{"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":"Play On","author_name":"","width":"480","height":"315","url":"http:\/\/bjork.fr\/Play-On-1998","html":"\u003Ch4 class='title'\u003E\u003Ca href='http:\/\/bjork.fr\/Play-On-1998'\u003EPlay On\u003C\/a\u003E\u003C\/h4\u003E\u003Cblockquote class='spip'\u003E\n\u003Cp\u003EBj\u00f6rk has sold millions of records around the world, but in North America she\u2019s still an acquired taste.  The reason isn\u2019t exactly a mystery. Long before “electronica” became a pop flavor to be exploited by the  major labels, the Icelandic singer was working with cutting-edge deejays such as Nellee Hooper, Talvin  Singh, Howie B and Tricky on avant-pop albums such as “Debut” (1993) and “Post” (1995) and the remix  collection “Telegram” (1996). \n\u003Cbr class='autobr' \/\u003E\nHer latest release, “Homogenic” (Elektra), (\u2026)\u003C\/p\u003E\n\u003C\/blockquote\u003E\n"}