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Taylor Swift’s hollow empowerment narrative


Rose

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I was intrigued, but then you lost me

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2 hours ago, Perfect Blue said:

Thousands of people dying in Gaza while journalists risk their lives documenting Israel's crimes against humanity.

 

Instead of spotlighting one of those deserving journalists for TIME's person of the year we are yet again forced to listen to Taylor Swift whine about how Kanye West leaked a phone call 10 years ago or something.

This could have been written by Olivia Wilde herself.

Edited by G.U.Y.
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Taylor's redundant form of feminism isn't breaking news, and as a fan it's not hindering to admit that. A lot less now than in the past, sure, but still. Bad Blood is and was a catastrophic lesson on how building a "girls club" to bring down another woman isn't a good look. Scooter or whoever else in her team signed off on the idea must have had worms for brains.

Edited by Jack!
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Some good points about TS and poptimism for sure. The Time article was so self-serving and shallow.

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But while Swift’s re-recordings could have been a demand for collective change, in reality they seem like little more than an exercise in egotism and greed, repackaged as “empowerment”. The blazing light of her moral crusade is dimmed considerably when you look at the myriad ways Swift profits off the exercise, which include encouraging her fans to buy multiple vinyl and CD editions of the same albums in different colours to access “collectible artwork” (read: flimsy printed inserts) and bonus tracks, and charging £15.99 to rent (not buy) her latest tour film.

:ryan3:

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We get it. You don’t like Taylor Swift.  Now good seethe on the internet like all her other haters.  We know it’s been a tough couple of years for you.  

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The hate on Taylor is really pathetic by this point. 
tumblr_pvwjflb2zN1ystvo4o1_400.gif

 

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One remarkable sea change can be seen in the example of Pitchfork; once a bastion of self-consciously cooler-than-thou posturing became an unflagging champion of huge commercial pop acts. Its reviews now focus far more on the identity politics surrounding artists – and that of the audiences they are assumed to speak on behalf of – than they do on the music itself.

This is the exact same thing the writer is doing, though. Throughout the entire article, she takes issue with Taylor's music being "relatable" when celebrities with private jets and Kim/Kanye feuds are not relatable. There are maybe two lines throughout the entire article that engage with Taylor's music rather than just her celebrity, and those two lines don't actually address if her music is "empowering" (or if Taylor has ever claimed it is, tbh). 

 

Imagine when she finds out that many of the most influential Renaissance artists were living in luxury thanks to their wealthy patrons, or that many of our classic novels were written by people with wealthy parents and a lot of free time to perfect their writing, or... the list goes on. Doesn't change the content of their work.

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