{"version":"1.0","type":"rich","provider_name":"Bj\u00f6rk.fr \u2013 Site francophone d\u00e9di\u00e9 \u00e0 Bj\u00f6rk : musique, clips et actualit\u00e9s","provider_url":"https:\/\/www.bjork.fr","title":"Harp Magazine","author_name":"sofftchevaliers","width":"480","height":"315","url":"http:\/\/www.bjork.fr\/Harp-Magazine-novembre-2007","html":"\u003Ch4 class='title'\u003E\u003Ca href='http:\/\/www.bjork.fr\/Harp-Magazine-novembre-2007'\u003EHarp Magazine\u003C\/a\u003E\u003C\/h4\u003E\u003Cblockquote class='spip'\u003E\n\u003Cp\u003EIf one pop artist personifies an avant-garde ideal whose every move seems somewhat against the norm \u2013 most norms \u2013 it\u2019d be Bj\u00f6rk. \n\u003Cbr class='autobr' \/\u003E\n The character-acting operatic singer whose shrill high voice would frighten Yma Sumac put Iceland on the map with the chilly Sugarcubes in the \u201880s. Later, she was a New Wave refugee who threw herself into electro-dance long before Gwen and Nelly (that is, right after she made an Icelandic bebop album called Gling-Gl\u00f3), writing mischievous lyrics that toyed (\u2026)\u003C\/p\u003E\n\u003C\/blockquote\u003E\n"}