in my thesis are music and politics and they can be regarded as two sides of the same coin; in order to make it easier for women to play rock music they have become involved in the associations, and this relationship is regarded as a form of political work. The informants have been influenced by punk and Riot Grrrls Movement – a feminist movement that is associated with punk bands and fanzines is sometimes seen as representative of a "third wave feminism". All the informants are members of rock bands, but many are also engaged in other projects, for instance in the role of a singer-songwriter, and these different identities as musicians are often seen as complementary to each other. Rock bands are generally considered to be fascinating but insecure experiences because bands tend to split up with time. Those who are also active musicians outside of the band (most often guitarists) usually regard their own individual identity as musicians as the most important thing; a safe harbor that is always there. Their ideological beliefs are for instance visible in a common vision of the ideal rock band as democratic, anti-hierarchic and where an equality of opportunity exists. Rock music is in some ways used as an expression for an alternative way of life, of rebellion, and is seen as politically subversive. One of the ambivalences of the source material is the kind of identity politics that the associations represent and whose purpose is to improve the gender equality in the field. There is a well-known dilemma involved in this practice; how is it possible to navigate from a marginalized, subordinated position, without using the method of categorizing that may increase the probability of reproducing their own marginalization? Their life as rock musicians is described as enjoyable rewarding, and as a means of expressing their cultural belonging and ideological beliefs, such as feminism. However, the overall picture highlights the pleasures of creating and making music, which serves as an explanation why they strive to make rock music more accessible for women. The descriptions of being in a band and performing on stage are varied and on the whole complex. The group dynamics of the band are portrayed as very meaningful but also trying at times, and playing in front of an audience is described as everything between ecstasy and a nerve-wrecking experience. However, there is an overall adaptation to the norms surrounding rock music; a sense that one has to adjust oneself in order to function as a rock musician. The informants´ statements generally emphasize gender, but from time to time they identify themselves with other male amateur rock musicians.
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