Taylor Swift's '1989' Subverts Being Trapped in a Glass Castle

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</div> <div class="header-details-wrapper"> <div class="entry-header-details"> <h1 class="entry-title">Taylor Swift’s ‘1989’ Subverts Being Trapped in a Glass Castle</h1>  <div class="aft-image-caption"> <div class="post-black-caption"> <div style='display:none;' class='shareaholic-canvas' data-app='share_buttons' data-title='Taylor Swift's '1989' Subverts Being Trapped in a Glass Castle' data-link='https://www.popmatters.com/taylor-swift-1989-atr10-feature' data-summary='For her 1989 album, Taylor Swift wrote breakup songs that cleverly conveyed to fans she had personal freedom even from within her glass castle.' data-app-id-name='post_above_content'></div><p>For her <em>1989</em> album, Taylor Swift wrote breakup songs that cleverly conveyed to fans she had personal freedom even from within her glass castle.</p> <div style='display:none;' class='shareaholic-canvas' data-app='share_buttons' data-title='Taylor Swift's '1989' Subverts Being Trapped in a Glass Castle' data-link='https://www.popmatters.com/taylor-swift-1989-atr10-feature' data-summary='For her 1989 album, Taylor Swift wrote breakup songs that cleverly conveyed to fans she had personal freedom even from within her glass castle.' data-app-id-name='post_below_content'></div><div style='display:none;' class='shareaholic-canvas' data-app='recommendations' data-title='Taylor Swift's '1989' Subverts Being Trapped in a Glass Castle' data-link='https://www.popmatters.com/taylor-swift-1989-atr10-feature' data-summary='For her 1989 album, Taylor Swift wrote breakup songs that cleverly conveyed to fans she had personal freedom even from within her glass castle.' data-app-id-name='post_below_content'></div> </div> </div> <div class="post-item-metadata entry-meta"> <span class="item-metadata posts-author"> <div class="">By</div> <a href="https://www.popmatters.com/author/matthewdwyer">  <span class="pp-multiple-authors-boxes-wrapper pp-multiple-authors-wrapper pp-multiple-authors-layout-inline multiple-authors-target-action box-post-id-658428 box-instance-id-1 ppma_boxes_658428" data-post_id="658428" data-instance_id="1" data-additional_class="pp-multiple-authors-layout-inline.multiple-authors-target-action" data-original_class="pp-multiple-authors-boxes-wrapper pp-multiple-authors-wrapper box-post-id-658428 box-instance-id-1"> <span class="ppma-layout-prefix"></span> <span class="ppma-author-category-wrap"> <span class="ppma-category-group ppma-category-group-1 category-index-0"> <span class="pp-author-boxes-avatar-details"> <span class="pp-author-boxes-name multiple-authors-name"><a href="https://www.popmatters.com/author/matthewdwyer" rel="author" title="Matthew Dwyer" class="author url fn">Matthew Dwyer</a></span> </span> </span> </span> <span class="ppma-layout-suffix"></span> </span>  <style> .pp-multiple-authors-boxes-wrapper.pp-multiple-authors-layout-inline.multiple-authors-target-action .pp-author-boxes-avatar img { width: 80px !important; height: 80px !important; } .pp-multiple-authors-boxes-wrapper.pp-multiple-authors-layout-inline.multiple-authors-target-action .pp-author-boxes-avatar img { border-radius: 50% !important; } .pp-multiple-authors-boxes-wrapper.pp-multiple-authors-layout-inline.multiple-authors-target-action .pp-author-boxes-meta a { background-color: #655997 !important; } .pp-multiple-authors-boxes-wrapper.pp-multiple-authors-layout-inline.multiple-authors-target-action .pp-author-boxes-meta a { color: #ffffff !important; } .pp-multiple-authors-boxes-wrapper.pp-multiple-authors-layout-inline.multiple-authors-target-action .pp-author-boxes-meta a:hover { color: #ffffff !important; } .pp-multiple-authors-boxes-wrapper.pp-multiple-authors-layout-inline.multiple-authors-target-action .ppma-author-user_email-profile-data { background-color: #655997 !important; } .pp-multiple-authors-boxes-wrapper.pp-multiple-authors-layout-inline.multiple-authors-target-action .ppma-author-user_email-profile-data { border-radius: 100% !important; } 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color: #ffffff !important; } .pp-multiple-authors-boxes-wrapper.pp-multiple-authors-layout-inline.multiple-authors-target-action .pp-author-boxes-recent-posts-title { border-bottom-style: dotted !important; } .pp-multiple-authors-boxes-wrapper.pp-multiple-authors-layout-inline.multiple-authors-target-action .pp-author-boxes-recent-posts-item { text-align: left !important; } .pp-multiple-authors-boxes-wrapper.pp-multiple-authors-layout-inline.multiple-authors-target-action .pp-multiple-authors-boxes-li { border-style: none !important; } .pp-multiple-authors-boxes-wrapper.pp-multiple-authors-layout-inline.multiple-authors-target-action .pp-multiple-authors-boxes-li { color: #3c434a !important; } .pp-multiple-authors-boxes-wrapper.pp-multiple-authors-layout-inline.multiple-authors-target-action .ppma-author-category-wrap .ppma-category-group { margin-bottom: px !important; } .pp-multiple-authors-boxes-wrapper.pp-multiple-authors-layout-inline.multiple-authors-target-action .ppma-author-category-wrap .ppma-category-group { margin-right: px !important; } .pp-multiple-authors-boxes-wrapper.pp-multiple-authors-layout-inline.multiple-authors-target-action .ppma-author-category-wrap { font-size: px !important; } .pp-multiple-authors-boxes-wrapper.pp-multiple-authors-layout-inline.multiple-authors-target-action .ppma-author-category-wrap .ppma-category-group-title { font-weight: !important; } .pp-multiple-authors-layout-inline ul.pp-multiple-authors-boxes-ul { display: flex; } .pp-multiple-authors-layout-inline ul.pp-multiple-authors-boxes-ul li { margin-right: 10px } .pp-multiple-authors-layout-inline .pp-author-boxes-name::after{ content: ","; } .pp-multiple-authors-layout-inline .pp-multiple-authors-boxes-ul .pp-multiple-authors-boxes-li:last-of-type .pp-author-boxes-name::after{ content: ""; }.pp-multiple-authors-boxes-wrapper.pp-multiple-authors-wrapper.pp-multiple-authors-layout-inline.multiple-authors-target-action.box-post-id-658428.box-instance-id-1.ppma_boxes_658428 ul li > div:nth-child(1) {flex: 1 !important;} </style> </a> <span class="slash">/</span> <span class="item-metadata posts-date"> 21 November 2024 </span> </span> </div> </div> </div> </header> <div class="entry-content-wrap"> <div class="poster-box-wrapper"> <div class="poster-box"> <div class="image-wrap"><img width="300" height="298" src="data:image/svg+xml,%3Csvg%20xmlns='http://www.w3.org/2000/svg'%20viewBox='0%200%20300%20298'%3E%3C/svg%3E" data-lazy-src="https://www.popmatters.com/wp-content/uploads/2024/11/Taylor-Swift-1989-album-cover.jpg.webp"/><noscript><img width="300" height="298" src="https://www.popmatters.com/wp-content/uploads/2024/11/Taylor-Swift-1989-album-cover.jpg.webp"/></noscript></div> <div class="title-wrap">1989</div> <div class="author-wrap">Taylor Swift</div> <div class="ownedby-wrap">Big Machine Records</div> <div class="date-wrap">27 October 2014</div> </div> </div> <div class="entry-content"> <div style='display:none;' class='shareaholic-canvas' data-app='share_buttons' data-title='Taylor Swift's '1989' Subverts Being Trapped in a Glass Castle' data-link='https://www.popmatters.com/taylor-swift-1989-atr10-feature' data-summary='For her 1989 album, Taylor Swift wrote breakup songs that cleverly conveyed to fans she had personal freedom even from within her glass castle.' data-app-id-name='post_above_content'></div> <p class="has-drop-cap">In her 1968 song from <em>Song to a Seagull</em>, “<a href="https://www.youtube.com/watch?v=myeJYtiKJR0" target="_blank" rel="noreferrer noopener nofollow">Cactus Tree</a>“, Joni Mitchell predicted her life’s path: “One will ask her for eternity / While she’s so busy being free.” Mitchell prioritized artistic freedom over relationships that threatened to stifle her. In 1965, at 21, she gave up a daughter for adoption and wrote a <a href="https://faroutmagazine.co.uk/joni-mitchell-song-child-she-gave-up/" target="_blank" rel="noreferrer noopener nofollow">song</a> about it titled “<a href="https://www.youtube.com/watch?v=HTxUrDtoPP0" target="_blank" rel="noreferrer noopener nofollow">Little Green</a>” (from 1971’s <em>Blue</em>).</p> <p>Freedom is defined relative to oppressive forces; it does not exist in a vacuum. Maintaining it involves finding a self-evident medium of expression. Twisting someone’s story can function as censorship. </p> <p>Modern celebrity advertises itself as freedom despite the constraints inherent in its marketing. Peter Weir’s 1998 film <a href="https://www.popmatters.com/truman-show-peter-weir-feature" target="_blank" rel="noreferrer noopener"><em>The Truman Show</em></a><em>,</em> about a man who doesn’t know his life is a staged production, predicted social media-era fame. Platforms such as Instagram enable a constant stream of shared information, meaning any moment of privacy can shatter the fourth wall of celebrity. <em>The Truman Show</em> portrayed a normal life; Truman’s existence became a spectacle when people watched. </p> <p>In International Relations, a school of thought called <a href="https://www.carnegiecouncil.org/explore-engage/key-terms/cultural-relativism#:~:text=Cultural%20relativism%20is%20the%20view,structure%20relations%20within%20different%20societies." target="_blank" rel="noreferrer noopener nofollow">cultural relativism</a> asserts that performing an anthropological study on a culture contaminates the results. The study subjects will always act differently around outsiders than in isolation. Taylor Swift’s career is a study of relativism in pop culture. Does opening the box of her private life to share with the public tarnish it? Swift’s work embodies the tension between commercialism and artistry, creating a symbiotic relationship: she pays dues as a pop star, writes radio hits, and is rewarded with a platform for deep cuts that are the foundation of her enterprise. </p> <p>Taylor Swift is also a case study of the American Dream. Before I explain why, I must acknowledge her <a href="https://time.com/3583129/power-of-taylor-swift-cover/" target="_blank" rel="noreferrer noopener nofollow">privilege</a>: her father was a stockbroker at Meryl Lynch, and she was raised on a Christmas Tree Farm in Reading, Pennsylvania. In the song “<a href="https://www.youtube.com/watch?v=n0cde-Km05o" target="_blank" rel="noreferrer noopener nofollow">The Best Day</a>” (<em>Fearless</em>, 2008) she wrote, “I grew up in a pretty house with lots of space to run.” It sounds like Swift had a pretty good childhood. </p> <p>However, in terms of music, she isn’t a <a href="https://nymag.com/press/2022/12/extremely-overanalyzing-hollywoods-nepo-baby-boom.html" target="_blank" rel="noreferrer noopener nofollow">nepotism baby</a>. At 13, Swift and her family moved from Pennsylvania to a suburb of Nashville, Tennessee, to situate the aspiring musician closer to the country music industry. (Her father transferred to Meryl Lynch’s Nashville location.) The means of Swift’s family put her in the right position to propell her budding career. From that point forward, however, Swift’s upward trajectory represents a combination of free-market economics and musical talent. </p> <p><span style="box-sizing: border-box; margin: 0px; padding: 0px;">At 13, Swift <a href="https://ew.com/article/2008/02/05/taylor-swifts-road-fame/" target="_blank" rel="noopener">signed</a> a development deal with RCA R</span>ecords but left the label one year later because it required her to record songs she didn’t write. At 14, she signed with Universal Music’s Scott Borchetta. The catch: Borchetta was leaving Universal to start an indie label, Big Machine Records. Swift became one of the three original artists to sign on. Her fourth single, 2007’s “<a href="https://www.youtube.com/watch?v=Jb2stN7kH28" target="_blank" rel="noreferrer noopener nofollow">Our Song</a>”, hit the top spot on the country charts. Swift’s second album, 2008’s <em>Fearless</em>, won Album of the Year at the Grammys. It was uphill from there.</p> <figure class="wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio"><div class="wp-block-embed__wrapper"> <div class="rll-youtube-player" data-src="https://www.youtube.com/embed/e-ORhEE9VVg" data-id="e-ORhEE9VVg" data-query="feature=oembed" data-alt="Taylor Swift - Blank Space"></div><noscript><iframe title="Taylor Swift - Blank Space" width="640" height="360" src="https://www.youtube.com/embed/e-ORhEE9VVg?feature=oembed" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe></noscript> </div></figure> <div style="height:25px" aria-hidden="true" class="wp-block-spacer"></div> <h2 class="wp-block-heading">The Business of Pop</h2> <p>In a 2019 interview with <em>Rolling Stone</em>, Taylor Swift <a href="https://www.rollingstone.com/music/music-features/taylor-swift-rolling-stone-interview-880794/" target="_blank" rel="noreferrer noopener nofollow">discussed</a> her relationship with Big Machine Records: “A lot of the best things I ever did creatively, I had to…aggressively fight to have happen.” </p> <p>Perhaps she was referring to her decision to transition from country to pop on her fifth album, 2014’s <em>1989</em>. Upon hearing of Swift’s imminent departure from Nashville, Borchetta “went into a state of semi-panic.” According to a 2014 <em>Billboard</em> interview, he <a href="https://www.billboard.com/music/awards/billboard-woman-of-the-year-taylor-swift-on-writing-her-6363514/" target="_blank" rel="noreferrer noopener nofollow">asked</a> her, “Can you just give me three country songs?” Additionally, Swift said other heavyweights in the music industry believed her ambition to undergo a complete pop makeover was “overly optimistic”. </p> <p>According to data from <a href="https://www.vox.com/2014/11/5/7154357/taylor-swift-sold-2-albums-every-second-last-week-but-thats-not-the" target="_blank" rel="noreferrer noopener nofollow">Nielsen SoundScan</a>, in 24 hours, <em>1989</em> matched its first-week sales predictions, moving 600,000 units. In seven days, it sold 1.287 million copies, a shock to an industry headed toward streaming dominance. A <a href="https://www.riaa.com/wp-content/uploads/2015/09/2013-2014_RIAA_YearEndShipmentData.pdf" target="_blank" rel="noreferrer noopener nofollow">report</a> from the RIAA stated that growth in streaming revenue offset the decline in permanent downloads. While the market switched from one digital platform to another, Swift sold 480,000 <a href="https://www.billboard.com/music/music-news/taylor-swift-1989-retail-sales-forecast-6304029/" target="_blank" rel="noreferrer noopener nofollow">physical copies</a> of <em>1989</em>. “All of the sudden, I didn’t look so naive anymore,” she <a href="https://www.billboard.com/music/awards/billboard-woman-of-the-year-taylor-swift-on-writing-her-6363514/" target="_blank" rel="noreferrer noopener nofollow">said</a> to <em>Billboard</em>. </p> <p>After <em>1989</em>’s release, Swift removed her catalog from Spotify, citing unfair compensation rates for artists. In an <a href="https://www.wsj.com/articles/for-taylor-swift-the-future-of-music-is-a-love-story-1404763219" target="_blank" rel="noreferrer noopener nofollow">op-ed</a> for the <em>Wall Street Journal</em> about streaming’s rise, she frankly stated, “Valuable things should be paid for.” It’s a simple enough concept, something that could be distilled into the hook of a pop song. <em>1989</em>’s removal from Spotify, a streaming platform, boosted its sales. Swift also capitalized on merchandising. Each physical copy of <em>1989</em> included one of five sets of polaroids from the album’s cover photoshoot. Theoretically, a fan could buy an infinite number of CDs before obtaining all five Polaroid sets because the packaging does not specify which set is included. (I say this was money well spent.)</p> <p>In subsequent years, Swift continued to pair albums with merchandise. Magazines released alongside 2017’s <em>reputation</em> included Swift’s personal photos, poems, and handwritten lyrics. With 2019’s <em>Love</em>r, she shared pages from her diary, each excerpt including a CD. Streaming’s low royalties have compelled musicians to find alternative revenue sources. “The financial structure [of the music industry] hasn’t caught up with streaming,” Swift <a href="https://music.apple.com/us/post/1485493850" target="_blank" rel="noreferrer noopener nofollow">told</a> Apple Music’s Zane Lowe. As an example, she cited that many producers require co-writing credits for collaborations. Additionally, in 2023, <em>Billboard</em> <a href="https://pitchfork.com/news/billboard-announces-new-fan-bundle-rule-for-chart-eligibility/#:~:text=Under%20the%20new%20rules%2C%20artists,artist%2C%20independent%20of%20one%20another." target="_blank" rel="noreferrer noopener nofollow">restructured</a> its charting formula to account for the artists who bundle albums with t-shirts or concert tickets. </p> <p>Swift’s 2014 decision to remove her catalog from Spotify, effectively raising <em>1989</em>’s sales, was something only an artist of her stature could do. Although <em>1989</em> prolonged the era of purchasing albums, its creator couldn’t fend off the rising tide of streaming forever. In 2015, when Apple announced its streaming service, Apple Music, Swift threatened to withhold <em>1989</em> from the platform unless the company compensated artists during a three-month trial period that would be free to users. Within 24 hours, Apple changed its terms, and Swift’s music became available on its service.</p> <p>Although Swift’s “To Apple, Love Taylor” <a href="https://www.tumblr.com/wildest-swift/122073063029/to-apple-love-taylor" target="_blank" rel="noreferrer noopener nofollow">statement</a> prevented a blatant injustice, it didn’t change the direction of the industry. In 2023, the <a href="https://virpp.com/hello/music-streaming-payouts-comparison-a-guide-for-musicians/#:~:text=YouTube%20pays%20artists%20%240.00164%20per,videos%2C%20under%20Content%20ID%20instances." target="_blank" rel="noreferrer noopener nofollow">average payout</a> per stream on Spotify was $0.000318 and $0.0008 on Apple Music. </p> <p>Because Taylor Swift’s streaming reluctance increased sales, many saw her activism as opportunistic. Twitter users <a href="https://www.thefader.com/2014/11/03/twitter-reacts-to-taylor-swifts-breakup-with-spotify" target="_blank" rel="noreferrer noopener nofollow">called</a> her “money-hungry” and “greedy”. Former One Direction band member Zayn Malik <a href="https://www.theguardian.com/music/2015/aug/18/calvin-harris-and-zayn-malik-in-angry-exchange-over-taylor-swift" target="_blank" rel="noreferrer noopener nofollow">retweeted</a> an info-graphic that praised Miley Cyrus’ decision to release an album for free and criticized Swift’s streaming stance. </p> <p>In the music <a href="https://www.youtube.com/watch?v=3tmd-ClpJxA" target="_blank" rel="noreferrer noopener nofollow">video</a> for “Look What You Made Me Do,” Swift fought against this portrayal. In a scene, she breaks into a bank and burns cash inside of a vault. Above her a sign reads “Streaming Co.” By turning the claims made against her into a cartoonish charade, she points out their sensationalism. </p> <figure class="wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio"><div class="wp-block-embed__wrapper"> <div class="rll-youtube-player" data-src="https://www.youtube.com/embed/3tmd-ClpJxA" data-id="3tmd-ClpJxA" data-query="feature=oembed" data-alt="Taylor Swift - Look What You Made Me Do"></div><noscript><iframe title="Taylor Swift - Look What You Made Me Do" width="640" height="360" src="https://www.youtube.com/embed/3tmd-ClpJxA?feature=oembed" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe></noscript> </div></figure> <div style="height:25px" aria-hidden="true" class="wp-block-spacer"></div> <p>Portraying Taylor Swift’s altruism as selfishness because of its economic benefits undermines the premise of celebrity. With a massive platform, anything Swift does generates money, even selfless things. Does that mean she shouldn’t do them?</p> <p>In 2016, her <a href="https://www.vox.com/2016/7/18/12210858/kim-kardashian-taylor-swift-snapchat-kanye-west" target="_blank" rel="noreferrer noopener nofollow">falling out</a> with the public exemplified cognitive dissonance on a massive scale. If one could claim the nature of fame condemned her embodiment of it, redemption becomes theoretically impossible. Swift became a representation of celebrity’s pitfalls despite her global platform ensuring those flaws are contained in their own representation.  Her self-caricatures in “Look What You Made Me Do” resuscitated her persona by reminding viewers that celebrity is a performance. Destroying Swift’s past selves, as the <a href="https://consequence.net/2016/07/how-taylor-swift-became-twitters-public-enemy-no-1/" target="_blank" rel="noreferrer noopener nofollow">#TaylorSwiftIsOverParty</a> had sought to do, was futile because those selves functioned on the level of fiction to begin with. </p> <p>Fame is the delicate balance of fantasy and reality. A problem occurs when an intermediary between the consumer and the product—the press—decides which aspects of the product are real and which are not. </p> <div style="height:25px" aria-hidden="true" class="wp-block-spacer"></div> <h2 class="wp-block-heading">The New Landscape of Streaming</h2> <p>In the decade since <em>1989</em>, Taylor Swift has conquered streaming without jeopardizing sales. <em>The Tortured Poets Department</em> (20240 <a href="https://www.billboard.com/lists/taylor-swift-tortured-poets-department-debut-number-one-billboard-200-chart/swifts-14th-no-1-album-on-the-billboard-200/" target="_blank" rel="noreferrer noopener nofollow">sold </a>2.61 million units in its first week – more than double the first-week total of <em>1989</em>. Additionally, at 891.37 million streams, <em>The Tortured Poets Department</em> broke Drake’s record for an album’s biggest streaming week ever. (Drake’s <em>Scorpion</em>, with 745.92 streams, held this title since 2018.) </p> <p>Swift’s business strategy of aligning a product’s marketing with the autobiographical storyline at its core translated from sales to streaming. <em>folklore</em> (2020) made Swift’s Spotify dominance clear, as it <a href="https://www.forbes.com/sites/bryanrolli/2020/07/25/taylor-swift-folklore-spotify-records-biggest-debut-2020/" target="_blank" rel="noopener">amassed</a> 80 million streams in 24 hours, breaking Arianna Grande’s record of 70.2 million. <em><a href="https://www.metacritic.com/music/folklore/taylor-swift" target="_blank" rel="noreferrer noopener nofollow">fo</a></em><a href="https://www.metacritic.com/music/folklore/taylor-swift" target="_blank" rel="noreferrer noopener nofollow"><em>lklore</em></a>’s surprise release mirrored the onset of the COVID-19 pandemic, a sudden phenomenon that forced people into isolation. Following 2019’s <em>Lover</em>, an album of straightforward pop, <em>folklore</em> reminded listeners of Swift’s songwriting gifts. </p> <p>In 2017, Swift returned her catalog to Spotify, another business and personal narrative combination. Her albums impacted the platform the same day Katy Perry released her fourth album <a href="https://www.metacritic.com/music/witness/katy-perry" target="_blank" rel="noreferrer noopener nofollow"><em>Witness</em></a>, which included a diss track aimed at Swift titled “Swish Swish”. According to <em>Consequence of Sound</em>, Swift’s old material <a href="https://consequence.net/2017/06/taylor-swift-is-out-performing-katy-perry-on-spotify/" target="_blank" rel="noreferrer noopener nofollow">outperformed</a> Perry’s new. </p> <p>In an <a href="https://www.youtube.com/watch?v=7VenlV7Qxak" target="_blank" rel="noreferrer noopener nofollow">interview</a> with the Recording Academy, Swift explained her choice to pursue “blatant pop music” on her album, <em>1989</em>. It stemmed from the failure of its predecessor, 2012’s <em>Red</em>, to win Album of the Year at the Grammys, prompting her to realize she had not been making “sonically cohesive” albums. Although commercially successful, <em>Red</em> received <a href="https://www.rollingstone.com/music/music-country/red-187797/" target="_blank" rel="noreferrer noopener nofollow">critical backlash</a> for its mix of country, soft rock, and dubstep. </p> <p>Each song on <a href="https://www.nytimes.com/2014/10/26/arts/music/taylor-swift-1989-new-album-review.html" target="_blank" rel="noreferrer noopener nofollow"><em>1989</em></a> sounds like a radio single, meaning its actual singles had double blockbuster potential. On these songs, Swift trimmed her verbose writing style and recruited heavyweight producers Max Martin (Brittany Spears, Katy Perry), Ryan Tedder (One Republic), and Jack Antonoff (Fun.). Like any good pop album, <em>1989</em> uses familiarity and consistency to innovate. </p> <p>In a 2014 interview with ABC news, Swift <a href="https://www.youtube.com/watch?v=P-TFhUq3otQ" target="_blank" rel="noreferrer noopener nofollow">said</a>, “My fans were afraid I would make pop music and stop writing smart lyrics…emotional lyrics.” Unlike <em>Speak Now</em> and <em>Red</em>, which feature “Dear John” and “All Too Well”, <em>1989</em> lacks a five-minute ballad. However, <em>Rolling Stone</em> <a href="https://www.rollingstone.com/music/music-album-reviews/1989-90808/" target="_blank" rel="noreferrer noopener nofollow">credited</a> Swift’s choice to trim her writing: “As every Eighties pop star knew, you don’t follow one epic with another.” </p> <p>The second single on <em>1989</em>, “Blank Space”, topped the Billboard Hot 100 for eight consecutive weeks. In an interview accompanying <em><a href="https://www.youtube.com/watch?v=P5JLMp08GC0" target="_blank" rel="noreferrer noopener nofollow">The 1989 World Tour Live</a></em>, Taylor Swift described the song as written from the perspective of the “jet-setting, tragic mess I apparently am.” Snare drums and quotability made the hit a radio success and conversation piece. By embracing her reputation, she broadened her listener base while entertaining fans who remained in on the joke. In the “Blank Space” music video, she uses an apple to perform voodoo on a love interest, evoking Snow White by embodying a princess and a witch: the poles of her persona.  </p> <p>The song’s title comes from the line, “I’ve got a blank space baby/ and I’ll write your name.” During a pause, Swift clicks a pen: a production flourish that acknowledges a common criticism levied at her, which she summarized in a 2019 <a href="https://www.vogue.com/article/taylor-swift-cover-september-2019" target="_blank" rel="noreferrer noopener nofollow">interview</a> with <em>Vogue</em>: “She’ll write a song about you…Don’t stand near her.” By implying the inevitability of her songwriting, Swift diminishes the media’s ability to portray it as a flaw. </p> <p>Social critic Camille Paglia <a href="https://www.hollywoodreporter.com/news/general-news/camille-paglia-takes-taylor-swift-845827/" target="_blank" rel="noreferrer noopener nofollow">described</a> Taylor Swift’s peer group of actresses and models as “fascist blondes” and “performance props.” Later, in the “Look What You Made Me Do” music video, Swift acknowledges this criticism by portraying herself as the cult-like leader of a Barbie doll army. </p> <p>In the <a href="https://genius.com/Taylor-swift-if-youre-anything-like-me-poem-annotated" target="_blank" rel="noreferrer noopener nofollow">poem</a> “If You’re Anything Like Me”, Swift wrote, “No amount of friends at 25/ will fill the lunch tables of your past.” The “squad”, Swift’s famous friend group, manifested a childhood insecurity. Celebrities are out of touch. Their reality yields friendships that violate normality. Swift and model Karlie Kloss were the joint <a href="https://www.vogue.com/article/taylor-swift-karlie-kloss-best-friends-march-2015-cover" target="_blank" rel="noreferrer noopener nofollow">cover stars</a> of <em>Vogue</em> in March 2015 after meeting at the Victoria’s Secret Fashion Show. While the impetus for Swift’s friendships may have been genuine, her platform causes them to appear unattainable. </p> <figure class="wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio"><div class="wp-block-embed__wrapper"> <div class="rll-youtube-player" data-src="https://www.youtube.com/embed/QcIy9NiNbmo" data-id="QcIy9NiNbmo" data-query="feature=oembed" data-alt="Taylor Swift - Bad Blood ft. Kendrick Lamar"></div><noscript><iframe title="Taylor Swift - Bad Blood ft. Kendrick Lamar" width="640" height="360" src="https://www.youtube.com/embed/QcIy9NiNbmo?feature=oembed" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe></noscript> </div></figure> <div style="height:25px" aria-hidden="true" class="wp-block-spacer"></div> <p>The first single from <em>1989</em>, “Shake It Off”, has a sense of humor about itself. Country music provided space for Swift’s earnestness, but pop stardom required her to transform the landscape around her. “Shake It Off” infiltrated a new genre by admitting that a crossover requires costuming. In the song’s video, Swift trips and falls trying to match her backup dancers.  </p> <p>She continues to play with her image in 2017’s “I Did Something Bad”, stating, “I never trust a narcissist, but they love me.” The contradiction: breakup ballads indicate Swift does trust narcissists, and it hasn’t always worked out. In the 2021 short film <em><a href="https://www.youtube.com/watch?v=tollGa3S0o8" target="_blank" rel="noreferrer noopener nofollow">All Too Well</a></em>, she portrays a relationship between a 20-year-old woman and a man in his 30s where gaslighting is the fabric of the couple’s discussions. “You’re holding me hostage to something I don’t remember,” the man says. Memory is subjective.  </p> <p>When necessary, Taylor Swift sacrifices hooks to tell a story. On the <em>folklore</em> track “seven”, a tale of lost childhood innocence, she asks the listener to “Picture me in the weeds/ before I learned civility.” Even as her fame reaches new peaks, she expresses a desire to be perceived as normal. Removed from its machinations in pandemic isolation, on <em>folklore</em>, Swift contemplates fame. In <em>Folklore: The Long Pond Studio Sessions</em>, Swift <a href="https://www.imdb.com/title/tt13524234/" target="_blank" rel="noreferrer noopener nofollow">said</a> she wrote “mirrorball” after the COVID-related cancellation of her live shows. “I’m still trying everything to keep you looking at me,” she sings. In the song, a disco ball serves as a metaphor for celebrity. “They hang there and every time they break it entertains us,” Swift added in <em>Long Pond</em>. However, according to its writer, this tale of fame also has an everyday application: “You have to be different versions of yourself for different people.”</p> <p>This flexibility works itself into Taylor Swift’s music. Although steadfast in its commitment to 1980s-driven pop, 1989 was about change. The varied sonic palettes of its predecessors, <em>Speak Now</em> and <em>Red</em>, sparked discussion about whether Swift was a country or pop star. Her inclination towards a certain sound notwithstanding, the ability to define herself as one thing, should she choose to do so, is a worthwhile need to assert. Writing a pop album proved Swift controlled her business. </p> <p>While penning songs, Taylor Swift undertakes a process reserved for critics: distinguishing a public entity from a private person. The sharpness of her observations penetrates the fame of their creator. In <em>The Truman Show</em>, when the titular character <a href="https://www.youtube.com/watch?v=-_zYn-HHcyA" target="_blank" rel="noreferrer noopener">discovers</a> his world to be a fabrication, he asks its maker, “Was any of it real?” That presence replies, “You were real.” Swift is the designer and star of her own <em>Truman Show</em>. </p> <div style="height:25px" aria-hidden="true" class="wp-block-spacer"></div> <h2 class="wp-block-heading">Pop Culture’s Distorted Reality</h2> <p>In July 2016, Kim Kardashian toppled Taylor Swift’s castle. By sharing edited footage of a <a href="https://variety.com/2020/music/news/taylor-swift-kanye-west-phone-call-leaks-read-full-transcript-1203541363/" target="_blank" rel="noreferrer noopener nofollow">phone call</a> recorded without Swift’s knowledge, Kardashian reduced Swift to a means of communication and then rendered that communication invalid. In a <a href="https://genius.com/Taylor-swift-why-she-disappeared-poem-annotated" target="_blank" rel="noreferrer noopener nofollow">poem</a> titled “Why She Disappeared”, Swift described the backlash she faced: “Your pain is manipulative.” When Kardashian shared an edited clip that appeared to catch Swift in a lie, she triggered a public reckoning with celebrity, diverting attention from her weaponization of the same enterprise. Swift became a scapegoat for the exploitative aspects of fame at the hands of someone famous for being famous. </p> <p>No person can distort reality. However, someone who controls the definition of the word “reality” has the power to manipulate others. As a term, “reality” contains its definition and its means of application. All words have a meaning, but people can apply them differently and disagree with others’ interpretations. “Reality” can remove itself from this dialogue because its definition asserts it should be taken at face value. </p> <p>In the novel <em>1984</em>, George Orwell wrote, “If the past and the present exist only in the mind of the listener, and the past can be altered, what then?” Essentially, if we credit an entity as embodying truth, we allow them to change what we think we know. The Kardashian family has become billionaires by altering what is perceived as “reality”, </p> <p>In 2014, on <em>The Ellen Show</em>, Taylor Swift <a href="https://www.imdb.com/title/tt4117380/" target="_blank" rel="noreferrer noopener nofollow">described</a> a recurring dream about being arrested for a crime she didn’t commit. Two years later, Kim Kardashian subsumed Swift’s public image into a one-sided dialogue that amounted to framing Swift for a deed of Kardashian’s invention. Because Kardashian controlled the portrayal of Swift’s alleged crime, she could dictate its punishment. Anything Swift said would ensure this eventuality. </p> <p>For a living, the Kardashians edit near-constant footage of their lives to tell a story. The components of their narrative are real, but the result might not reflect the truth. </p> <figure class="wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio"><div class="wp-block-embed__wrapper"> <div class="rll-youtube-player" data-src="https://www.youtube.com/embed/nfWlot6h_JM" data-id="nfWlot6h_JM" data-query="feature=oembed" data-alt="Taylor Swift - Shake It Off"></div><noscript><iframe title="Taylor Swift - Shake It Off" width="640" height="360" src="https://www.youtube.com/embed/nfWlot6h_JM?feature=oembed" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe></noscript> </div></figure> <div style="height:25px" aria-hidden="true" class="wp-block-spacer"></div> <p>Taylor Swift reclaimed her throne by making the assassination of her character into a cartoon. In “Look What You Made Me Do”, she sings, “The old Taylor can’t come to the phone right now…’cause she’s dead!” She reanimates her persona on her terms with a playful reference to the phone call that triggered her demise. </p> <p>Even a confessional songwriter knows the parts of her story listeners do not want to hear. Yet, Swift cannot completely divorce the public’s rejection of her enterprise from her narrative. She must embody the hero and villain of her own story to prove that adversity exists. As a celebrity, Swift lives in a glass castle: wealthy and famous but transparent. A mob outside the fortress maintains the ability to shatter the glass at will. When the mess they create becomes clear, they use the castle’s transparency to argue it never existed, even when its inhabitant is still banging her head against the wall. </p> <p>“You caged me then you called me crazy,” Swift sings on the 2024 <a href="https://www.youtube.com/watch?v=vOZFiX6hDXQ" target="_blank" rel="noreferrer noopener nofollow">song</a> “Who’s Afraid of Little Old Me?” As an entertainer, Swift shields the public from its contradictions. A pop album accomplishes this because easy listening disguises economic goals. Although her least lyrically detailed album, <em>1989</em>, best embodies her ethos because the act of making it tells a real story. Writing breakup songs in a new form that insulated them from criticism conveyed themes of personal freedom.</p> <div style="height:25px" aria-hidden="true" class="wp-block-spacer"></div> <h2 class="wp-block-heading">The Intersection of Life and Art</h2> <p>Taylor Swift expounded on this message of independence on the promotional single “<a href="https://www.youtube.com/watch?v=AP3aieVtq00" target="_blank" rel="noreferrer noopener nofollow">Welcome to New York</a>”, announcing her post-Nashville relocation. Moving to a new city mirrored Swift’s genre shift. The singer had become so famous that the details of her life existed in media beyond songwriting, which allowed for <em>1989</em>’s lyrical universality. </p> <p>Adulthood is about more than financial independence. It is the ability to set the terms of your life without using childhood accomplishments to argue for your remaining in the circumstances of their creation. Swift’s pop makeover spoke to fans because it denoted personal catharsis without explicitly stating its cause. The business decision that birthed <em>1989 </em>was also its emotional argument.</p> <p>When this album was released, I was 17, and I can testify to the allure of its mythology. I bought the physical CD, and sifting through polaroids depicting Swift in various New York locales, including Greenwich Village and the Staten Island Ferry, I thought, <em>Wouldn’t it be cool to move to the city? Get out of the suburbs? </em>I did not achieve this. In the decade since this album’s release, I realized that a metaphorical record label restricting my decision-making capabilities existed inside of me. I did attend college in a city, but physical relocation did not solve my problem. I unknowingly suppressed my thoughts. Writing, what I am doing now, freed me. </p> <p>“People are a lot smarter than marketing executives give them credit for,” Taylor Swift <a href="https://www.billboard.com/music/awards/billboard-woman-of-the-year-taylor-swift-on-writing-her-6363514/" target="_blank" rel="noreferrer noopener nofollow">told</a> <em>Billboard</em>. Linking business and personal narrative can be an asset and liability. A public life can advertise a business, but doing so means business success hinges on something highly subjective. The stakes for making sure that the two pillars, business and personal, reflect each other are high. </p> <p>In the “Look What You Made Me Do” video, Swift stands on an airplane with “TS6” printed on its wing. She cuts off those wings and spray paints “reputation” over “TS6”. <em>Reputation</em> is Swift’s sixth album. Fans speculate this scene represents Swift leaving a planned sixth record on the cutting room floor after the eruption of her feud with Kim Kardashian and Kanye West. This incident necessitated a new album that would address the controversy. Listeners will never know what the original “TS6” sounded like. The relationship between celebrities and the public is one of mutually assured censorship. </p> <figure class="wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio"><div class="wp-block-embed__wrapper"> <div class="rll-youtube-player" data-src="https://www.youtube.com/embed/JLf9q36UsBk" data-id="JLf9q36UsBk" data-query="feature=oembed" data-alt="Taylor Swift - Out Of The Woods"></div><noscript><iframe title="Taylor Swift - Out Of The Woods" width="640" height="360" src="https://www.youtube.com/embed/JLf9q36UsBk?feature=oembed" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe></noscript> </div></figure> <div style="height:25px" aria-hidden="true" class="wp-block-spacer"></div> <p>In the song “Amelia”, Joni Mitchell sang, “Maybe I’ve never really loved…I’ve spent my whole life in clouds at icy altitudes.” Celebrity relationships are often accused of being publicity stunts. However, this criticism is a truism. Celebrities win when the public derides something with a built-in level of performance as a spectacle. Their existence becomes a discussion that generates income.</p> <p>Taylor Swift lives in a glass castle, but she can tell her story from there. Is it a worthwhile sacrifice? In 2023, she and actor Joe Alwyn ended their six-year relationship. Sources <a href="https://people.com/music/why-taylor-swift-joe-alwyn-broke-up-after-six-years-exclusive/" target="_blank" rel="noreferrer noopener nofollow">told</a> <em>People</em> they split due to different approaches to fame. Their relationship had grown during Swift’s 2016 hiatus from public life and, subsequently, the isolation of the COVID-19 pandemic. In a 2012 interview with <em>Vogue</em>, Swift <a href="https://www.vogue.com/article/taylor-swift-the-single-life" target="_blank" rel="noreferrer noopener nofollow">said</a>, “If we need to dig a tunnel under a restaurant so that we can leave…I can’t do that.” </p> <p>Swift’s body of work communicates that a person’s sense of self should not hinge on the success of love affairs, even if one remains in pursuit of them. In 2022’s “You’re on Your Own, Kid”, she sings, “I hosted parties and starved my body like I’d be saved by a perfect kiss.” Love is Swift’s muse, not her salvation. </p> <p>In a 2009 <em>Rolling Stone</em> interview, Swift <a href="https://www.rollingstone.com/music/music-country/the-very-pink-very-perfect-life-of-taylor-swift-107451/" target="_blank" rel="noreferrer noopener nofollow">described</a> the need to withhold personal details from the media as “self-preservation”. She would later learn to translate this instinctive restraint from her career to her personal life. Romantic relationships can become a two-way mirror of codependency: each person uses the other’s contrived focus on positive qualities to justify their own. Meanwhile, two separate storms are brewing. </p> <p>It can become possible, out of a desire to ignore one’s flaws, to inhabit the version of oneself that a partner sees. You become the living embodiment of their reality, which leaves you vulnerable to exploitation. Is your partner at fault for holding you hostage to a self-image you willingly project?  The act of writing a song by trimming emotions into a storyline reflects the sacrifice of maintaining a meaningful personal life. The media’s focus on Swift’s preoccupation with penning love songs misses their point. To say, <em>She writes too much about ex-boyfriends,</em> invalidates the means of Swift’s product after its ends have already been achieved. </p> <p>In a review of Katy Perry’s <em>Teenage Dream</em>, critic Ann Powers <a href="https://www.latimes.com/archives/blogs/pop-hiss/story/2010-08-23/album-review-katy-perrys-teenage-dream" target="_blank" rel="noreferrer noopener nofollow">wrote</a>, “Though her lyrics generally recount familiar scenarios on the road to romantic fulfillment, her real subject is consumerism.” Similarly, <em>1989</em> tells the story of a romantic relationship but also hides a covert subject: the struggle between the self and forces acting upon it, including public opinion, indecisive ex-boyfriends, and stubborn record label executives. <em>1989</em> foresaw the tides swelling against Swift and placated them. <em>Speak Now</em> and <em>Red</em>, through their hyper-specificity, elicited strong backlash. “It was a really lousy thing of her to do,” John Mayer <a href="https://www.rollingstone.com/music/music-news/john-mayer-taylor-swifts-dear-john-song-humiliated-me-107169/" target="_blank" rel="noreferrer noopener nofollow">said</a> of Swift writing “Dear John” about him. Conversely, by cleansing <em>1989</em> of direct allusions, Swift recentered herself as the main character of her work. </p> <p>In “Imbroglio”, an <a href="https://www.imdb.com/title/tt8071428/" target="_blank" rel="noreferrer noopener nofollow">episode</a> from Netflix’s <em>The Crown</em>, Prince Charles argues with his mother about his desire to voice his political opinions. Queen Elizabeth says, “Let me let you into a secret. No one wants to hear [your voice].” </p> <p>Pop stardom is like royalty. People are intrigued by the lives of famous people, yet the impetus for that intrigue is filtered through layers of media training. What the public ends up consuming is its own appetite for escapism. If Taylor Swift’s appeal is heartbreak, what are the pillars of her fantasy? </p> <p>Swift conceals from the public the same thing every person keeps from themselves: the messy parts of human nature. Her life is like <em>The Truman Show</em> because her humanity becomes a spectacle. The engine that drives it is the rapt attention of viewers. Any job requires a person to compartmentalize certain emotions. Modern life has yielded a fascination with reality TV because a work-obsessed culture makes living for its own sake a novel idea. </p> <div style="height:25px" aria-hidden="true" class="wp-block-spacer"></div> <h2 class="wp-block-heading">The Freedom of Storytelling</h2> <p>When I first heard <em>1989</em>, it inspired me to write a poem, part of which I will share here: “I shed my cocoon/ but my new wings soon broke/ just like they used to.” When I saw Taylor Swift transition from country to pop, I realized I needed to make changes in my life. A decade has gone by. Have I succeeded? The short answer is yes. In this article, I quoted the essay that inspired me to write music criticism: Rob Sheffield’s <a href="https://www.rollingstone.com/music/music-album-reviews/1989-90808/" target="_blank" rel="noreferrer noopener nofollow">review</a> of <em>1989 </em>in <em>Rolling Stone</em>. Because a facet of my adulthood centers on my passions, I accomplished what mattered to me: self-preservation. Now, I just need to move out of my parent’s house. I used to be a high school English teacher. I recently had a third-round interview for an office job a few days ago. Leaving education was not an easy choice. I liken it to Swift’s decision to leave country music. It was an ecosystem in which she could be happy but not totally understood. </p> <p>In Lana Wilson’s 2020 documentary <em>Miss Americana</em>, Swift recounts label executives convincing her to remain mum on politics, using the Dixie Chicks as an example of activism gone wrong. “I became the person everyone wanted me to be,” Swift said. It was good for business for Swift to believe her own mythology. Waking up from such a dream can feel like self-destruction. “In the death of her reputation, she felt truly alive,” she said. </p> <p>As a music critic, I am drawn to artists undergoing a coming-of-age because I am going through my own. As Ann Powers noted, Katy Perry writes about love, but her real subject is consumerism. Swift also writes about love, but her real subject is the self. I write about pop music, but my real subject is me. </p> <figure class="wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio"><div class="wp-block-embed__wrapper"> <div class="rll-youtube-player" data-src="https://www.youtube.com/embed/IdneKLhsWOQ" data-id="IdneKLhsWOQ" data-query="feature=oembed" data-alt="Taylor Swift - Wildest Dreams"></div><noscript><iframe title="Taylor Swift - Wildest Dreams" width="640" height="360" src="https://www.youtube.com/embed/IdneKLhsWOQ?feature=oembed" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe></noscript> </div></figure> <div style="height:25px" aria-hidden="true" class="wp-block-spacer"></div> <p>Freedom is a blank space. If you try to negotiate with it, you kill it. It is possible to compromise with the platform for your voice: one genre of music or another. Still, the story being told cannot be disputed. The ability to write the next chapter is the engine that drives a person’s life. </p> <p>“Rebellion is what you make of it,” Swift <a href="https://www.rollingstone.com/music/music-country/the-very-pink-very-perfect-life-of-taylor-swift-107451/" target="_blank" rel="noreferrer noopener nofollow">said</a>. She challenged the machine around her by embracing genre defined by structure. Being heard can provide enough fulfillment that a person fails to see they remain in an enclosure. Writing essays such as this was the final step of escaping mine. When my work is published, my voice is heard. But I suppose I must tend to other things in my life. </p> <p>On the <a href="https://www.vulture.com/2014/10/close-examination-of-taylor-swifts-1989-cover.html" target="_blank" rel="noreferrer noopener nofollow">cover</a> of <em>1989</em>, Swift wears a sweater emblazoned with seagulls crisscrossing the sky. The cover of a <a href="https://www.metacritic.com/music/1989-taylors-version/taylor-swift" target="_blank" rel="noreferrer noopener nofollow">reissue</a> reprises this imagery. Seagulls evoke the end of a journey: reaching a shore after years in the woods but recognizing a certain type of freedom remains out of reach. I live by the ocean and often kayak to a nearby island inhabited only by birds. They scatter in a swarm above me when I reach the edge of the beach, reminding me of the <em>1989</em> album cover. In the distance, I can see a city skyline. I feel the tug of the past and the future. By labeling them as separate entities, I am free. But unlike Taylor Swift, I don’t know which direction to go.</p> <hr class="wp-block-separator has-alpha-channel-opacity"/> <h3 class="wp-block-heading">Works Cited</h3> <p>Aguirre, Abby. “Taylor Swift on Sexism, Scrutiny, and Standing Up for Herself”. <a href="https://www.vogue.com/article/taylor-swift-cover-september-2019" target="_blank" rel="noreferrer noopener nofollow"><em>Vogue</em></a>. 8 August 2019. </p> <p>Abad-Santos, Alex. “Kim Kardashian’s Taylor Swift-Kanye West Snapchat story, explained”. <a href="http://www.vox.com/2016/7/18/12210858/kim-kardashian-taylor-swift-snapchat-kanye-west" target="_blank" rel="noreferrer noopener nofollow"><em>Vox</em></a>. 23 July 2016.</p> <p>“Calvin Harris and Zayn Malik in angry exchange over Taylor Swift”. <a href="https://www.theguardian.com/music/2015/aug/18/calvin-harris-and-zayn-malik-in-angry-exchange-over-taylor-swift" target="_blank" rel="noreferrer noopener nofollow"><em>The Guardian</em></a>. 18 August 2015.</p> <p><a href="http://www.billboard.com/lists/taylor-swift-tortured-poets-department-debut-number-one-billboard-200-chart/swifts-14th-no-1-album-on-the-billboard-200" target="_blank" rel="noreferrer noopener nofollow">Caulfield, Keith</a>. “Taylor Swift Makes Historic Debut at No. 1 on Billboard 200 With ‘The Tortured Poets Department’”. <em>Billboard</em>. 18 June 2024.</p> <p>Christman, Ed. “Where Are People Buying Taylor Swift’s ‘1989’? A Retail Breakdown of (Probably) the Year’s Biggest Album”. <a href="http://www.billboard.com/music/music-news/taylor-swift-1989-retail-sales-forecast-6304029" target="_blank" rel="noreferrer noopener nofollow"><em>Billboard</em></a>. 7 December 2023.</p> <p>Colburn, Randall. “Taylor Swift is out performing Katy Perry on Spotify”. <a href="http://consequence.net/2017/06/taylor-swift-is-out-performing-katy-perry-on-spotify" target="_blank" rel="noreferrer noopener nofollow"><em>Consequence</em></a>. 11 June 2017.</p> <p>“<a href="http://www.carnegiecouncil.org/explore-engage/key-terms/cultural-relativism#:~:text=In%20international%20relations%2C%20cultural%20relativists,within%20which%20the%20action%20occurs" target="_blank" rel="noreferrer noopener nofollow">Cultural relativism</a>”. <em>Carnegie Council for Ethics in International Affairs</em>.</p> <p>Dickey, Jack. “<a href="http://time.com/3583129/power-of-taylor-swift-cover" target="_blank" rel="noreferrer noopener nofollow">The Power of Taylor Swift</a>”. <em>TIME</em>. 13 November 2014. </p> <p>Dolan, Jon. “Red”. <a href="http://www.rollingstone.com/music/music-country/red-187797" target="_blank" rel="noreferrer noopener nofollow"><em>Rolling Stone</em></a>. 23 October 2012. </p> <p>Donovan, Samuel. “Imbroglio”. <em>The Crown</em>, Season 3, Episode 6. <em>Netflix</em>. 17 November 2019. </p> <p>Eells, Josh. “The Reinvention of Taylor Swift”. <a href="https://www.rollingstone.com/music/music-news/the-reinvention-of-taylor-swift-116925/" target="_blank" rel="noreferrer noopener nofollow"><em>Rolling Stone</em></a>. 25 September 2014. </p> <p><a href="https://www.riaa.com/wp-content/uploads/2015/09/2013-2014_RIAA_YearEndShipmentData.pdf" target="_blank" rel="noreferrer noopener nofollow">Friedlander</a>, Joshua. “News and Notes on 2014 RIAA Music Industry Shipment and Revenue Statistics”. <em>RIAA</em>. 2014.</p> <p>Golden, Zara. “Twitter Reacts To Taylor Swift’s Breakup With Spotify”. <a href="http://www.thefader.com/2014/11/03/twitter-reacts-to-taylor-swifts-breakup-with-spotify" target="_blank" rel="noreferrer noopener nofollow"><em>The FADER</em></a>. 1 August 2016.</p> <p>Grigoriadis, Vanessa. “The Very Pink, Very Perfect Life of Taylor Swift”. <a href="http://www.rollingstone.com/music/music-country/the-very-pink-very-perfect-life-of-taylor-swift-107451" target="_blank" rel="noreferrer noopener nofollow"><em>Rolling Stone</em></a>. 5 March 2009. </p> <p>Hiatt, Brian. “Taylor Swift: The Rolling Stone Interview”. <a href="http://www.rollingstone.com/music/music-features/taylor-swift-rolling-stone-interview-880794" target="_blank" rel="noreferrer noopener nofollow"><em>Rolling Stone</em></a>. 23 September 2019.</p> <p>Hussey, Allison. “Billboard Announces New ‘Fan Bundle’ Rule for Chart Eligibility”. <a href="http://pitchfork.com/news/billboard-announces-new-fan-bundle-rule-for-chart-eligibility/#:~:text=Under%20the%20new%20rules%2C%20artists,artist%2C%20independent%20of%20one%20another" target="_blank" rel="noreferrer noopener nofollow"><em>Pitchfork</em></a>. 5 May 2023.</p> <p>Irvin, Jack. “Inside Taylor Swift and Joe Alwyn’s ‘Differences’ That Led to Their Breakup: Sources (Exclusive)”. <a href="http://people.com/" target="_blank" rel="noreferrer noopener nofollow"><em>People.com</em></a>. 10 April 2023. </p> <p>“John Mayer: Taylor Swift’s ‘Dear John’ Song ‘Humiliated Me’” <a href="http://www.rollingstone.com/music/music-news/john-mayer-taylor-swifts-dear-john-song-humiliated-me-107169" target="_blank" rel="noreferrer noopener nofollow"><em>Rolling Stone</em></a>. 6 June 2012. </p> <p>Light, Alan. “Billboard Woman of the Year Taylor Swift on Writing Her Own Rules, Not Becoming a Cliche and the Hurdle of Going Pop”. <a href="http://www.billboard.com/music/awards/billboard-woman-of-the-year-taylor-swift-on-writing-her-6363514" target="_blank" rel="noreferrer noopener nofollow"><em>Billboard</em></a>. 5 December 2014.</p> <p>Mantha, Priyanka. “Extremely Overanalyzing Hollywood’s <a href="http://nymag.com/press/2022/12/extremely-overanalyzing-hollywoods-nepo-baby-boom.html" target="_blank" rel="noreferrer noopener nofollow">Nepo-Baby Boom</a>”. <em>New York Press Room</em>. 19 December 2022. </p> <p>McKinney, Kelsey. “Taylor Swift sold 1.287 million albums last week. But the future of music is streaming”. <a href="http://www.vox.com/2014/11/5/7154357/taylor-swift-sold-2-albums-every-second-last-week-but-thats-not-the" target="_blank" rel="noreferrer noopener nofollow"><em>Vox</em></a>. 5 November 2014.</p> <p>Paglia, Camille. “Camille Paglia Takes on Taylor Swift, Hollywood’s #GirlSquad Culture”. <a href="http://www.hollywoodreporter.com/news/general-news/camille-paglia-takes-taylor-swift-845827" target="_blank" rel="noreferrer noopener nofollow"><em>The Hollywood Reporter</em></a>. 10 December 2015. </p> <p>Powers, Ann. “Album review: Katy Perry’s ‘Teenage Dream’.” <a href="http://www.latimes.com/archives/blogs/pop-hiss/story/2010-08-23/album-review-katy-perrys-teenage-dream" target="_blank" rel="noreferrer noopener nofollow"><em>Los Angeles Times</em></a>. 24 August 2010.</p> <p><a href="http://www.forbes.com/sites/bryanrolli/2020/07/25/taylor-swift-folklore-spotify-records-biggest-debut-2020" target="_blank" rel="noreferrer noopener nofollow">Rolli, Bryan</a>. “Taylor Swift’s ‘Folklore’ Smashes Spotify Records As It Heads for the Biggest Debut of 2020″. <em>Forbes</em>. 26 July 2020.</p> <p>Sheffield, Rob. “1989”. <a href="http://www.rollingstone.com/music/music-album-reviews/1989-90808" target="_blank" rel="noreferrer noopener nofollow"><em>Rolling Stone</em></a>. 24 October 2014. </p> <p>Swift, Taylor. <em>Folklore: The Long Pond Studio Sessions.</em> Taylor Swift Productions. 25 November 2020.</p> <p>Swift, Taylor. “For Taylor Swift, the Future of Music is a Love Story”. <em><a href="https://www.wsj.com/articles/for-taylor-swift-the-future-of-music-is-a-love-story-1404763219" target="_blank" rel="noreferrer noopener nofollow">The Wall Street Journal</a></em>. 7 July 2014. </p> <p>Swift, Taylor. Interviewed by Barbara Walters. <em>ABC News</em>. 15 December 2014. </p> <p>Swift, Taylor. Interviewed. <em>Grammy Pro.</em> 4 January 2016. </p> <p>Swift, Taylor. “To Apple, Love Taylor.” <a href="https://www.tumblr.com/wildest-swift/122073063029/to-apple-love-taylor" target="_blank" rel="noreferrer noopener nofollow"><em>Tumblr</em></a>. 21 June 2015. </p> <p>“<a href="https://music.apple.com/us/post/1485493850" target="_blank" rel="noreferrer noopener nofollow">Taylor Swift</a> on ‘Lover,’ Attending an Emo Dinner Party, and More”. <em>The Zane Lowe Show. </em>29 October 2019. </p> <p>“Taylor Swift.” <a href="https://www.imdb.com/title/tt4117380/" target="_blank" rel="noreferrer noopener nofollow"><em>The Ellen Degeneres Show</em></a> Season 12, Episode 36. 27 October 2014. </p> <p><a href="http://virpp.com/hello/music-streaming-payouts-comparison-a-guide-for-musicians/#:~:text=YouTube%20pays%20artists%20%240.00164%20per,videos%2C%20under%20Content%20ID%20instances" target="_blank" rel="noreferrer noopener nofollow">Virpp, Yassine</a>. “Music Streaming Payouts Comparison: A Guide for Musicians”. <em>VIRPP</em>. 17 July 2023.</p> <p>William, Chris. “Taylor Swift and Kanye West’s Full 2016 Phone Call Leaks: Read the Full Transcript”. <a href="http://variety.com/2020/music/news/taylor-swift-kanye-west-phone-call-leaks-read-full-transcript-1203541363" target="_blank" rel="noreferrer noopener nofollow"><em>Variety</em></a>. 21 March 2020.</p> <p>Van Meter, Jonathan. “Taylor Swift: The Single Life.” <a href="http://www.vogue.com/article/taylor-swift-the-single-life" target="_blank" rel="noreferrer noopener nofollow"><em>Vogue</em></a>. 17 January 2012.</p> <p>Yuan, Jada. “On the Road with Best Friends Taylor Swift and Karlie Kloss”. <a href="http://www.vogue.com/article/taylor-swift-karlie-kloss-best-friends-march-2015-cover" target="_blank" rel="noreferrer noopener nofollow"><em>Vogue</em></a>. 13 February 2015. </p> <p>Willman, Chris. “Taylor Swift’s road to fame”. <a href="http://ew.com/" target="_blank" rel="noreferrer noopener nofollow"><em>EW.com</em></a>. 5 February 2008.</p> <div style='display:none;' class='shareaholic-canvas' data-app='share_buttons' data-title='Taylor Swift's '1989' Subverts Being Trapped in a Glass Castle' data-link='https://www.popmatters.com/taylor-swift-1989-atr10-feature' data-summary='For her 1989 album, Taylor Swift wrote breakup songs that cleverly conveyed to fans she had personal freedom even from within her glass castle.' data-app-id-name='post_below_content'></div><div style='display:none;' class='shareaholic-canvas' data-app='recommendations' data-title='Taylor Swift's '1989' Subverts Being Trapped in a Glass Castle' data-link='https://www.popmatters.com/taylor-swift-1989-atr10-feature' data-summary='For her 1989 album, Taylor Swift wrote breakup songs that cleverly conveyed to fans she had personal freedom even from within her glass castle.' data-app-id-name='post_below_content'></div>  </div> <footer class="entry-footer"> </footer> <div class="post-item-metadata entry-meta"> <span class="tags-links" id="tags"><strong>TAGS </strong> <a href="https://www.popmatters.com/tag/all-things-reconsidered" rel="tag">All Things Reconsidered</a> <a href="https://www.popmatters.com/tag/folk-pop" rel="tag">folk pop</a> <a href="https://www.popmatters.com/tag/music-history" rel="tag">music history</a> <a href="https://www.popmatters.com/tag/pop" rel="tag">pop</a> <a href="https://www.popmatters.com/tag/taylor-swift" rel="tag">taylor swift</a></span> </div> <div class="post-links-wrapper"> <div class="post-links-headline">FROM THE POPMATTERS ARCHIVES</div> <ul class="post-links-list"> <li class="post-links-item"> <a href="https://www.popmatters.com/the-era-of-taylor-swift-has-just-begun" title="The Era of Taylor Swift Has Just Begun" target="_blank" class="post-links-link">The Era of Taylor Swift Has Just Begun</a> </li> <li class="post-links-item"> <a href="https://www.popmatters.com/taylor-swift-1989-taylors-version" title="Taylor Swift Tops Herself Again with ‘1989 (Taylor’s Version)’" target="_blank" class="post-links-link">Taylor Swift Tops Herself Again with ‘1989 (Taylor’s Version)’</a> </li> <li class="post-links-item"> <a href="https://www.popmatters.com/taylor-swift-tortured-poets-review" title="Taylor Swift’s ‘The Tortured Poets Department’ Is Ambitious and Experimental" target="_blank" class="post-links-link">Taylor Swift’s ‘The Tortured Poets Department’ Is Ambitious and Experimental</a> </li> </ul> </div><div class="post-links-wrapper"> <div class="post-links-headline">OTHER RESOURCES</div> <ul class="post-links-list"> <li class="post-links-item"> <a href="https://www.taylorswift.com/" title="Taylor Swift: website" target="_blank" class="post-links-link">Taylor Swift: website</a> </li> <li class="post-links-item"> <a href="https://www.instagram.com/taylorswift/" title="Taylor Swift: Instagram" target="_blank" class="post-links-link">Taylor Swift: Instagram</a> </li> <li class="post-links-item"> <a href="https://www.facebook.com/TaylorSwift/" title="Taylor Swift: Facebook" target="_blank" class="post-links-link">Taylor Swift: Facebook</a> </li> <li class="post-links-item"> <a href="https://www.threads.net/@taylorswift" title="Taylor Swift: Threads" target="_blank" class="post-links-link">Taylor Swift: Threads</a> </li> <li class="post-links-item"> <a href="https://x.com/taylorswift13" title="Taylor Swift: X" target="_blank" class="post-links-link">Taylor Swift: X</a> </li> </ul> </div> <nav class="navigation post-navigation" aria-label="Posts"> <h2 class="screen-reader-text">Post navigation</h2> <div class="nav-links"><div class="nav-previous"><a href="https://www.popmatters.com/jurassic-park-hannah-mcgregor-review" rel="prev">A Queer Feminist Storytelling of ‘Jurassic Park’</a></div><div class="nav-next"><a href="https://www.popmatters.com/st-lenox-modern-american-work" rel="next">St. Lenox Offers a Fifth Installment of Modern American Songs</a></div></div> </nav> </div> 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} .pp-multiple-authors-boxes-wrapper.pp-multiple-authors-layout-inline.multiple-authors-target-action .ppma-author-user_email-profile-data { color: #ffffff !important; } .pp-multiple-authors-boxes-wrapper.pp-multiple-authors-layout-inline.multiple-authors-target-action .ppma-author-user_email-profile-data:hover { color: #ffffff !important; } .pp-multiple-authors-boxes-wrapper.pp-multiple-authors-layout-inline.multiple-authors-target-action .ppma-author-user_url-profile-data { background-color: #655997 !important; } .pp-multiple-authors-boxes-wrapper.pp-multiple-authors-layout-inline.multiple-authors-target-action .ppma-author-user_url-profile-data { border-radius: 100% !important; } .pp-multiple-authors-boxes-wrapper.pp-multiple-authors-layout-inline.multiple-authors-target-action .ppma-author-user_url-profile-data { color: #ffffff !important; } .pp-multiple-authors-boxes-wrapper.pp-multiple-authors-layout-inline.multiple-authors-target-action .ppma-author-user_url-profile-data:hover { color: #ffffff !important; 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} .pp-multiple-authors-boxes-wrapper.pp-multiple-authors-layout-inline.multiple-authors-target-action .ppma-author-category-wrap { font-size: px !important; } .pp-multiple-authors-boxes-wrapper.pp-multiple-authors-layout-inline.multiple-authors-target-action .ppma-author-category-wrap .ppma-category-group-title { font-weight: !important; } .pp-multiple-authors-layout-inline ul.pp-multiple-authors-boxes-ul { display: flex; } .pp-multiple-authors-layout-inline ul.pp-multiple-authors-boxes-ul li { margin-right: 10px } .pp-multiple-authors-layout-inline .pp-author-boxes-name::after{ content: ","; } .pp-multiple-authors-layout-inline .pp-multiple-authors-boxes-ul .pp-multiple-authors-boxes-li:last-of-type .pp-author-boxes-name::after{ content: ""; }.pp-multiple-authors-boxes-wrapper.pp-multiple-authors-wrapper.pp-multiple-authors-layout-inline.multiple-authors-target-action.box-post-id-658428.box-instance-id-1.ppma_boxes_658428 ul li > div:nth-child(1) {flex: 1 !important;} </style> </a> <span class="slash">/</span> <span class="item-metadata posts-date"> 24 January 2024 </span> </span> </div> </div> </div> </div> <div class="col col-ten base-border"> <div class="row-sm align-items-center"> <div class="col col-five col-image"> <figure class="categorised-article"> <div class="categorised-article-item"> <div class="article-item-image"> <a href="https://www.popmatters.com/submit-an-essay-review-interview-or-list-to-popmatters"> <img width="720" height="380" src="data:image/svg+xml,%3Csvg%20xmlns='http://www.w3.org/2000/svg'%20viewBox='0%200%20720%20380'%3E%3C/svg%3E" alt="Submit an Essay, Review, Interview, or List to PopMatters" data-lazy-src="https://www.popmatters.com/wp-content/uploads/2022/09/wilhelm-gunkel-Bbi7f45FBxc-unsplash-720x380.jpeg.webp"><noscript><img width="720" height="380" src="https://www.popmatters.com/wp-content/uploads/2022/09/wilhelm-gunkel-Bbi7f45FBxc-unsplash-720x380.jpeg.webp" alt="Submit an Essay, Review, Interview, or List to PopMatters"></noscript></a> </div> </div> </figure> </div> <div class="col col-details col-five"> <div class="figure-categories"> <span class="cat-links"> <a href="https://www.popmatters.com/category/announcements" rel="category tag">Announcements</a></span> </div> <h3 class="article-title article-title-2"> <a href="https://www.popmatters.com/submit-an-essay-review-interview-or-list-to-popmatters">Submit an Essay, Review, Interview, or List to PopMatters</a> </h3> <div class="grid-item-metadata"> <span class="item-metadata posts-author"> <div class="">By</div> <a href="https://www.popmatters.com/author/editorpopmatters-com">  <span class="pp-multiple-authors-boxes-wrapper pp-multiple-authors-wrapper pp-multiple-authors-layout-inline multiple-authors-target-action box-post-id-658428 box-instance-id-1 ppma_boxes_658428" data-post_id="658428" data-instance_id="1" data-additional_class="pp-multiple-authors-layout-inline.multiple-authors-target-action" data-original_class="pp-multiple-authors-boxes-wrapper pp-multiple-authors-wrapper box-post-id-658428 box-instance-id-1"> <span class="ppma-layout-prefix"></span> <span class="ppma-author-category-wrap"> <span class="ppma-category-group ppma-category-group-1 category-index-0"> <span class="pp-author-boxes-avatar-details"> <span class="pp-author-boxes-name multiple-authors-name"><a href="https://www.popmatters.com/author/popmatters-staff" rel="author" title="PopMatters Staff" class="author url fn">PopMatters Staff</a></span> </span> </span> </span> <span class="ppma-layout-suffix"></span> </span>  <style> .pp-multiple-authors-boxes-wrapper.pp-multiple-authors-layout-inline.multiple-authors-target-action .pp-author-boxes-avatar img { width: 80px !important; height: 80px !important; } .pp-multiple-authors-boxes-wrapper.pp-multiple-authors-layout-inline.multiple-authors-target-action .pp-author-boxes-avatar img { border-radius: 50% !important; } .pp-multiple-authors-boxes-wrapper.pp-multiple-authors-layout-inline.multiple-authors-target-action .pp-author-boxes-meta a { background-color: #655997 !important; } .pp-multiple-authors-boxes-wrapper.pp-multiple-authors-layout-inline.multiple-authors-target-action .pp-author-boxes-meta a { color: #ffffff !important; } .pp-multiple-authors-boxes-wrapper.pp-multiple-authors-layout-inline.multiple-authors-target-action .pp-author-boxes-meta a:hover { color: #ffffff !important; } .pp-multiple-authors-boxes-wrapper.pp-multiple-authors-layout-inline.multiple-authors-target-action .ppma-author-user_email-profile-data { background-color: #655997 !important; } .pp-multiple-authors-boxes-wrapper.pp-multiple-authors-layout-inline.multiple-authors-target-action .ppma-author-user_email-profile-data { border-radius: 100% !important; } .pp-multiple-authors-boxes-wrapper.pp-multiple-authors-layout-inline.multiple-authors-target-action .ppma-author-user_email-profile-data { color: #ffffff !important; } .pp-multiple-authors-boxes-wrapper.pp-multiple-authors-layout-inline.multiple-authors-target-action .ppma-author-user_email-profile-data:hover { color: #ffffff !important; } .pp-multiple-authors-boxes-wrapper.pp-multiple-authors-layout-inline.multiple-authors-target-action .ppma-author-user_url-profile-data { background-color: #655997 !important; } .pp-multiple-authors-boxes-wrapper.pp-multiple-authors-layout-inline.multiple-authors-target-action .ppma-author-user_url-profile-data { border-radius: 100% !important; } .pp-multiple-authors-boxes-wrapper.pp-multiple-authors-layout-inline.multiple-authors-target-action .ppma-author-user_url-profile-data { color: #ffffff !important; } .pp-multiple-authors-boxes-wrapper.pp-multiple-authors-layout-inline.multiple-authors-target-action .ppma-author-user_url-profile-data:hover { color: #ffffff !important; } .pp-multiple-authors-boxes-wrapper.pp-multiple-authors-layout-inline.multiple-authors-target-action .pp-author-boxes-recent-posts-title { border-bottom-style: dotted !important; } .pp-multiple-authors-boxes-wrapper.pp-multiple-authors-layout-inline.multiple-authors-target-action .pp-author-boxes-recent-posts-item { text-align: left !important; } .pp-multiple-authors-boxes-wrapper.pp-multiple-authors-layout-inline.multiple-authors-target-action .pp-multiple-authors-boxes-li { border-style: none !important; } .pp-multiple-authors-boxes-wrapper.pp-multiple-authors-layout-inline.multiple-authors-target-action .pp-multiple-authors-boxes-li { color: #3c434a !important; } .pp-multiple-authors-boxes-wrapper.pp-multiple-authors-layout-inline.multiple-authors-target-action .ppma-author-category-wrap .ppma-category-group { margin-bottom: px !important; } .pp-multiple-authors-boxes-wrapper.pp-multiple-authors-layout-inline.multiple-authors-target-action .ppma-author-category-wrap .ppma-category-group { margin-right: px !important; } .pp-multiple-authors-boxes-wrapper.pp-multiple-authors-layout-inline.multiple-authors-target-action .ppma-author-category-wrap { font-size: px !important; } .pp-multiple-authors-boxes-wrapper.pp-multiple-authors-layout-inline.multiple-authors-target-action .ppma-author-category-wrap .ppma-category-group-title { font-weight: !important; } .pp-multiple-authors-layout-inline ul.pp-multiple-authors-boxes-ul { display: flex; } .pp-multiple-authors-layout-inline ul.pp-multiple-authors-boxes-ul li { margin-right: 10px } .pp-multiple-authors-layout-inline .pp-author-boxes-name::after{ content: ","; } .pp-multiple-authors-layout-inline .pp-multiple-authors-boxes-ul .pp-multiple-authors-boxes-li:last-of-type .pp-author-boxes-name::after{ content: ""; }.pp-multiple-authors-boxes-wrapper.pp-multiple-authors-wrapper.pp-multiple-authors-layout-inline.multiple-authors-target-action.box-post-id-658428.box-instance-id-1.ppma_boxes_658428 ul li > div:nth-child(1) {flex: 1 !important;} </style> </a> <span class="slash">/</span> <span class="item-metadata posts-date"> 26 July 2023 </span> </span> </div> </div> </div> </div> <div class="col col-ten base-border"> <div class="row-sm align-items-center"> <div class="col col-five col-image"> <figure class="categorised-article"> <div class="categorised-article-item"> <div class="article-item-image"> <a href="https://www.popmatters.com/popmatters-seeks-music-writers-critics"> <img width="720" height="380" src="data:image/svg+xml,%3Csvg%20xmlns='http://www.w3.org/2000/svg'%20viewBox='0%200%20720%20380'%3E%3C/svg%3E" alt="PopMatters Seeks Music Writers" data-lazy-src="https://www.popmatters.com/wp-content/uploads/2021/07/AFC93FCB-109D-438E-8023-0BECC8309AB5-720x380.jpeg.webp"><noscript><img width="720" height="380" src="https://www.popmatters.com/wp-content/uploads/2021/07/AFC93FCB-109D-438E-8023-0BECC8309AB5-720x380.jpeg.webp" alt="PopMatters Seeks Music Writers"></noscript></a> </div> </div> </figure> </div> <div class="col col-details col-five"> <div class="figure-categories"> <span class="cat-links"> <a href="https://www.popmatters.com/category/announcements" rel="category tag">Announcements</a>/<a href="https://www.popmatters.com/category/music" rel="category tag">Music</a>/<a href="https://www.popmatters.com/category/music-reviews" rel="category tag">Music Reviews</a></span> </div> <h3 class="article-title article-title-2"> <a href="https://www.popmatters.com/popmatters-seeks-music-writers-critics">PopMatters Seeks Music Writers</a> </h3> <div class="grid-item-metadata"> <span class="item-metadata posts-author"> <div class="">By</div> <a href="https://www.popmatters.com/author/popmatters_staff">  <span class="pp-multiple-authors-boxes-wrapper pp-multiple-authors-wrapper pp-multiple-authors-layout-inline multiple-authors-target-action box-post-id-658428 box-instance-id-1 ppma_boxes_658428" data-post_id="658428" data-instance_id="1" data-additional_class="pp-multiple-authors-layout-inline.multiple-authors-target-action" data-original_class="pp-multiple-authors-boxes-wrapper pp-multiple-authors-wrapper box-post-id-658428 box-instance-id-1"> <span class="ppma-layout-prefix"></span> <span class="ppma-author-category-wrap"> <span class="ppma-category-group ppma-category-group-1 category-index-0"> <span class="pp-author-boxes-avatar-details"> <span class="pp-author-boxes-name multiple-authors-name"><a href="https://www.popmatters.com/author/popmatters_staff" rel="author" title="PopMatters Staff" class="author url fn">PopMatters Staff</a></span> </span> </span> </span> <span class="ppma-layout-suffix"></span> </span>  <style> .pp-multiple-authors-boxes-wrapper.pp-multiple-authors-layout-inline.multiple-authors-target-action .pp-author-boxes-avatar img { width: 80px !important; 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} .pp-multiple-authors-boxes-wrapper.pp-multiple-authors-layout-inline.multiple-authors-target-action .ppma-author-user_email-profile-data { color: #ffffff !important; } .pp-multiple-authors-boxes-wrapper.pp-multiple-authors-layout-inline.multiple-authors-target-action .ppma-author-user_email-profile-data:hover { color: #ffffff !important; } .pp-multiple-authors-boxes-wrapper.pp-multiple-authors-layout-inline.multiple-authors-target-action .ppma-author-user_url-profile-data { background-color: #655997 !important; } .pp-multiple-authors-boxes-wrapper.pp-multiple-authors-layout-inline.multiple-authors-target-action .ppma-author-user_url-profile-data { border-radius: 100% !important; } .pp-multiple-authors-boxes-wrapper.pp-multiple-authors-layout-inline.multiple-authors-target-action .ppma-author-user_url-profile-data { color: #ffffff !important; } .pp-multiple-authors-boxes-wrapper.pp-multiple-authors-layout-inline.multiple-authors-target-action .ppma-author-user_url-profile-data:hover { color: #ffffff !important; 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} .pp-multiple-authors-boxes-wrapper.pp-multiple-authors-layout-inline.multiple-authors-target-action .ppma-author-category-wrap { font-size: px !important; } .pp-multiple-authors-boxes-wrapper.pp-multiple-authors-layout-inline.multiple-authors-target-action .ppma-author-category-wrap .ppma-category-group-title { font-weight: !important; } .pp-multiple-authors-layout-inline ul.pp-multiple-authors-boxes-ul { display: flex; } .pp-multiple-authors-layout-inline ul.pp-multiple-authors-boxes-ul li { margin-right: 10px } .pp-multiple-authors-layout-inline .pp-author-boxes-name::after{ content: ","; } .pp-multiple-authors-layout-inline .pp-multiple-authors-boxes-ul .pp-multiple-authors-boxes-li:last-of-type .pp-author-boxes-name::after{ content: ""; }.pp-multiple-authors-boxes-wrapper.pp-multiple-authors-wrapper.pp-multiple-authors-layout-inline.multiple-authors-target-action.box-post-id-658428.box-instance-id-1.ppma_boxes_658428 ul li > div:nth-child(1) {flex: 1 !important;} </style> </a> <span class="slash">/</span> <span class="item-metadata posts-date"> 28 September 2022 </span> </span> </div> </div> </div> </div> <div class="col col-ten base-border"> <div class="row-sm align-items-center"> <div class="col col-five col-image"> <figure class="categorised-article"> <div class="categorised-article-item"> <div class="article-item-image"> <a href="https://www.popmatters.com/popmatters-seeks-film-writers"> <img width="720" height="380" src="data:image/svg+xml,%3Csvg%20xmlns='http://www.w3.org/2000/svg'%20viewBox='0%200%20720%20380'%3E%3C/svg%3E" alt="PopMatters Seeks Film Critics and Essayists" data-lazy-src="https://www.popmatters.com/wp-content/uploads/2022/02/myke-simon-atsUqIm3wxo-unsplash-720x380.jpg.webp"><noscript><img width="720" height="380" src="https://www.popmatters.com/wp-content/uploads/2022/02/myke-simon-atsUqIm3wxo-unsplash-720x380.jpg.webp" alt="PopMatters Seeks Film Critics and Essayists"></noscript></a> </div> </div> </figure> </div> <div class="col col-details col-five"> <div class="figure-categories"> <span class="cat-links"> <a href="https://www.popmatters.com/category/announcements" rel="category tag">Announcements</a>/<a href="https://www.popmatters.com/category/film" rel="category tag">Film</a></span> </div> <h3 class="article-title article-title-2"> <a href="https://www.popmatters.com/popmatters-seeks-film-writers">PopMatters Seeks Film Critics and Essayists</a> </h3> <div class="grid-item-metadata"> <span class="item-metadata posts-author"> <div class="">By</div> <a href="https://www.popmatters.com/author/zarkerpopmatters-com">  <span class="pp-multiple-authors-boxes-wrapper pp-multiple-authors-wrapper pp-multiple-authors-layout-inline multiple-authors-target-action box-post-id-658428 box-instance-id-1 ppma_boxes_658428" data-post_id="658428" data-instance_id="1" data-additional_class="pp-multiple-authors-layout-inline.multiple-authors-target-action" data-original_class="pp-multiple-authors-boxes-wrapper pp-multiple-authors-wrapper box-post-id-658428 box-instance-id-1"> <span class="ppma-layout-prefix"></span> <span class="ppma-author-category-wrap"> <span class="ppma-category-group ppma-category-group-1 category-index-0"> <span class="pp-author-boxes-avatar-details"> <span class="pp-author-boxes-name multiple-authors-name"><a href="https://www.popmatters.com/author/zarkerpopmatters-com" rel="author" title="Karen Zarker" class="author url fn">Karen Zarker</a></span> </span> </span> </span> <span class="ppma-layout-suffix"></span> </span>  <style> .pp-multiple-authors-boxes-wrapper.pp-multiple-authors-layout-inline.multiple-authors-target-action .pp-author-boxes-avatar img { width: 80px !important; 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} .pp-multiple-authors-boxes-wrapper.pp-multiple-authors-layout-inline.multiple-authors-target-action .ppma-author-category-wrap { font-size: px !important; } .pp-multiple-authors-boxes-wrapper.pp-multiple-authors-layout-inline.multiple-authors-target-action .ppma-author-category-wrap .ppma-category-group-title { font-weight: !important; } .pp-multiple-authors-layout-inline ul.pp-multiple-authors-boxes-ul { display: flex; } .pp-multiple-authors-layout-inline ul.pp-multiple-authors-boxes-ul li { margin-right: 10px } .pp-multiple-authors-layout-inline .pp-author-boxes-name::after{ content: ","; } .pp-multiple-authors-layout-inline .pp-multiple-authors-boxes-ul .pp-multiple-authors-boxes-li:last-of-type .pp-author-boxes-name::after{ content: ""; }.pp-multiple-authors-boxes-wrapper.pp-multiple-authors-wrapper.pp-multiple-authors-layout-inline.multiple-authors-target-action.box-post-id-658428.box-instance-id-1.ppma_boxes_658428 ul li > div:nth-child(1) {flex: 1 !important;} </style> </a> <span class="slash">/</span> <span class="item-metadata posts-date"> 28 September 2022 </span> </span> </div> </div> </div> </div> </div> </div> </div><div id="sheknows-infuse-ad-widget-11-ad" class="sheknows-infuse-ad sheknows-infuse-widget-ad" style="min-width:120px;min-height:250px"></div> <script type="text/javascript"> blogherads.adq.push(function() { blogherads.defineSlot("flexrec", "sheknows-infuse-ad-widget-11-ad") .display(); 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