Crafts, capitalism, conspiracies, cultural norms, the climate crisis; football, family relations, fine dining; Argylle, AI, asbestos, academia and museums; the US election, Senate hearings, international relations and the international date line; romance, sexuality and the right way to be successful; gun crime, Grammys and grammar (yes, really): in just the first two months of 2024, the Guardian’s reporting on Taylor Swift has spilled far beyond her natural home in the music section, reflecting a reach that exceeds the pop superstar’s unstoppable ambitions. Last year, one US publication sparked controversy for hiring a dedicated Swift correspondent, but the joke is that anyone in entertainment and culture media – and the rest of it – is essentially a de facto Swift reporter now. Her influence is so vast that writing about her sometimes feels less like documenting a singular pop career than it does reporting on the affairs of a small nation. (The total revenues of just the US leg of the Eras tour have been estimated to be larger than the GDP of 35 countries.)
Admittedly, this can be tiring. Despite the recent attention on her Grammy and Super Bowl wins, Taylor Swift has a lot in store for fans this year. Her new album, The Tortured Poets Department, is set to release in April, along with the final two albums of her re-recording project. The Eras tour is also scheduled for Europe in May – all of which are only the plans she has revealed so far. While Swift claims to offset her carbon emissions from her use of a private jet, sometimes I worry that our coverage should also include more obscure musicians. (Luckily, there are many other options in the music pages for those not enchanted by her constant presence.) However, sometimes the best way to handle an absurd situation is with more absurdity. So for the rest of the year, and until a suitable ending presents itself, the Swift Notes newsletter will ride the wave of Swift’s unprecedented success, exploring the impact of her actions and the unique perspective she offers on a variety of current issues, with a balance of seriousness and humor.
In September, Shaad D’Souza discussed Swift’s resurgence to the top after facing severe backlash in 2017 due to overexposure. His belief is that with the increasing use of personalized social media feeds, it is difficult for anyone to be excessively exposed and for fans or critics to publicly express their grievances. While this may generally be true, Swift’s fame has only accelerated in the following months, due to her high-profile relationship with Kelce, the release of her successful tour film, and her comfort with being seen in public after her private six-year relationship with Joe Alwyn. As proof of her exceptionality, she was named No. 1 on Billboard’s Power 100 list in January, surpassing the CEO of her record label group.
“View the image in fullscreen.”
The media closely follows her every action – most recently, using aerial drones to capture blurry images of her and Kelce at a zoo during the Eras tour in Sydney. On TikTok, she made her relationship with Kelce “official”, providing ample material for onlookers to interpret. At its most harmless, this includes speculating about what Selena Gomez may have said to her at the Golden Globes. At its most bizarre, the New York Times published an essay delving into her sexuality (better suited for Tumblr). At its most malicious, conservative commentators suggested that her relationship with Kelce and his team’s Super Bowl victory were part of a nefarious plot to manipulate the US into voting for the Democrats. One poll even found that 18% of Americans believe Swift is involved in this covert operation. The New York Times also reported that Biden’s campaign is eager for Swift’s endorsement, with the candidate joking on late-night TV that it was “classified”. Another poll revealed that 18% of voters would be more likely to support a candidate backed by Swift. While Swift undeniably holds significant influence, she has also become a center for interpretation, often to exaggerated degrees. As the New Yorker’s Kyle Chayka suggested, “Call it the Swiftularity” – where anything we discuss ultimately relates back to her, stretching the limits of reason.
Swift Notes aims to unravel the multitude of narratives surrounding Taylor Swift, both the ones crafted by her in her songs and personal image, and those told about her. My credentials include becoming a dedicated fan about 12 years ago, conducting interviews with her in her Nashville home, attending six of her concerts (including last year’s Eras show in Los Angeles), and owning a friendship bracelet emblazoned with the lyrics “1-2-3 let’s go bitch!” from her song. Despite sharing some similarities in our personalities, such as both being type-A personalities born in 1989 and having a vindictive streak, I am puzzled by her seemingly unending desire to come out on top. While I admire her ambition to re-record her first six albums and regain ownership over them, I believe the various physical editions with supposedly exclusive songs only exploit her loyal fan base (and the updated versions often don’t measure up to the originals). However, I may change my opinion once we hear the bonus tracks on her upcoming re-recorded album, Reputation, which I believe is her greatest work.
I have always used music to understand the world, making this multi-faceted celebrity the perfect topic for my weekly essays, Q&As, assessments, and calculations. Come along with me and other writers from The Guardian on this exciting journey (possibly leading to insanity). Do you have any questions, theories, or comments? You can email me at [email protected] and let me know if you want your comments to be featured in future newsletters.
“Our Journey: A Week of Swift with The Guardian”
Could Taylor Swift be involved in a plot to overthrow Donald Trump?
The V&A museum is searching for a Taylor Swift fan, also known as a Swiftie, to provide insight into Taylor Swift fan culture.
Review of Taylor Swift’s Melbourne show for “The Eras” tour – an impressive show filled with stunning visuals and a talented and giving performer.
“Taylor joined our family”: Parents and children who love Taylor Swift share how her music has united them.
“I am afraid that I may not experience the same level of happiness again”: tips for dealing with a post-Taylor Swift high.
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Get it off my desk: the best Swift coverage elsewhere
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Greetings, fans of Taylor Swift in Japan. Kindly stay in your seats as you celebrate (New York Times, 9 February) An intriguing article discussing the Tokyo concert of Swift’s tour and the challenges faced by considerate Japanese fans with the more energetic foreign Swift fans who attended the show.
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Taylor Swift achieved a significant accomplishment at the Grammy awards, but also made a notable misstep. In a rare public appearance, Canadian critic Carl Wilson observed Swift’s surprise mishandling of the ceremony by seemingly ignoring Céline Dion, who was present after being diagnosed with stiff-person syndrome (a topic explored in Wilson’s book on “bad” taste). Wilson also noted Swift’s behavior during her acceptance speeches, describing it as reminiscent of a corporate shareholder’s meeting instead of an artist sharing her new album.
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According to Wired’s article on February 1st, those who believe in the Taylor Swift conspiracy theories are misinterpreting the use of psychological operations (psyops). The article provides a thorough examination of these conspiracies and explains why their creators have a flawed understanding of psyops.
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The topic of Taylor Swift’s association with girlhood at the age of 34 due to her whiteness is explored in a thought-provoking podcast episode titled “The Unbearable Whiteness of Girlhood” by NPR’s Code Switch on January 31st. The presenters also discuss their criticism of Swift for not using her privileged and safe platform to advocate for marginalized communities. (The transcript is available here.)
Feels unique: a playlist without any Swift songs.
Mdou Moctar – Funeral for Justice From a new album addressing colonial violence against Niger and the Tuareg people, the Nigerien guitarist and his band issue a rallying cry for African leaders to “retake control of your countries, rich in resources / Build them and quit sleeping” that seems to frenetically dismantle the past and tessellate a new future. (Follow the weekly Hits Different playlist on Spotify.)
Source: theguardian.com
