"Björk - Big Time Sensuality (Official Music Video)" (Watch on YouTube)

"Big Time Sensuality" is such a joyful and enthusiastic song. I love it even today, more than two decades after I first heard it.

Lawyers, Guns and Money linked to a Pitchfork interview with Bjork. One area that this interview touched upon was the way in which women creators see their work minimized, or even ignored.

Pitchfork: When it was originally misreported that Vulnicura was produced by Arca, instead of co-produced by you and Arca, it reminded me of the Joni Mitchell quote from the height of her fame about how whichever man was in the room with her got credit for her genius.

B: Yeah, I didn’t want to talk about that kind of thing for 10 years, but then I thought, “You’re a coward if you don’t stand up. Not for you, but for women. Say something.” So around 2006, I put something on my website where I cleared something up, because it’d been online so many times that it was becoming a fact. It wasn’t just one journalist getting it wrong, everybody was getting it wrong. I’ve done music for, what, 30 years? I’ve been in the studio since I was 11; Alejandro had never done an album when I worked with him. He wanted to put something on his own Twitter, just to say it’s co-produced. I said, “No, we’re never going to win this battle. Let’s just leave it.” But he insisted. I’ve sometimes thought about releasing a map of all my albums and just making it clear who did what. But it always comes across as so defensive that, like, it’s pathetic. I could obviously talk about this for a long time.

Pitchfork: The world has a difficult time with the female auteur.

B: I have nothing against Kanye West. Help me with this—I’m not dissing him—this is about how people talk about him. With the last album he did, he got all the best beatmakers on the planet at the time to make beats for him. A lot of the time, he wasn’t even there. Yet no one would question his authorship for a second. If whatever I’m saying to you now helps women, I’m up for saying it. For example, I did 80% of the beats on Vespertine and it took me three years to work on that album, because it was all microbeats—it was like doing a huge embroidery piece. Matmos came in the last two weeks and added percussion on top of the songs, but they didn’t do any of the main parts, and they are credited everywhere as having done the whole album. [Matmos’] Drew [Daniel] is a close friend of mine, and in every single interview he did, he corrected it. And they don’t even listen to him. It really is strange.

Taking his post's title from the Björk song of the same, Yorkshire Ranter Alexander Harrowell argues that in the neoliberal globalized world, independence provides advantages--in otherwise well-functioning regions--only insofar as statehood gives polities room to maneuver, at the edges of the global financial system and/or legality, that some people and agencies might find convenient.

[I]n the world of "interdependence", why would anyone want independence? If even major powers are constrained by rules, what's the point? Between the 1980s and the great financial crisis, there was a fashion for a sort of soft nationalism, especially in Europe, in which it was argued that small states were worth having precisely because so many of the big questions of peace and war and fundamental economics had been reserved by institutions like the EU, NATO, the Bretton Woods structures, the WTO, and the less formal systems of the international community. Although there was not much point in having a Scottish Army, by the same token, it didn't matter. Therefore things like "Europe of the regions" and friends were a valid proposition.

One of the most dangerous toys left to a small state (or autonomous province) was its financial system. If you couldn't have a Ruritanian foreign policy, you could decide to be a freewheeling sin city of a financial centre, which would give your ruling elite the sort of self-importance the dance of diplomacy did in the Edwardian era. And, in the years when the financial sector itself was exploding in size, it meant real money. Importantly, the same slice in absolute terms means a lot more in relative terms to a small state. So, everyone and their dog wanted to be their regional money centre. In much the same way as the Edwardian small powers insisted on having a battleship or two of their own, they all insisted on having a bank of sorts and building up whatever local financial institutions were available into investment banks. This could be on the grand scale (RBS, WestLB) or on a much smaller one, like some of the Spanish cajas or the Hypo Alpe-Adria in Jörg Haider's fief. (As Winston Churchill said about the proliferation of battleships, it is sport to them, it is death to us.)

[. . .]

Essentially, I think, the one product that any degree of legal independence lets you produce is impunity. The legal status of independence is important here - without it, you're limited to hawking the bonds of the Serbian Republic of Northern Krajina to unusually dim marks, but with it, you can be of service to the world's plutocrats.

[. . .]

Criminal and civil jurisdiction, as impunity services go, have lost some value over the years as extradition treaties proliferate, legal norms are internationalised, and contracts come with arbitration clauses. Further, ever since the US Marshals hauled off Noriega, it's been at least conceivable that an extradition request may be delivered by 1,000lb air courier, in a vertical fashion and without warning. But facilitating tax evasion, the concealment of ownership, and the registration of ships and aircraft without taking responsibility for them are all highly valuable services.

Go, read.

The ongoing riots in Tibet have made the possibility of Björk having anything to do with the People's Republic of China ever again after her association of "Declare Independence" with Tibet in Shanghai even more unlikely. This is a pity for the Chinese, since her latest album Volta is quite listenable, her best album since the difficult but compelling Homogenic. Very much a revisiting of some of the themes of Post, Volta manages to avoid being little more than a remix album thanks to some very interesting creative collaborations. "Declare Independence", with its unusual percussion and shouted lyrics and revisiting of the theme of "Army of Me" remains the standout track for me, but the duet "The Dull Flame of Desire" with Antony Hegarty of Antony and the Johnsons fame is an interesting sort of torch song and "Earth Intruders" is just so wonderfully catchy.