Robyn

And the things that she was saying was so empowering and vulnerable.

Just man-child, like being so...

I think it is now.

I don't think it was when I was little.

I think...

we were still a very, you know, I don't know what this word will mean to people here, but like it was, you know, Sweden in the old days.

So there were only two, three TV channels.

You know, we had maybe four radio stations, no commercial radio yet.

no way to find like American music.

You have to go to the store for import CLPs or CDs.

It was not easy to be concerned or into popular culture when I was a teenager.

You really had to work for it.

So in that sense, no.

But then when I started working, which was so early, all the people that I was working with was maybe 20 or sometimes even 30 years older than me.

And then, you know, I got in touch with, you know, like a more connected part of Stockholm, which was like, I don't know, like Johan Rink and Jonas Åkerlund and these like more commercial directors that had been traveling and working outside of Sweden and the Cardigans and, you know, all these other like Swedes that were...

connected to the outside world but not nobody my age had that network it was much later that it happened for like my generation but now i think there's so many young um musicians and artists in sweden that really feel supported by the legacy of the music and of course like abba is you know the

Year zero, year one.

And then kind of, you know, Max Martin, of course.

And all these producers that are now creating popular culture all over the world.

It's like, I guess we're like the third or fourth biggest music export country in the world.