confession towards the beginning: ‘I am not, nor ever have been, a fan of either Kraftwerk or Björk. I have tried. I really have’ (p. 54). The chapter’s conclusions make sense; that is, how the artists in question are both central to the pop canon but are also at its periphery and have through technology and artefaction avoided the usual ageing aspects bestowed upon other popular musicians. As in some of the other chapters, it takes a while for the author to get to the point, but more or less, the chapter is in the can. The jointly written chapter, ‘Shine on you crazy diamond/s’, at the very end sticks out like a sore thumb. This chapter is an odd, and ultimately failed, attempt at ‘reversioning and restorying’ age and race through the reading of two versions of the song ‘Diamonds Are Forever’ (by Shirley Bassey and Kanye West). The authors examine how the song travels through the Black Atlantic and how ‘age acts as an epochal flow and how it is inflected by, and, in turn, inflects race and place’ (p. 138). More big words are bandied about and the chapter runs amok, never touching ground as the perspectives are simply too many and disjointed. The title of the book is a little deceiving. ‘Aging and Popular Music in Europe’ sounds like a rigorous introductory book on these topics, something like the fine Routledge Handbook of Cultural Gerontology (Twigg and Martin, 2015), where you find, among other things, squarely sociological examinations. Although this is partly explained on pages 1–2 (‘it is our take on each of these three elements’) the book would have profited from a more descriptive subtitle. The chapters in the book are not themselves directly attributed to either author, despite the fact that the writing is split up between them (information that is buried in the Introduction). This is a bit confusing. The authors talk about their different, individual approaches and, for the sake of clarity, properly assigned chapters would have been better for the reader. The flow of the writing is good, more or less. The departure point of the project does birth lofty wording and sentences (‘fluid process’, ‘fixed points are contingent and now contested’, ‘age is problematized, revered and performed’). Things are ‘related and unrelated’ and ‘bleed into each other’. Sometimes this is necessary and clearly stated; sometimes the paragraphs sway uneasily into jargon. All in all, the book offers, more often than not, some nice insights into the triumvirate topic. Its conclusion is open ended, as was the intention, set up to generate questions rather than answers and in that aspect the book is a relative success.

中文翻译：

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书评：想当然：不起眼的力量

一开始就坦白说：“我不是，也从来都不是 Kraftwerk 或 Björk 的粉丝。我试过了。我真的有'（第 54 页）。本章的结论是有道理的；也就是说，所讨论的艺术家如何既是流行经典的核心，又是其外围，并通过技术和人工避免了其他流行音乐家通常具有的老化方面。正如在其他一些章节中一样，作者需要一段时间才能进入主题，但或多或​​少，这一章在罐子里。共同撰写的章节“闪耀在你疯狂的钻石上”，最后像拇指酸痛一样突出。本章是一次奇怪的尝试，最终失败了，通过阅读歌曲“钻石永远”（由雪莉·巴西和坎耶·韦斯特）的两个版本来“逆转和重新讲述”时代和种族的尝试。作者研究了这首歌如何穿越黑色大西洋，以及“年龄如何作为划时代的流动以及它如何受到种族和地方的影响，并反过来影响种族和地方”（第 138 页）。更多的大词被胡说八道，章节乱七八糟，从未触及地面，因为观点太多且脱节。这本书的书名有点骗人。“欧洲的老龄化和流行音乐”听起来像是一本关于这些主题的严谨的介绍性书籍，类似于优秀的 Routledge Handbook of Cultural Gerontology（Twigg 和 Martin，2015 年），其中您会发现除其他外，还有社会学考试。尽管这在第 1-2 页中得到了部分解释（“这是我们对这三个要素中的每一个的看法”），但本书本可以从更具描述性的副标题中受益。书中的章节本身并没有直接归属于任何一位作者，尽管他们之间的写作是分开的（信息隐藏在引言中）。这有点令人困惑。作者谈论了他们不同的、个别的方法，为了清楚起见，适当分配的章节对读者来说会更好。文笔流畅，或多或少。该项目的出发点确实诞生了崇高的措辞和句子（“流畅的过程”，“固定点是偶然的，现在有争议的”，“年龄是问题化的，崇敬的和执行的”）。事物是“相关的和不相关的”和“相互渗透”。有时这是必要的并明确说明；有时段落会不安地摇摆成行话。总而言之，这本书通常提供，对三巨头主题的一些很好的见解。它的结论是开放式的，目的也是如此，旨在产生问题而不是答案，在这方面，这本书是相对成功的。