We sat in a company primarily consisting of men who had made big money, and their wives.
It was also incredibly lovely people to be with, but my husband made me aware of one thing that I have thought much about: ‘Try to notice the men, when they are laughing.’ Each eruption came in a vast primalskrig and ended up in a HARHAARHAAAR. Each and every time. ‘It’s all about who laughs the loudest,’ he said.
I think That was a very true analysis.
It is my contention that it is how standup comedy has scored its sovereign place in my industry as the genre that takes the most money home. There excelleres primarily in mandehumor (women can now easily laugh with).
In my subjects – entertainment – it has otherwise always be a fact, that the worst thing you could be was an audience composed entirely of men. In the sort of companies, it is only on, when the flock’s leader laughs.
If the manager is defined, then it becomes a heavy night. First, when the leader surrenders, follow the herd after. There is a battle on the square, so it’s as I said about who laughs the loudest … or keep the mask!
But when the women interfere, so behave hundekoblet different. A single woman among the audience can be the one who gets the flock with care, before the head has reached to surrender. More women are a big plus, and an audience consisting entirely of women is perhaps the coolest in the whole world to perform for, whether it’s with music or theater.
But at the standup has the advantage that førerhunden is he who stands on the stage, and therefore follow the herd – the audience – after. I say it without regret. It is just how we are as people.
But who is it that has determined that women are not selling on the poster in the same way as men? Or rather: Who is it that does not let women get into the culture’s sacred space? For it can’t be true, I can only think of three women who have a reasonable career on the standup scene?
Women, as for the rest get a third of what their male colleagues receive in salary.
We could also take a movie like ‘Ditte and Louise’, who, unlike Pinbahis many of their male colleagues actually had something on the heart and on the game with their biografkomedie last year. They sold a fifth of what the male counterpart to ‘Clown’ sold. The reviewers loved the otherwise ‘Ditte and Louise’, so why failed the audience?
I come with a gently tender: We lack female role models in the cultural surfaces. Not women who try to be like men, but women, that shows real women (as ‘Ditte and Louise’ did).
Women, which also dare to be ugly and silly. And women who dare to be promoting in the shoes, as my own role models Anne, Sanne and Liz was and is it. Women who dare to have kvindeholdninger? Where is my generation’s role models?
just Try to think over a moment, which women over the age of 40, there really is solovært on a game show or a talk show on one of the big main channels?
Yes, you may take just the foreign formats in your consideration. Just at the time of writing, I simply cannot think of a single one. Try to make your own list of Danish female actors between 40 and 60, who live not just okay, but as you think about living really well by being an actor.
I would like to ask for 10 names. I even went in the stand at eight, but you can probably manage some more.
Or what about the figures:
Among the year’s 10 most played Danish artists at all in 2018: 0 the women
On Spotifys list of new Danish hit (which consists of 65 songs): seven women, including two m/f-duets
the Top-50 in Denmark right now: seven women
the Top-100 most played on P3 in 2019: 25 % female soloists
In 2019 consisted festival Green of the nine acts: Anne, Sanne and Liz was the one, and then there was Alphabeat, which has a male and a female figurehead.
the Rest were men.
Am I really the only one who think that it is the game strange? Where the hell – yes, sorry – are all the women?
Annette Heick
Annette Heick was born in 1971. She is a journalist, tv host, singer, and entrepreneur, and is married to the chef Jesper Vollmer. She is the mother of two sons.
