Even if Midnights can’t always stick the landing, Taylor Swift continues to navigate her talent with hard-fought confidence.
Read MoreTaylorSwiftxEuphoria: Fearless (TV)
Born from the darkest parts of our minds, this first edition of our tentative TaylorxEuphoria series is based on Taylor Swift’s Fearless. This series will explore how Swift’s unhinged lyrics perfectly (mostly) match the unhinged nature of season two of everyone’s favorite show, Euphoria. We hope this everything you hope it’s not (this is honestly a work of art, enjoy).
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Fearless
Starting off with the title track of the album - Fearless.
So Cassie bro—like circa Episode One of Season 2. She literally gets into Nate’s car even though she shouldn’t— with her best friend’s literal abusive (ex) boyfriend who is drinking while driving as a way of impressing her. Cassie’s pick-me-girl era literally embodies the delusional aspects of Fearless. She literally becomes obsessed and dresses “in her best dress” for a psychopath, completely fearless of losing her only friend. #Maddyhive
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Fifteen
This is literally Derek’s POV of Cal. It perfectly describes the special bond that they shared and how they didn’t really know how to even love each other beyond that at that age or at least before Cal got his future wife pregnant. It reminiscent of how Cal literally left him for fatherhood, and literally personifies the question of how they were supposed to know it at Fifteen (seniors in high school). This whole song speaks to untainted young love before it’s ruined by life’s terrible moments.
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Love Story
This song is a representation of Rue and her relationship with drugs. Rue was young when she first saw them … next to her dying dad. They were Romeo and Juliet, the drugs keep throwing pebbles at her to get her back, crying on the staircase as she gets (finally) clean. This perfectly symbolizes how the drugs are killing Rue while also filling the black hole inside of her. Imagine the heroin saying “Romeo take me” like a love that is intoxicating but deadly, while she’s meeting Fez (her dealer) on the outskirts of town…ya know?
Hey Stephen
This is Fez’s POV of Lexi. “I can’t help it you look like an angel”, this line is so Lexi… angel queen… Looks can be deceiving, but he saw a light in her. He didn’t get to say half the things he wanted to before getting caught. RIP Ashtray.
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White Horse
This song perfectly embodies what Rue hypothetically would’ve sang to Jules when Jules ratted her out to her mother for doing drugs. When her angel face just comes out in, when Rue was naive and got lost in her fire, had to fight for the upper hand, had so many dreams about her. Rue’s not a princess; it isn’t a fairytale bro. It isn’t Hollywood; its a small town—it too late for Jules and her White Horse to come around… And Rue makes this clear when she screams at Jules, leaving (theoretically) Jules is on her knees bro begging for forgiveness… but Jules is cheating on her with Elliot…
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You Belong With Me
So Rue about Jules when Nate was catfishing her as Tyler. She was on her phone— on Grindr with Tyler. He didn’t get her humor like Rue did… a typical Tuesday night, right? He’s the cheer (football) captain, and Rue is on the bleachers. Rue wants Jules to see she belongs with her; Jules has a smile that could light up this whole town… Rue even knows her favorite songs … unlike “Tyler”…
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Breathe
The moments between the train station and Rue’s relapse. Rue is breathing to this song when she relapses after Jules leaves her at the train station— ending of sad movie, seeing her face as she backs away and she doesn’t know what to be without her around. She can’t breathe without Jules, so she turns to drugs— nothing can save them from the fall out, 2 am and Rue’s feeling like she just lost a friend and ends up relapsing.
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Tell Me Why
We wish this was Fez about Lexi…. but truly it is Maddy about Nate: he thinks she is bullet proof, she’s sick and tired of his attitude. He tells her he loves her and then cuts her down, he has mean streak… Like we can literally imagine Maddy yelling “tell me why?” He sees what he’s doing to her, how to ruin her perfect day… Nate Jacobs makes her feel small to make himself feel whole inside; she doesn’t know him. He asks for her love and just pushes her around.
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You’re Not Sorry
So Maddy about Cassie. Cassie is not sorry at all— for sleeping with Maddy’s ex. Cassie has her share of secrets and Maddy was the last to know. They could’ve besties forever. Its the last straw, and Maddy doesn’t wanna hurt anymore from this relationship that Cassie obviously doesn’t value. Cassie acts so innocent Maddy might’ve believed her if she didn’t know… like so true.
The Way I Loved You
This is Kat singing this about Ethan - who she dumped because he was too respectable. This song is reminiscent of Maddy saying she’s never gonna have a healthy relationship like theirs… he says everything she needs, she couldn’t ask for anything better, he tells her she looks beautiful, but Kat misses the danger of the past where she was using men in a way to escape her insecurities. It’s a slippery slope when you get stuck in a toxic life of kissing and fighting with your demons. That’s the way she loves her demons, roll coaster kinda rush that Ethan never gave her.
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Forever & Always
Jules about Rue circa Season Two when Rue doesn’t want her anymore because she’s a rat. She was there when Rue was like Forever and Always, and Jules said something way too honest (told her mom about the drugs), making Rue ran away like a scared little boy… She knew Rue for a minute but she not so sure— Like we could literally picture Jules staring at the phone.
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The Best Day Ever
So Lexi about Rue. In Lexi’s play, she flashbacks to Lexi being scared of not being cool, but Rue doesn’t care. They used to have the best day when they were younger until Rue starts doing drugs. This song perfectly looking back on a friendship that used to be when they had the best days before rue started her addcitions and when Lexi thought she had an excellent father— that ice cream scene tho.
Change
We see this as addicted Rue dreaming about a sober life with Jules even though Jules ghosted her weeks ago. Someone else got what Rue wanted, Jules. Jules is tired of repeating history— it’s hard to fight when the fight ain’t fair. The drugs are bigger than their relationship, but can Rue out run them. It’s the fight of her life. The song just paints the sad picture addiction can be and the hope of getting clean.
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Jump Then Fall
So Ethan about Kat like during season one when he was just trying to get her attention, and she thought he was joking. RIP kethan. He was feeling her, and he wanted her to jump and fall into him. We literally can see him thinking her laugh is the best sound he’s ever heard.
Untouchable
Fez about Lexi— she is his untouchable distant diamond sky. She is literally so different from him, he is caught up in her bro with a million little stars (pills) spelling out her name. Like gives the vibes of him being smitten with her when she didn’t leave after Fez beat Nate’s ass. “When I am in this dream”— when he is high af, dreaming the their little taste of heaven.
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Come In With The Rain
This screams Rue after she overdoses again, and Jules wont see her. She knows all the steps to be sober, but she doesn’t wanna go there anymore. Like just imagine Rue leaving her window open, hoping that Jules will come in with the rain.
Superstar
This is Cassie’s POV of Nate for sure. She counts down the ways she can see him. She literally waited every week to see him, getting in his car at the dead of night. She knows its wrong but feels likes there ain’t nothing more right. She’s breaking all her rules; she’s screaming his name. She is wide-eyed girl desperately in love with him, so depressing tbh. She could do so much better.
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The Other Side Of The Door
So Maddy after she finally leaves the Nate shit behind. Like Maddy ignoring Nate’s words when he tries to get her to stay. She tells him to leave, but she really wants him dude. She can’t even look at him; Maddy broke down crying asking if Cassie was worth this mess.
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Today Was A Fairytale
This is so Lexi dreaming about a date with Fez. She lives in her head. When they were getting high watching the movie— it was a fairytale. She fell in love with him when he destroyed Nate. His smile literally takes her to another planet. Time slows down whenever he’s around her— the magic in the air.
You All Over Me
This makes us think of the actor who played BB reflecting on her time on euphoria as a side character. Especially due to none of the cast following her back on Instagram because she’s a Trump supporter. Her moment of fame spent and traded in.
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Mr. Perfectly Fine
Ethan about Kat when she breaks his heart in fit of gaslighting. She was his Mr. Perfectly Fine, after she dumped him. She is his Mr. “Leave me all alone”— Mr. “Never told me why.” She broke his heart, and she goes about her day forgetting she ever heard his name. He is pickin’ up his heart, while she picking up her bag. Kat and the “brain disorder” she makes up being just perfectly fine without him.
We Were Happy
No one is happy in Euphoria smh.
That’s When
Rue’s POV of heroin for sure. Rue wanted it in her darkest moments. Heroin is always laughin’ when she’s cryin’. Her addiction is always asking “when can I come back?”, and Rue just lets it back in.
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Don’t You
This makes us think of when Derek sees Cal after he gets his future wife pregnant. His heart knows the truth about his love for Derek. He’s sure she’ll make Cal happy. This song just speaks to the sadness that comes with young love that gets sidelined by life’s curve balls and society’s norms.
Bye Bye Baby
This screams to us how the men paying Kat would feel when she stops camming (because she was theoretically exposed in Lexi’s play? still confused on that one tbh). She took them into her metaphorical home and she couldn’t keep up this false persona that they fell in love with. The illusionary house and relationship they envisioned is empty now and vacant. They feel like they’re becoming part of her past.
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What (Taylor's Version) Can Mean For the Future of Pop Music
By now, the whole world has caught on to Taylor Swift’s plan to re-record her masters. Announced in August 2019, the plan to re-record her first six albums after their sale to Scooter Braun’s Ithaca Holdings (and their consequent re-sale to Shamrock Holdings) is now in full swing, with Ms. Swift having successfully released two of her six stolen masters—April 2021’s Fearless (Taylor’s Version) and November’s Red (Taylor’s Version). These albums have topped the charts, starkly contradicting claims that re-recorded albums were doomed to flop and delighting people everywhere in the process. The remaining four albums are consistently being teased across social media platforms, and are widely anticipated. In short—re-recording her albums has worked.
But more than being a brilliant and gutsy retaliation to a dirty legal move, the re-recording of Swift’s well-known old songs also represents a fundamental shift in pop music and modern mass-produced media as a whole. It’s no surprise to anyone that the modern music industry as well as modern media in general has become incredibly product-oriented— most dialogue centers around what will be released and when, and fans have become eager for “content” above anything else. This is not necessarily bad in and of itself, but it is incredibly interesting to see what Swift’s re-recorded music has begun to do.
It’s given pop music permission to grow.
Even the casual listener will notice that while many tracks on the re-recorded albums remain faithful to their counterparts on the original albums, many others don’t. There are “from the vault” tracks, which were previously unreleased songs from the time period of the original album, as well as remakes of old fan favorites. Fitting into both categories is perhaps the most famous example—the legendary ten-minute version of the cult favorite “All Too Well”. Originally a four-minute wistful track about lost love, the ten-minute version of “All Too Well” retains every word of the 2012 version, fitted neatly into a complicated, varied, tumultuous narrative of a relationship that grew and twisted and failed. The ten-minute version retains the wistful core of the original, but the darker elements that were subtly hinted at originally are fully fleshed out in the newer version, in long paragraph-like lyrical phrases like the ones explored in her folklore and evermore albums. It’s markedly different from Red’s original polished 2012 country-pop release. And, of course, it’s sung in Swift’s current voice.
Most importantly, though, the whole world loves it. There were SNL performances, a full short film starring two very well-known actors with an in-person premiere, acoustic performances and Long Pond remixes. This is striking because, before the re-records began, no one expected that they would achieve more than a tiny fraction of the original records’ popularity, and yet people adore this. Some of this can be attributed to Taylor Swift’s star power, and more to clever marketing. But underlying all of that is a willingness by the audience to revisit previous creations and fully appreciate the changes that have been made, and that’s striking.
Because in a fast-paced economic system that makes art for consumption, we often think of art as a final product and of artists as “content creators”. This isn’t evil in itself, of course, but a lot is lost when art is thought of as more of a product and less of a process. To an extent, thinking of creative arts as a linear process ending in a polished product is counterintuitive; anyone who has ever tried to create something knows that art is never truly finished.
Swift’s success in re-recording her albums has shown that it’s entirely possible for both to be true. The commercial success of albums does not have to mean that they are never revisited; some of her best creations have come nearly a decade after their original release, and if she had stopped with the “final” version of RED in 2012, these startlingly masterful songs would not exist. Allowing her art to evolve has given a sharper and deeper meaning to what the songs originally were, and now that the public has received the re-recordings so well, perhaps it can signal a shift to this mindset in modern media as a whole. Hopefully, this will remind everyone of the magic that can happen when art is allowed to develop authentically, even after it’s passed its original deadline.
As I hit play on Red (Taylor’s Version) once again this weekend, I know it’s reminding me.
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On Taylor Swift's Longstanding Cultural Impact
Fans of Taylor Swift’s music have been eagerly anticipating her rereleased music ever since she announced her intentions to rerecord her first six albums (Taylor Swift, Fearless, Speak Now, Red, 1989, and Reputation) in order to gain ownership of her own music, and today the rerecorded version of her 2008 classic Fearless dropped.
The album cover for Taylor Swift’s upcoming rerecording of Fearless. Image via.
Despite the original version of popular Fearless single “Love Story” having been released almost 13 years ago, the release of “Love Story (Taylor’s Version)” was incredibly well-received, with the song garnering nearly 6 million streams within its first day of release on February 12. The lasting popularity of “Love Story” is a testament to Swift’s longstanding cultural impact: from the release of her album in 2006, she has maintained extensive popularity as one of the world’s most successful female artists. Today, she is the second most-streamed female artist of all time on Spotify, only after Ariana Grande. Following the release of her eighth studio album, folklore, she became the female artist to have released the most songs (128) to chart on the U.S. Billboard Hot 100, surpassing Nicki Minaj.
To have maintained this level of popularity and success over a period of 15 years is a feat achieved by few artists. So how has Taylor Swift maintained such long-lasting relevance in the music industry?
It would be difficult to write about Taylor Swift’s impact without mentioning her reputation in the media. Her public life has received a great deal of attention from the media, with a particular interest in her relationships and her former and current friendships with other high-profile celebrities such as Selena Gomez, Karlie Kloss, and Ryan Reynolds. Swift has received a great deal of criticism from those who believe that she has dated too many man or written too many songs about her ex-boyfriends. She is also known for her feuds, most notably with Kanye West and Kim Kardashian. While Swift is often portrayed in an unfavorable manner by the media, this portrayal has shaped her into a feminist icon among her fans, who rebuke the criticism given by the media to her personal life. These portrays have also, in part, inspired Swift’s recent political activism.
Taylor Swift and Kanye West have had a complicated relationship over the years, beginning with West interrupting Swift at the 2009 VMAs. Image via.
While Swift has received a great deal of attention due to her controversial media portrayal, the media is certainly not the primary factor behind her popularity. Few can deny her talent at singing and songwriting: even if her music doesn’t fit your personal taste, everybody’s jammed (or cried) to at least one of her songs before. Particularly impressive is the ease with which her musical style has transitioned from country to pop to now alternative/indie. While Swift’s most well-known songs are generally her most radio-friendly, upbeat songs (think “You Belong With Me,” “Shake It Off,” and “22”), she has received the most critical acclaim for her sadder, more personal songs. In particular, songs like “Dear John,” “All Too Well,” and “Cardigan” have received great praise for their lyricism and storytelling. Swift has also received commendation for how personal songs such as “Marjorie” and “Soon You’ll Get Better” about her family are.
Taylor Swift’s success may also be, in part, due to the level of intimacy she maintains with her fans. Most well-known are her “Secret Sessions,” in which she invites groups of her most active fans from social media to her home and plays her albums for them before they’re released to the public. Swift has also been known to send personalized gifts to fans and invite her most eager fans backstage after her concerts to meet her. She’s also interacted with her fans by leaving intricate easter eggs and puzzles in her music videos, album memos, and social media posts, often using such clues to hint at upcoming music releases. As a result of these interactions, Swift has been able to maintain a unique and incredibly personal relationship with her fanbase over the years.
An image from one of Swift’s Secret Sessions. Image via.
Another factor in Swift’s success has been how she has rebranded herself with each album release through different “eras” and aesthetics correlating to her albums. For instance, 2017’s Reputation was accompanied by a primarily black wardrobe with snake motifs. By contrast, her following album, 2019’s Lover, brought about an incredibly colorful pastel theme with heart and butterfly motifs. Swift has effectively incorporated aesthetics into her brand as a musician, heightening public interest in each album by accompanying relevant color schemes and motifs into her outfits, concerts, and music videos for each era.
A design from Taylor Swift’s merch highlighting the different aesthetics of her first eight eras, from her first, self-titled album to folklore (2020). Image via.
Throughout her 15-year-long career, Swift has released a prolific amount of music, including nine studio albums and nearly 200 songs. She has also contributed to the soundtracks for a number of films, including Hannah Montana: The Movie, The Hunger Games, Fifty Shades Darker, and the ever-controversial Cats. In the past year and a half alone, she’s released three albums, including two surprise albums that were released within months of each other, with Fearless (Taylor’s Version) set to release soon. She’s also released two documentaries accompanying her albums Lover and folklore. The amount of music Swift has released is a testament to the incredibly hard work she’s put into her music career, hard work that has certainly paid off, given the lasting impact her music will have on the industry for years to come.
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The Art of Voting Posts
During what may be one of the most decisive and logistically-confusing elections in the history of the United States, an increasing number of celebrities have spoken up on politics, either for the first time or far more urgently than in previous years.
Now that early voting is underway in most states, it is a good time to reflect on the efforts put on by celebrities to get people to the polls, and as we’ve come to find out, their social media posts are often an extension of their celebrity personas.
First on the list is Taylor Swift, who for a long time stayed silent on political matters. While she posted a photo heading to the polls in 2016, she stayed quiet on what candidate was getting her vote. This led to far-right groups taking her silence as support, and fans were dismayed at her lack of transparency. In recent years, however, she has become increasingly vocal about her support for the Democratic Party (particularly in her voting state of Tennessee). Her voting-themed-baking has helped her young fans become more politically active but also making sure her Republican fanbase rethink supporting her.
Another high-profile celebrity to break their silence this year was Dwayne “the Rock” Johnson. Like Taylor Swift, his endorsement of Joe Biden caused quite the stir within his fanbase, but according to his most recent Instagram post, the loss of some fans has not made much of a dent. It should be noted that his choice of a very, very tight shirt helped fuel internet chatter that was just as loud as anything political.
While the Rock’s tight shirt was accidentally a topic of conversation, some other celebrities have taken a more direct route to get people’s attention.
Kylie Jenner posed in a floral bikini to ask her followers if they are registered to vote. While some saw this as a classic a Jenner/Kardashian move, this is not really that different from other posts from above—and she has a vote.org link in her bio. What else could we ask for?
Other celebrities’ attempts to strip down have not gone down as smoothly, though. Sarah Silverman, Tiffany Haddish, Chris Rock, and other celebs tried to shine a light on Pennsylvania’s “naked ballot” guidelines. They certainly brought attention to the issue, but mainly a lot of people saw this move as self-absorbed and unnecessary. It joins the growing list of celebrity quarantine-blunders.
The infamous Tana Mongeau stayed on-brand by suggesting that she would send a nude photograph to some of her followers that proved they voted for Biden. This sounds like a fair exchange for her democratic fans, except that it may be election fraud. Do learn from Tana—it is illegal to offer something in exchange for a vote.
On the other hand, it is completely fine to offer a reward for people to register to vote, and David Dobrik did just that! In what may be one of the most effective voter registration events, Dobrik was able to get over 120,000 people to register to vote, according to data collected by HeadCount.org There’s no doubt David knows his audience, and if he keeps it up, Gen Z will be one of the key players this election.
There is an ever-increasing sense that people are not surprised by celebrities supporting a democratic candidate (if anything, a pro-Republican endorsement gets more chatter). Endorsements from Beyoncé or Oprah, while still valued, seem to do little to move the general population (take the 2016 presidential election as an example) towards a candidate. Rather than the actual politics of a post, what seems to matter is whether an artist is doing it at all. There is a lot of pressure from fanbases for their favorite artist to say something. Taylor Swift or the Rock speaking up about politics was less so about their candidate choice, but more so the fact that people could no longer project their own beliefs onto their silence.
It also seems that celebrities are learning that regardless of who they endorse, they are going to receive some backlash, so it is best to just be open about who they are passionate about. If they wish to remain neutral, they can simply encourage more people to get out and (register to) vote. Mobilizing their fan base to be engaged in politics in whatever way possible is ultimately the goal, as the more people involved in the electoral process, the closer the election results may be towards the will of the people—in theory at least.
Beyoncé performing at Hillary Clinton’s 2016 Get Out The Vote Event
Featured image composed of images of David Dobrik, Taylor Swift, Tana Mongeau, and Dwayne Johnson.
"Miss Americana" : A Changed (& Very Political) Taylor Swift
It was spring when I landed in Midway Airport by myself, for the first time.
“Welcome to New York” blasted from my earbuds. Of course, Chicago isn’t New York. But, for the first time in my life, I was living alone in a big city. And Taylor Swift’s lyrics exemplified the pride and happiness that accompanied such a realization.
And while walking through the airport listening to 1989 is one of my most vivid memories of listening to her music, Taylor Swift has provided an important soundtrack to many events in my life. Whenever I came home from a difficult day of eighth grade or freshman year, I listened to “Mean,” to remind myself that someday I was going to be “living in a big’ol city.” Throughout high school, I listened to “Bad Blood” and “Look What you Made me Do” and “Mine.” I laughed with Taylor Swift as I listened to “This is Why We Can’t Have Nice Things.” And when I graduated from high school, I wrote my mom a thank you letter. I wanted to thank my mom for always treating me as both an equal and a friend; she always listened to me, from discussing my school day on the drive home, to reading every draft of my writing. And yet, the “right” phrasing of gratitude eluded me. And so, I turned to Taylor Swift’s lyrics, as I had done so many times before - because the lyrics of “The Best Day” just got it right. And I knew that, as I searched for the right words, Taylor Swift had them. And to this day, my Taylor Swift playlist is titled “Words,” because they have always been my favorite part of her music.
Taylor Swift performing, during her 1989 World Tour.
I have never been the type of person who follows the lives of celebrities closely. I don’t read People Magazine. I don’t follow the Kardashians on Instagram. I know absolutely nothing about the latest celebrity breakup. But, I always listen when the news is about Taylor Swift. I stay up until midnight for her album and music video releases. I celebrated my 16th birthday at her 1989 concert and I rushed to Target, to purchase both versions of her Reputation magazine. And I was always proud that I could support her work, even in my own small way. In short, Taylor Swift has been one of my strongest role models. She and her lyrics have been there, throughout my life - as an example of what it means to be strong without apology, of what it means to be eloquent and poised but also compassionate.
And so, when she shared her political beliefs for the first time, I supported her. I didn't agree with everything she said. I didn’t support the same candidates as her or vote for the same political party, but I respected and admired her voice. And I would never want to silence that voice.
“She and her lyrics have been there, throughout my life - as an example of what it means to be strong without apology, of what it means to be eloquent and poised but also compassionate. And so, when she shared her political beliefs for the first time, I supported her. ”
However, I have become increasingly saddened by her failure to facilitate civility. I hoped that she would act as a much-needed voice of compassion in the political realm. And yet, there is nothing compassionate about Taylor Swift liking a Tumblr meme of herself kicking Republicans. And while Democratic fans will argue that it was one like, that single like is nonetheless significant. The Taylor Swift who I thought I knew - the one who sued for only $1, who stood with poise when Kanye took the microphone from her, and who always made time for her family and friends - was not the type of person who would ever, even jokingly, contribute to the vitriol and hatred of current American politics.
And Taylor Swift’s first political comments are especially timely and impactful, given the tension of the current American political system. No doubt, this is her point: as she discusses politics in Miss Americana, she clearly cares deeply about the beliefs she professes. She means what she says. And her efforts to support the gay community, to encourage strong women, and to spread inclusivity should be applauded. America needs more voices of unity and encouragement, right now. However, the problem is that the new, politically vocal Taylor Swift is inclusive and supportive, only insofar as her fans agree with her politics - i.e., only insofar as they too are card-carrying Democrats.
“However, the problem is that the new, politically vocal Taylor Swift is inclusive and supportive, only insofar as her fans agree with her politics - i.e., only insofar as they too are card-carrying Democrats. ”
And by dismissing and critiquing all Republicans, Taylor Swift not only fails to recognize the many strong Republicans actively working to improve America, but she also encourages the current climate of hateful political rhetoric. After all, as politics become increasingly emotional for Americans, there’s a frightening tendency for individuals to view their political opponents, not just as people with different policy solutions, but as immoral, despicable enemies. We now live in a country where liberals are wrongly mocked as “pampered, latte-drinking snowflakes” and conservatives are erroneously dismissed and silenced as “uninformed, deplorable, bigots and racists.” And the problem is that both sides talk past one another. And there is no room for progress in a country so divided. If Americans can’t unite over their similarities and shared interests, then they have no hope of reaching solutions that work for the entire country.
Taylor Swift speaks in the Miss Americana trailer.
And angry political lamentations or spur-of-the-moment political tweets by celebrities don’t inspire thoughtful bills in Congress, nor do they facilitate introspection or encourage civility. On the contrary, American politics have become extraordinarily uncivil, while pop culture has increasingly become an echo chamber.
As such, when Taylor Swift entered the world of politics, she possessed - and still possesses - an extraordinary opportunity to act as a voice of reason and nuance. I hoped that she would acknowledge the complexities of modern American politics. And more than that, I hoped that she would learn from her own experiences, suffering from the critiques and whims of the masses. Her Reputation album, and her “Blank Space” music video, were both highly intelligent, humorous responses to the critiques of her naysayers. Rather than descend to hatred when she was mocked and dismissed, Taylor Swift has built a record-shattering career by rising above the animosity. And she of all people should know how painful it is to be dismissed beneath a label.
I therefore hoped that she would work hard, not to dismiss all Republicans or all Trump Supporters, but to carefully highlight the policies she cares about, and to conscientiously advocate for the reforms she supports. In other words, I hoped and expected that she would be careful not to malign or dismiss an entire political party - especially when that population contains many of her most avid fans (just as the Democratic Party also contains many of her biggest supporters).
The point here is that people enjoy Taylor Swift’s music, regardless of their political beliefs. And she built a platform, undefined by political affiliations. By singing about mean girls and awful breakups and new beginnings, Taylor Swift has always appealed to the most vulnerable, human characteristics of her fans. Democrats and Republicans alike have shouted the lyrics to “You Belong with Me” in their cars. Fans from across the country have cried listening to “I Almost Do.” And during an election year when America is sure to be even more divided than during the midterms, we don’t need more anger. And so I found myself disappointed by her Miss Americana documentary. There are many positive aspects of the film; Taylor Swift bravely discusses her eating disorder, her family, and her need to escape the limelight. And she still speaks with her characteristic eloquence. The difference is that her enemies, and her inspiration for her latest song, “Only the Young,” are no longer ex-boyfriends. They are Republicans. And her critiques of Republicans are less rooted in policy analysis than they are in emotion.
“By singing about mean girls and awful breakups and new beginnings, Taylor Swift has always appealed to the most vulnerable, human characteristics of her fans. Democrats and Republicans alike have shouted the lyrics to “You Belong with Me”...”
And I find this new, political rhetoric saddening. Taylor Swift absolutely has the right to speak freely, and she should. But, she should also remember that her words matter; they matter to fans like me, who have looked up to her, throughout their lives. Her words matter to Republicans and Democrats alike. And, she is right to acknowledge her platform; she possesses the ability to change things. But, as she continues to fight for what she believes, I hope that she remembers her Republican fans. I hope that she remembers that we too cheered for her, during her 1989 tour. I hope she remembers that we rushed to Target to buy her new releases, that we got in arguments defending her transition from country to pop, and that we too shout the lyrics to her Lover album.
And I hope she knows that we don’t need more anger from celebrities who possess the power to unite America.
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Reassessing Taylor Swift's Reputation
Walking into Soldier Field’s open arena on the first day of June was like walking right into summer—the roaring heat could legit bake sidewalks. The whole arena simmered with a restlessness of youth that one often finds on a flashy summer day. Parties of excited girls were decked out in bold Reputation merch with blackletter Old English typefaces.
Suddenly, the lights dimmed and the crowd screamed and the opener blasted and fireworks exploded and the gate opened and a huge puff of mist attacked the stage, and the fire-and-fury herself stood center stage, with the hoodie pulled over her head and arms at her side, in over-the-knee black boots with a mic in her right hand, her face completely obscured.
Twelve years ago, she was just 16-year-old Taylor Swift debuting her first self-titled album. Then she became the Taylor Swift, a Fearless sensation who wasn't afraid to sing about her love and have all of America listen. A prolific songwriter, she held the title of America's sweetheart and resonated with millions of little girls who belted out her lyrics on car rides back from school. In Speak Now, she was the the mountain-mover whose glory soared in kingdom lights; in Red, she fashioned a vintage old-school look in her classic red NARS Dragon Girl lipstick. She then went on to "shake it off" in 1989—and we all thought she did—but Reputation is the album where Taylor. Swift. Snapped.
Taylor Swift had a game face on during the first few songs, narrowing her eyes and never letting a smile through. She did not address the sold-out crowd of 52,000 right away. Maybe she's someone who takes time warming herself to an audience. But suddenly the spiteful squint broke into a smile that reached her distinctive cat eyes. It was like, “I’m just playing.” She has an ability to blend fun and sass with her art. At one point, she had her back to the audience and swung rapidly from singing over one shoulder to the other shoulder, which I'd never seen anyone do before.
The middle-school girl next to me kept on saying, "Oh my god, oh my god." I had just said the same thing seconds ago. It happens that everyone has one or two special celebrities whose fame coincided with his or her starstruck teenage years. Music was a sugary balm that enlivened that somewhat sleepy, confused age, when nothing was really figured out. I grew up with Taylor Swift, knowing every word to her every song. However, now I'm a college student, less impressionable than I was five or ten years ago. When your celebrity revamps her image overnight, as a reasonable fan you think: do I really want to wear a snake ring and put on a T.S. snake hoodie? (I don't.) We are all growing up into our own selves, celebrities and fans alike.
Taylor Swift's voice sounded even better in real life than it did on her albums. It was softer, crystal-clear, and more like her voice from the earlier Fearless era. They probably edited her voice to glean a harsher and brassier edge for Reputation's studio-recorded tracks.
In concert, Taylor Swift likes to shoot her hand up into the air to the last word of every line she sings. A giant inflatable snake towered behind her during a song, and at some point she actually turned back and flicked her hand up at it to shoo it, which was funny in the moment. I saw all of her iconic moves, the hair-flip and playful shoulder bops. No one could top Taylor Swift's concert energy. The snake folded pathetically back at the end of the song.
The Reputation Tour's aesthetic felt campy, especially the oversized gilded snakes and drums that somehow looked like nods to Chinatown. But there was nothing disingenuous about Taylor Swift herself. She discussed her past year out of the public eye, and explained that she had considered what she would do, how she would spend her time, if there was no spotlight on her life at all.
She wrote about her dark days in the poem "Why She Disappeared." "Whatever you say, it is not right. Whatever you do, it is not enough. Your kindness is fake. Your pain is manipulative." Apparently, this was what had come of Taylor Swift's reputation.
She told the audience how she found a reason to return. "'Cause what I didn’t realize until recently is that...when I’m on stage and you’re here and we’re all singing the same words? That feeling that I get is like, it’s like this emotional validation right?"
"Like I write songs in my room by myself, and that’s a feeling that a lot of the time comes from extreme insecurity, like loneliness, like a feeling of—like I’m probably the only person feeling this type of humiliation..." She gave a little embarrassed laugh.
"...or this type of—like heartbreak or whatever. And when I stand on this stage and you guys are singing the words back it makes me feel like: oh my god it wasn’t just me, like they’ve been through this too!"
The media has called Taylor Swift "vanilla" for being bland. Some people think she's fake—"how can someone be that nice all the time, really?" I take it these are the Rocky Road and zesty-orange type of people. That's okay: people come in all flavors of ice-cream, and you don't have to like vanilla if you don't like vanilla. But the main reason people snub her is that she comes across as a petty person, and they have a good case: Taylor Swift writes the most romantic love songs and the most vindictive hate songs, often about the same person. That's pretty scary to think about, and in my opinion this vengeful streak and name-calling in the affairs of dating is a major shortcoming for Taylor Swift.
For normal people, getting angry is usually rare and blows over quickly. But for Taylor Swift, it's eternalized in radio playbacks and iTunes repeats. That's her job. That's what happens when you attach an incredibly catchy melody to your life story and send it out from your studio to become a public spectacle. Personally, I don't agree with the unforgiving, hurtful aspect of Taylor Swift's songwriting. But I appreciate her talent to translate into words the relatable, wonderful, real feelings that we all experience. She doesn't water down how she feels. It takes a powerful imagination to jot down lyrics on a napkin like she did for "Our Song," and a hard head to crash through walls like she did in "Long Live." Taylor Swift sang both songs for Chicago, performing "Our Song" as a wild card, and an acoustic medley of "Long Live" and "New Year's Day" on the piano.
The evening felt steady; the sky was wide and high above us. I realized that Taylor Swift is the whole package. She can play the piano and the guitar. She can sing with background music and just by herself. She can be delighted and sad, afraid and lonely, hurt and angry. How is she fake? She is real enough.
Throughout the concert, Taylor Swift repeatedly thanked her fans for "caring." She was grateful that they cared about "lyrics and melody and feeling;" she was grateful that they cared when she took time off to regain her focus and take a breather.
"It's basically saying that you care about reading someone's diary for fifteen years," said Taylor Swift, a people-pleaser at heart.
She chose to end the night with "This Is Why We Can't Have Nice Things." At first, I wondered why she didn't end with a sweet happy song. As I thought about it, I understood that the song calls attention to the reality of life, which isn't always flowers and puppies. With Reputation, Taylor Swift set an example of how you absolutely must fight your battles to honor your dignity. The Taylor Swift I saw on Jun.1 at Soldier Field was not America's sweetheart, but a woman who gave a voice to herself, and held power in her ability to enchant listeners year after year with a pen, guitar, and microphone. The years of drama and adversity has had her sharpen her priorities. Taylor Swift can have nice things, by saving her nice for the people who appreciate her vanilla, and channeling her energy towards the ones who have cared all along and the career she has a passion for. In doing so, she harvests a personal store of sunlight and softness to consistently love and give back to the world.
Taylor Swift descended on the stage lift, waving furiously, her gestures reaching even those sitting in the highest rows of the echoing stadium. Some words appeared on the black screen: "and in the death of her reputation, she felt truly alive."
As the stands rapidly cleared, Soldier Field became dark and chilly. The night was ink blue. But there was light somewhere backstage at her afterparty. There was a warm light passed onto me from the evening of songs. There was light just around the bend, to be anticipated, like coming back home at the end of the day to familiar footing and bright kitchen lights. There were nice things to be hopeful for.
I thought: the people close around her—her family, Joe Alwyn, and good friends know the real her. They love her, and that is all that matters, even if the greater world of critics and strangers send her hate.
And there was no more reputation. There was only Taylor Swift.
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