Acid gossip that borrows from better ballads- Taylor Swift: Look What You Stimulated Me Do review
The pop starrings return is full of visceral disses, but its not clear whether shes playing a role or being herself
In professional wrestling- the dramatics and bluster of which have come to if not define culture in 2017, at least strongly mirror it- the” heel turning” is the moment when the hero turns their gaze to the dark side; when they espouse their worst impulses and plunge into full-on villainy.
It is an opportunity for the former saints to engage in sneaky moves and dedicate scorched-earth speeches. Even more importantly, it is a chance for the audience to indulge in their impulses towards white-hot fury, which at times can seem exponentially more powerful than adulation.
Look What You Made Me Do could mark Taylor Swift’s heel turn. Since her arrival in 2006, she has been positioned as, if not pop’s biggest face, at least its upper echelons. Her change from country to country-pop to full-on pop has been accompanied by albums full of anthems that paint her as a hopeless romantic who bruises easily.
During the campaign for her last album, 2014′ s plush pop blockbuster 1989, she also positioned herself as the queen bee of a “squad” that contained as many females as she could bring into her orbit: reporters who she guided through paparazzi scrum, superfans who she welcomed into her home for a listening party, fellow users of the microblogging platform Tumblr, and, of course, the ever-shifting coterie of boldfaced names who popped up on her Instagram feed and at her annual Fourth of July blowouts. She was the all-American pop superstar, one whose lyrics were relatable and easy to sing along with, who sang of offering shoulders to cry on and being starstruck by New York.
She’s also a savvy businesswoman who knows which way the wind is blowing, and how simply describes narratives can often seem more important than artists’ actual bodies of work- and she’s very aware of how the perception of her has shifted since the calendar flipped to 2016.
The Kanye West-Taylor Swift conflict that has been percolating since West interrupted her Video Music Awards acceptance speech in 2009 took multiple turns last year. West released Famous, which pivots on the line” I stimulated that bitch famous !”, referring to Swift, who is name-checked in the previous line as a potential sexuality partner; Swift retorted during a clipped speech for 1989′ s album of the year victory at the Grammys; Kim Kardashian West “exposed” Swift’s approval of the line via Snapchat and her reality show; Swift asked to be” be exempted from this narrative” via Instagram. There were smaller, more subtle twistings that happened along the way, but that’s the basic story.
It’s ridiculous in a lot of ways, high-school rumor amplified to feed the public’s hunger for drama. It’s also why her next album Reputation, which comes out on 10 November, seems to represent if not a heel turning for Swift, at least a lean towards the dark side.
This week Swift blanked out all her social media, snapping the tints on her past life. She subsequently pestered something via a series of static-filled videos proving a snake glittering in low sunlight. Reputation’s cover shows Swift posing defiantly, her constant press threatening to overtake her, the album title in a font ordinarily set aside for metal bands.
Read more: www.theguardian.com
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