Following Taylor Swift’s lead, Chris Richards revisits his original take on “1989.”
The rerecorded version of Taylor Swift's album "1989" is seen on display for sale at Plaid Room Records in Loveland, Ohio. The album was released at midnight late on Thursday. . When it’s triumphant, it’s like that Super Bowl Sunday when your team is up 42 points at the half.When it’s bland, it’s like noshing on empty calories in a dream you won’t remember. Sometimes, somehow, it’s both.— and she does it with a cascading refrain that’s pure pop.
” serves as a conformist power fantasy that might resonate more than we’d like to admit — because it’s also a big, dull gesture we’re expected to applaud no matter what.with the help of Max Martin, the Swedish producer who knows how to make Swift’s hooks sound like reincarnated new-wave hits. Drum machines and synthesizers good; acoustic guitars and decorative mandolins bad.ways. Unfortunately, her mild vocal acrobatics frequently expose the clunkiness of her lyrics.
Style is where The Washington Post covers happenings on the front lines of culture and what it all means, including the arts, media, social trends, politics and yes, fashion, all told with personality and deep reporting. For more Style stories, — all of which begins to undermine the long-running Swiftian myth that there’s a secret power in being profoundly uncool.,” one of the five just-okay “vault” songs tacked onto this redux, Swift sings, “I don’t have to pretend I like acid rock.” Yeesh.
That supreme patience and singular discipline has paid unfathomable dividends. Swift currently has the highest grossing tour in history, a No. 1 movie at the box office and — like a prophecy foretold — she’s currently. Because yes, Swift is a woman thriving at the summit of a pop culture largely shaped by men. And yes, she’s a truth-telling songwriter who’s done some truly brilliant work.
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