Queen of ‘Could’ve’

Taylor Swift is the queen of the ‘could’ve song.’  Come on, you know what I’m talking about!  Up until the release of her newest smash album, 1989, her lyrics have been synonymous with the doodles one would find on the cover of a tween-age girl’s diary.  Over the years, from the twangy sentiments of Our Song to the ever-repetitive We Are Never Ever Getting Back Together (words we as ladies, have all said more than once over the years), I would listen to every one of her songs and think to myself, ‘Man! I could’ve written that.’  I have plenty of sap-ridden middle school memories I could’ve drawn upon.  I too, know what it’s like to be branded the outcast, pursued as the Juliet, left as the heartbroken, or simply feel Fearless.  I could’ve written such songs seeing as their meanings and morals are written across the scope of my own memories.  I could’ve…  I could’ve…  But I didn’t.  Miss Swift did.   

1989 is a resounding journey through the young singer’s reach for empowerment, embrace of self-worth, and liberation in the midst of harsh public scrutiny.

Relatable + Vulnerable

Branding herself on the bases of being a relatable and vulnerable (honestly, thanks to the convention of the ‘could’ve’ song), Taylor Swift became the musical maven and tycoon she is today.  As her popularity has grown, she too has grown up with her audience, with the grace and poise of a seasoned entertainment icon from the get-go.  Fresh off the success of her newest album, 1989, however, gone are the days of the ‘could’ve song’ for this millennial rock star.  In growing up and giving up on the simplicity of her idea of happily ever after, Taylor’s lyrics have gone from being simply relatable to downright empowering; from being country classics to rousing stadium anthems.  In the gradual re-conditioning of herself from country music’s little darling, to pop music’s rising star, Taylor has ensured herself a continually booming career.  As recently cited in a Rolling Stone article, Taylor discussed her re-branding saying ‘if you chase two rabbits, you lose them both.’   So rather than hang on to her country roots, 1989 was written to be ‘blatant pop music’ with nods to Eighties influences such as Annie Lennox, Phil Collins and Madonna, and if album sales are any indication, the career move has been a roaring success.

1989: Reviewed

Do not be fooled.  1989 is not riddled with woe and heart-break as fans would expect.  It’s not about Taylor’s dating history or an attack on all of her A-list exes.  One can argue it’s far more personal than any of that.  1989 is a resounding journey through the young singer’s reach for empowerment, embrace of self-worth, and liberation in the midst of harsh public scrutiny.  Quite simply, 1989 is a brave collection of fresh sounding songs.  From the lyrical intelligence of tracks such as I Know Places, This Love and Bad Blood (‘Band-Aids don’t fix bullet holes…’ genius.) to the hit Shake It Off, which begs listeners to get up and dance - the album as a whole is a compilation of Taylor’s lessons in armoring up and growing up.  While it is my personal opinion, that the album falls victim to more than a few ‘filler tracks’ (yikes), it seems mine is an unpopular point of view seeing as 1989 has been reviewed most favorably by many of the music industry’s most esteemed publications including Rolling Stone and Billboard, allowing me to still highly recommend it for purchase.  All in all, 1989 is a heroic triumph for Swift and an empowering purchase for any lucky listener.         

Spotify Scandal

As the popularity of her new album has continued to soar, Taylor Swift has remained steadily under the paparazzi’s microscope and in the forefront of tabloid headlines; most recently - her scandalous separation from Spotify.   As cited in Business Insider, Taylor recently spoke out about their parting of ways. ‘ I think there should be an inherent value placed on art…I didn’t see that happening when I put my music on Spotify…Everybody’s complaining about how music sales are shrinking, but nobody’s changing the way they’re doing things…’  Except for Miss Swift.  Since she has pulled her music off of Spotify for good, her YouTube music video and channel views have skyrocketed.  While this may, at first blush, seem like another lapse in the entertainment industry in which Miss Swift would object under the banner of valueless art, it is my opinion that this strategic move, motivated by personal conviction or not, is fodder to further ignite her newfound brand.  Through video footage (i.e. her music videos and album extras), music can be watched as well as heard.  Gone are Taylor’s innocent and curly locks, campy Love Story-esque videos, and in are her edgy and banging bangs, and self- parodies, as seen in her new viral hit video, Blank Space.  Now that YouTube is the go-to resource for free-streaming of Taylor’s music, visual reinforcement of her new-found pop identity is married with the tunes that already establish her brand.  It’s a brilliant move when looked at aesthetically and from a business perspective.  Listeners seeking immediate free musical gratification go to YouTube and in turn put a face with a sound - a face with a  brand.  So while people continue to question her motives behind the decision to pull her music from Spotify, all I have to say is bravo Taylor… Game, set, match.         

Never Ever Getting Back Together

Gone are the teardrops on her guitar.  Gone are the ballads for Tim McGraw.  The country music scene will have to wait with baited breath for it’s next big thing (Kacey Musgraves anyone?), because for Taylor Swift, she and the world of country music are never (ever) getting back together, and I for one can’t wait to watch as her empire continues to expand.  1989 heralded in a new chapter for Swift, and allowed for a refreshing revisit to a classic sound for the world of pop music as a whole.  On with the anthems Taylor, empowerment has become your industry!