The premise of this book alone ought to sell you on it: the top four best-selling Canadian artists within Canada are all female solo artists who came to prominence from 1993-97. And yet, artists like Neil Young and Bryan Adams loom larger in our national consciousness. Taking that into consideration, the massive commercial success of Céline Dion, Alanis Morissette, Shania Twain and Sarah McLachlan stops being merely impressive and enters "holy s*** territory, to paraphrase the author. This is a statistic that deserves to be explored.
Warner engages deeply with the music of her four subjects, and with the male-dominated critical culture that has served them so poorly. Her book celebrates the fact that these artists have defied the odds of a sexist industry and chastises the critics who tried to keep them on the margins regardless. Warner's own mid-nineties adolescence serves as a backdrop for these four uncanny success stories. She reflects on how Morissette and McLachlan informed her burgeoning feminism, and on how her initial attitudes towards Dion and Twain played into the hands of their most wrongheaded detractors.
But ultimately, the book is a picture of a broader cultural moment. "For five years, Dion, Twain, Morissette, and McLachlan were everything," Warner writes. We Oughta Know is about the hows and whys and specifics and abiding outcomes of those five years. It reframes the 90s in Canada so that Jagged Little Pill and Lilith Fair appear as central and as revolutionary as they deserve to. It is also frequently hilarious. Well worth a read.
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We Oughta Know: How Four Women Rules the '90s and Changed Canadian Music Paperback – Jan. 1 2015
by
Andrea Warner
(Author)
Between 1993 and 1997 Alanis Morissette, Shania Twain, Sarah McLachlan, and Céline Dion defied the odds to become some of the best-selling artists Canada has ever produced. From melodramatic romantic pop to gutsy, angst-driven alternative rock, these women not only changed the world of music and transformed the pop culture landscape but impacted their listeners on an alarmingly personal level. As a teenager, Andrea Warner divided the four women into two camps: Morissette and McLachlan struck an empowering chord within her but Dion and Twain seemed detrimental to the feminist she was becoming. Through personal, heartwarming, challenging, and exhilarating essays, Warner re-evaluates the impact of these women on her life as a teenager growing up in East Vancouver, the climate in which they succeeded, and their legacies. Equal parts music criticism, cultural analysis, and coming-of-age memoir, We Oughta Know chronicles the careers of Alanis Morissette, Shania Twain, Sarah McLachlan, and Céline Dion with detailed research, intriguing wit, and razor-sharp criticism. It invites us to think deeply about the pop landscape we often take for granted, asking us to confront our own biases and what we assume to be simply good taste. We Oughta Know is a powerful debut from one of the strongest young voices in music journalism and is a must-read for anyone who thinks they already know their stance on the construction of celebrity, media, society, and gender politics.
- Print length170 pages
- LanguageEnglish
- PublisherEternal Cavalier Press
- Publication dateJan. 1 2015
- ISBN-100991966023
- ISBN-13978-0991966028
Product details
- Publisher : Eternal Cavalier Press; First Edition (Jan. 1 2015)
- Language : English
- Paperback : 170 pages
- ISBN-10 : 0991966023
- ISBN-13 : 978-0991966028
- Item weight : 358 g
- Best Sellers Rank: #1,030,698 in Books (See Top 100 in Books)
- Customer Reviews:
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3.6 out of 5 stars
3.6 out of 5
12 global ratings
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Reviewed in Canada on July 26, 2015
Reviewed in Canada on May 15, 2015
An insightful look into a period of Canadian music history that doesn't often enough get examination and four women who too rarely are given credit for what they achieved. On top of that, Warner's personal history with the music and the feminist lens through which she filters the material makes this one of the best of the year.
Top reviews from other countries
Marco A
5.0 out of 5 stars
Favorite nonfiction I read in 2018
Reviewed in the United States on November 29, 2018Verified Purchase
We Oughta Know is part music review, part cultural analysis of Celine Dion, Shania Twain, Alanis Morissette, and Sarah McLachlan's success between 1993 and 1997.
The book explores the “curious majesty of their domination,” and Andrea Warner asks: what was it about these four Canadian women in the mid-nineties that empowered them to become some of the best-selling artists of all time?
A unifying thread was that they each defined their own path as an artist and worked really, really hard. This led to the Ironics and My Heart Will Go Ons that made millions of dollars. But I appreciated that Warner balanced out the record sales data talk by sharing the way that these four artists helped her grieve after the death of her father, and the way that they empowered her to find her voice as a writer.
In the end, both approaches to measuring the artists’ impact felt equally important.
The chapters that explore the misogyny that these artists experienced from the music industry and music critics in the nineties had me crying on a plane. This book was written in 2015, and Andrea Warner revisits music reviews, magazine articles, and happenings of the mid-nineties, but the swirl of sexism, policing of women, and sexual harassment felt very 2018.
The book explores the “curious majesty of their domination,” and Andrea Warner asks: what was it about these four Canadian women in the mid-nineties that empowered them to become some of the best-selling artists of all time?
A unifying thread was that they each defined their own path as an artist and worked really, really hard. This led to the Ironics and My Heart Will Go Ons that made millions of dollars. But I appreciated that Warner balanced out the record sales data talk by sharing the way that these four artists helped her grieve after the death of her father, and the way that they empowered her to find her voice as a writer.
In the end, both approaches to measuring the artists’ impact felt equally important.
The chapters that explore the misogyny that these artists experienced from the music industry and music critics in the nineties had me crying on a plane. This book was written in 2015, and Andrea Warner revisits music reviews, magazine articles, and happenings of the mid-nineties, but the swirl of sexism, policing of women, and sexual harassment felt very 2018.
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