Since Taylor Swift launched record Eras TourIn 2023, a forty of forty-nine dates, fifty-one cities, more than two billion dollars on the sale of tickets, it was strangely ubiquitous in a cultural consciousness: a grinning Lodestar in Luboutin boots. The tour ended in December last year, but instead of passing the center of attention, Swift doubled her mega-tin, first with a wildly published interaction with Travis Kels, a hard end for Kansas-City leaders, and then, releasing the “life of a show-sheep”, its twelfth studio album and its second in eight months. This is a daring temperamental record of strength and insecurity. “What could you get for a girl who has everything and nothing at once?” She sings at Elizabeth Taylor, one of the most heavy tracks of the album. This paradox is the central for gestalt Swift. It is equal to the role of formidable (“I will be your father's figure / I drink this brown liquor / I can conclude transactions with the devil, because my member is more”, she boasts of the “figure of my father”) and is bruised. “I was struck by terminal uniqueness / I am dying, just trying to seem cool,” she sighs on the “eldest daughter”, a compacted ballad. (“Terminal uniqueness” is a phrase used in AA or other recovery programs – a poisonous belief in your own exclusivity.)
Swift was in no hurry to abandon the mentality of the loser, which she developed as an upstart. The fact that she earns a living is probably exhausting, but tirelessly indicates how glory is poisonous and burdensome not quite frank. (Many jobs are hard; very few make a person inexpressibly rich.) On the “life of the show -girls” Swift is sometimes gentle – “honey” is an Arga, delicate, beautiful, but more often it is vindictive, avoids vulnerability in favor of the bomber.
Sometimes it works; Often this is not so. Swift reunited with the Swedish producer Max Martin and his SHELLBACK protege, the same long -legged shrouds responsible for the joint creation of some of its most iconic singles. More recently, Swift worked with indie producers Jack Antonof and Aaron Desner, although to its release 2024 “Poet torture Department: Anthology-Savage, a dual album, embittered songs, was gnawing that this relationship was creative. Martin, who is fifty -four, is the most commercially successful author of songs of the twenty -first century; His work is carefully and accurate, and his songs are, balanced, not imitating. (Part of the odd pleasure, which are not somewhat complicated Martin is an interesting foil for swift, which is so hypersed in the narrative and phrases that it is now self-resembling like something like a angry major. hit “Mamma Mia” of Abba as a kind of lighthouse) is a practitioner that can lead to a fun grammar from crossing. (On the preliminary choir of Ariana Grande “Bray-Wild”, Grande is more liquor: “Now that I have become who I really are!” Swift, of course, will never be.)
Together, overlapping obsessive ideas of Swift and Martin created several ideal pops, including Blank Space, a funny, caustic and inventive melody – perhaps the best SWIFT – various ways of love can feel doomed from jumping. (I laugh every time Swift sings: “Wait, the worst still ahead of the Swift flourishes in the heading of structure and severity. That's why the ERAS tour, with its clearly defined eras and sharply choreographic signals, was so impressive – she is a master of law and order. And yet the whistle aesthetics about impeccability (when she declared an album at a new height, sports, sports Podkast Trevis Kels is led with his brother Jason, I was briefly hypnotized by the complete accuracy of her winged eyeliner), becomes the most dated thing in her.
It may also be why Swift is so strangely unconvincing when to sing about sex, an experience that requires submission to both another person and for your own charred, mercury desires. On “Wood”, theoretically excited disco, it’s like to feel safe in a relationship, she manages to get rid of embarrassment. “Redwood is wood, it is easy to see / his love was the key to the opening of my hips,” she sings. The song is filled with Cringey Double Inventers: “Girls, I do not need to catch a bouquet, mmm / to know that the hard stone is already on the way.” FINE! In the same song there is a line “The Curse on Me was broken by your magic wand”, which, of course, is very funny, but also gestures for a broader problem: there is no curse, Taylor Swift! You are simple. The field is alive on Earth.
In a musical terms, turning the swift towards the “installation” is felt as an answer to the statement that her last album was repeating and blocked. At the “new heights”, Swift called the “Department of Inquisitive Poets” as “a landfill of the data of everything that I thought, felt or experienced in two or three years,” a silent recognition of his dampness and volume. I found that the urgency and grandeur of the album at that time, at that time, in a retrospective, I am aware of the wild energy of a freshly assumed, still abundant rage and pain. Swift is successful enough to ignore her haters (or her former), but it seems that she simply cannot – in fact, she constantly sings about her enemies. On “In fact, the romance” is a song that is supposed to be Charlie XCX (it sounds a little like Weezer “Tell me, this is not the case,” and in many ways like Olivia Rodrigo), Swift pretends to be in “Charlie” – “I heard that you call me a boring barbie, when Cokes forced you, I cannot, that I can’t. (For those who did not plunge in Swift Lore: Charlie was a discovery for Swift on the “Reputation” tour, but now married to a 1975 member, a British rock group released in Louche EX MATTY Healy's SWIFT, – will do it! Swift transactions always maintains an account.
Swift is masterfully when it comes to making money. This is the aspect of her career, which most often makes me interrogate, any gross motivations of the feminine are buried deep in my psyche: will I find the same if, say, Morgan Wallen or Drake released thirty -six physical variants of the album? Part of what is inconvenient in swift ambitions lies in the fact that she built an empire regarding intimacy, or at least Simulacram intimacy. “I am in the business of human emotions,” said Swift at “new heights”, shortly before the opening of the “life of the show -girl”, removing LP from a portfolio to order.
Recently, it seems that her ability to communicate in a new one begins to hesitate – a lot of business, not enough emotions. While the life of Swift is extraordinary, it is also spent by wealth and celebrity; Perhaps the range of feelings that she allowed to experience became limited. It is easy to be paranoid and get angry when your interactions do not always remain without balance, and your audit is so related to public perception. “Everyone has a dizziness in the comments / every hot double is cold, like ice,” she sings on the “Elder daughter”, the song is mainly about websites. Swift is in a rich moment in its life-thirty-five can be a turning point between young people and something else that here, from the production to the performance to lyrical topics, suggests that it is not very concerned about the transformation. In a sense, Swift itself strengthened the idea that the artist should have an era, remaining attentive to raising and acute sensations, but the “life of a dancer” is mainly about himself. On the title track of the album, a pretty, capricious duet with Sabrina Carpenter, Swift is unintentionally recognized in her own solitude, alienation, distance: “You do not know the life of the dance terrier, baby / and you never, never,.” ♦
