In 2011, Spångberg published this infamous critique on contemporary dance and its environments. 4,000 copies were spread shaking dance, choreographers, producers and audiences out of a long sleep of politeness, pleasantry and benevolence. A book like a tormented dream of superlatives, exaggerations and cries for help. It insisted on changing dance writing, referring to Rihanna before Isadora, remixing theory and fiction, precise statements with a totally over the top jargon. And it’s back. A second edition, with all its juicy details, apologising to nobody and yet committed unconditionally to dance.