How the navel of Taylor Swift became that of pop of 2014<

Reading time: 27 min

Like the Lord, who always keeps an eye on the smallest of the sparrows, for a blogger who follows the fashion of people, no detail is too tiny.This is how this summer, The Cut and Perez Hilton pointed out "that there is no evidence that Taylor Swift has a navel".

Despite the very small tops, split skirts and other necklines that the 24-year-old singer has been able to display, from her start in smooth and sweet country to the semi-caliente adult supernova today, none ofHis costumes never reveals concrete evidence that the snow queen of pop one day was born of a woman (more specifically of Andrea Gardner Swift, born Finlay)), they observe.

The irony of the thing is both obvious and irresistible, like the words of a good song by Taylor Swift: the author famous for her diary navelism does not allow the slightest glimpse of her real cavityabdominal.

After force ads, the fifth studio album of Taylor Swift, 1989, its so much praised conversion of country-pop to pop-pop, was finally launched at the end of October on a market whose expectations reached a messianic degree and to the delight offans like me.He may have screened, dissected on the lookout for all kinds of clues, no one involves the mystery of the invisible navel.Which is logical, since the key to the enigma is most likely prosaic (strategic modesty, even protuberant navel)).But as Taylor could say herself, the symbolism of the thing is epic.

Note: I realize that it is risky to use a metaphor on the body to speak of a young artist who, in this case, distances himself from the omnipresence of anatomy in contemporary pop.But in the field of art, what is hidden is also part of history.And, culturally, the navel plays several recurring roles which (sometimes)) transcend the flesh.

So, let's analyze 1989 and see the many ways whose absence of Taylor Swift navel, such as the abyss of Nietzsche, returns our gaze.

The navel of Taylor Swift, a umbilical knot

The main argument of Taylor Swift is that she called her 1989 album after friends reported to her, when she was half of her two -year gestation, that he was very 80s, idea thatShe appropriated.Honestly, the shoulder buildings of this album was exaggerated;There are just as many pop touches from the 1970s, 1990s and 2000s, which amounts to saying that 1989 is very precisely like a 2014 Taylor Swift album produced by Max Martin and Shellback.

More importantly, 1989 is the year of birth of Taylor Swift (December 13)).As she declared, this title affirms its symbolic rebirth by cutting the cord with Nashville and the stylistic traps of country.This is why Shake It Off, the first single, surprising, addictive and rowdy, who invites you to dance to ignore your reputation and your inhibitions, should really have been the first song on the album.

Instead, it was Welcome to New York that introduces it, appalling advertising (literally)), undoubtedly the worst first track of an excellent album from the Radio Song of the Out of Time of R.E.M.(1991)).That said, the ode of Swift to emotional relocation nevertheless provides an unprecedented rupture: Toto, we are no longer in Nashville.

The two meanings of the title of the album balance each other: the narrative framework of the 1980s contributes to maintaining the picturesque side and provincial nostalgia to which many of its early fans are attached.But on a personal level, it is a reference to the arrival in the "Big Old City" which she dreamed of in her song Mean (2011)).Choosing to call him 1989 rather than 24 or 25 (what we could have confused with an album of Adèle, his rival both in terms of sales and diva status)) is an official certificate proving that Taylor Swift is now atall girl.

A central point and a sensitive area

Arriving in adulthood is perilous for a teenage star.What replace the candid shine of yesteryear?For the little Disney Channel cabbage, the trend of recent years, from Justin (Timberlake)) to Britney to Miley by ironing by Justin (Bieber)), was to claim his self -determination by projecting his sexuality in an aggressive way.But Swift has no desire, or no need, to assert her autonomy with such frenzy-as a singer-songwriter, Taylor has always seemed mistress of herself.The problem was to know who Taylor was.

As I recently debated it with one of my critical sisters, Sarah Liss, for years, Swift has maintained the image of an ordinary, half-naive girl, mid-naive girl.Privileged and protected kid radiating all college insurance, she discovered that her adolescent fans (and their parents)) fell like flies under the spell of her mixture of blushing shyness and boastful.Swift had discovered a new alloy between the intimate atmosphere of teen pajama evenings and technicality, franchise and courtesy of country.

In the country of Nashville as in white pop for teens, the ability to project the image of a close and accessible girl has always been well seen - this feeling that the artist could be your big sister or your best friend, when'She sings her life (at least in country)), a life that looks very much like yours but more extreme, with sexier boyfriends, brighter jackets and howling stadiums (presumptive fans on both sides aregirls and women; for once, we do not make much cases of hetero boys)) feelings)).

At the time of the album Red in 2012, however, she often looked a bit like an actress of twenty years old stuck in the role of a very Mechanine young girl in a high school student.Which made it all the more urgent the need for reinvention (which started with the i Knew you were troubled and we are never getting back together of this album)).

A container with alcohol shots

The approach may seem paradoxical: pop is a younger and more superficial style than country, traditionally made of "four agreements and truth" and which tells adult problems, despite the recent epidemic of tubes for evenings that hasHIV in the sector.But Swift does not intend to dress like his mother, in any case not immediately (we will talk about it after 30 years)).

Going to pop allows him to be his age et, honnêtement, de cadrer avec sa classe sociale stratosphérique —plus urbaine et caustique mais également passée au filtre d’Instagram.It may mean that she will smooth her distinctive vocabulary (to the disarray of certain criticisms and her fans)) but also that one of the biggest stars on the planet can drop her innocent doll face and confront armored, face to face, peers and pop rivals.

Given the attentions and the care she knows so well surround them, the coalition of fans that she knew how to build is not likely to disintegrate, country radio or not.And, from now on, she no longer needs to devote herself to be body and soul to lyric naturalism - if control of the estate is one of the reasons why me and other many sums to love it, but aesthetically, it isa little retro and culu la praline.It must extend its range of possibilities.

This means that she can stop claiming a whole bunch of things, that she loves mandolin or that she represents the weak sex: many of the old songs of Taylor Swift are spoiled by her way of landing in all thecouple dynamics, as a kind of passive revenge.This mania has disappeared in 1989, and this is one of the benefits that there is to drop the spirit of a country bell tower in favor of the fights of the predominantly female pop.

It's a real party, a coming-out.As Swift sings in New Romantics, at the end of the long version of the album: "The Best People in Life Are Free" ("In life, the best are free")).According to 1989, for Taylor, being 24 years old is much less "Dress Up Like Hipsters and Make Fun of Our Exes" ("Dressing like hipsters and making fun of our ex")), his vision ofFun at 22 years old, and more like a boss: I have never found her more credible than when she braille in Shake It Off: "I Never Miss A Beat/ I'm Lightning on my feet/ And that's what they don't See "(" I'm still attacking/my feet are boosted/That's what they don't see ")).

She doesn't talk about dance there.

A contemplation

Like many people, I imagine, for years I had my idea of me on the way Swift had to mature, idea more based on an old -fashioned vision "of quality song writing" than on his,wedged in his field.

J’ai remarqué son amour pour Joni Mitchell, Emmylou Harris et consorts, chanteuses et conteuses de l’expérience féminine, mais aussi le côté intrinsèquement politique de sa façade de fille ordinaire: il s’agissait d’exposer l’expérience subjective de la vie d’une fille de banlieue américaine au XXI^e siècle, à la manière d’une romancière subversive écrivant de la littérature de jeune adulte.

She had not understood what was still feminism, and she really did not give satisfaction to the elites of the two American coasts, but basically, it was the direction she was taking.

As her talent was developing, I told myself that she could become a kind of tori Amos from the 2000s on a very large scale, which would sing thorny and complex songs on the life of a young woman, like a musical version of young peopleSite feminist essayists like The Hairpin and Rookie.

With hindsight, I realize that I wanted her to be Lorde.The New Zealand adolescent girl Prodigy, performer of Royals, had started by criticizing Swift but today they are friends (Swift is like "Keep your enemies at hand")).In fact, in certain places in 1989, Swift imitates the diction of Lorde and his rhythmic synth style, as in his snarling song where they are alone against all, i know places, and in the new romantics track, with the appearance of a manifesto,But the final effect is so different that the songs seem better when you are not trying to compare them.

My forecast errors were due to the fact that I fell into the sign of the "diary" model of the process of supposedly introspective writing of Swift.I'm starting to believe it is anything.The navel of Taylor Swift is not the tantric source of his inner perception.For her, it is only the area where the diaphragm is, hence a singer must project himself.What interests him is the impact.

A camera goal

For years, fans and media have been considering Swift productions as a key novel, obsessively crossing his personal life documented by the paparazzi and the words of his songs.And Swift renames while pushing them, especially with the "secret messages" which she sows in her CD covers.

Reading the messages of 1989 only confirms the impression given by the lyrics (and flagrant clues like the title style)) that a large part of the album evokes the relationship that Swift maintained in 2012 with Harry Styles, the singerof the English group One Direction, who was 18 years old at the time.Several details of their love story get dotted, especially references in several songs to a road accident (car accident in the disc, probably snowmobile in reality)) and to the pendant in the shape of a plane inPaper, typical of styles.

Which is bizarre, because everyone agrees that the cumulative lifespan of this relationship is comparable to that of a Drosophile.Swift may tend to fall into the melo, but someone so fit, even if it has only one twenty years, can disinformed it for a storyof love so fleeting?

Listen to the tone of messages: "Our story started in New York.… There was a girl known to all and person.... his heart belonged to someone who could not stay.»»

It’s not a diary.It's a scenario.Swift does not really reveal her personal life, she collects fragments and reorganizes them to make them a more classy story.Who knows what really happened in these love stories, if something really happened?Let's have a theoretical experience, and imagine that nothing happened.For Swift, Harry Styles is not a lover but an accessory, a view of the mind, an ephemeral glow.My postulate is that this is his real success.

See the diagram of the first songs of 1989: it is frankly cinematographic.Welcome to New York: this is the framework.Blank Space: the casting (the penatis of pen that Swift integrates into perfection in the chorus could very well be the click of a CLAP)).Style: costumes and makeup.Out of the Woods: The plot begins to darken.All You Had to do was stay: the moment everything is lost.Etc.

Things are then complicated - after everything, difficult to order the different priorities when we make up the biggest album of the year - but all the conditions of the romantic drama are met.Swift seems to offer two possible ends - keep a montage with meeting on How You Get the Girl followed by the vaporous outcome this love, a scenario in which the life of the couple becomes far too delusional (pursued like foxes in i know places)) and theGirl ends up giving up the boy as a bad addiction, because Swift announces that she recently renounced love in general (the charming duo with Imogen Heap, Clean)).

This model helps save Welcome to New York.As Molly Lambert recently commented in the Podcast Girls in Hoodies on the Grantland site, it is hard to hear Swift do as if she knew nothing, because we love her especially when she looks like everythingknow, precisely.But if she is really the director and the omniscient narrator, then her main character can quite start by not understanding anything, exactly as the naive character interpreted by Anne Hathaway at the beginning of the Devil dresses in Prada, forthat we are able to appreciate how much she gained in wisdom (and in sadness)) at the end of the film.

The hypothesis that Taylor Swift's so-called privacy is of the great anything also illuminates a little his paranoia vis-à-vis the technique, notoriously described in the portrait published in Rolling Stone and brilliantly parodied by theTwitter account Infosec Taylor Swift: she really has secrets, and she wants to be the one who controls leaks and guides the objective of cameras.

Obviously, this mania of control remains real, even by postulating that his love life is all that is cool, as we have seen during the charm offensive of the progressive and multimediala -two revelation, on twomonth, which led to the launch of 1989.No parachuting with an unexpected tendency for the young lady.Unlike Beyoncé, U2 or Thom Yorke, Taylor Swift has no need to show off the show of an instant genesis, like Athena's birth, because even when it produces music that is based on rhythm andSynths rather than violins and guitars, his credibility is played out on his author's talents - his skill in writing poems and composing romantic songs.In the eyes of an audience of fans who is wary of artifices, she must show her work.

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This explains why the Deluxe version of 1989 includes spoken tracks that comment on the birth of three of the songs, vocal memos originally intended for its employees. Ils servent à emmailloter le processus de spontanéité férocement professionnel et motivé par l’obligation de résultats de Swift, le tout dans une ambiance «soirée pyjama en coton bio»», et à révéler que son expérience personnelle reste le véritable filon à la source de l’ADN de ses chansons.

Maybe that's it, maybe not.But if 1989 is a film, then these are the audio comments of the DVD.

An erogenous area of teen pop

Another classic contrast between pop and country (in general)): sexual audacity.If Taylor Swift has put the sweet pedal on any pretension of chastity for a while, the 1989 film includes its first indisputable scene sex, Wildest Dreams:

Wildest Dreams est largement considéré comme une imitation de Lana Del Rey, tant au niveau des paroles que de la musique, mais dans le contexte, je considère cette chanson comme un exercice délibéré de déguisement et de jeu de rôle sexuel —«even if it's just pretend»» («même si c’est pour faire semblant»»)).It is not as if Del Rey herself did not know about imitations and disguises. Le personnage de Swift se satisfait de la certitude que le souvenir de sa force érotique «suivra (son amoureux)) partout»», à mille lieues de la franche érotophobie de chansons plus anciennes, comme Fifteen.

In 1989, his erotic sophistication overflows. Dans Blank Space, elle fait un clin d’œil à sa notoire «longue liste d’ex»», qualifie cavalièrement l’amour de «jeu—tu veux jouer?»», paraît absolument indifférente face à l’idée d’âmes sœurs éternelles qu’elle chérissait jadis et se vante: «Je peux transformer les méchants garçons en agneaux/le temps d’un week-end»».The two style lovers admit their infidelity to each other, which formerly would have been a cataclysm in a Swift song.And so on.There are of course other songs marked with romantic idealism, but the property of the character of the character of his old songs seems to have been put in the closet.

His stamp, too, is polymorphic.Swift put aside the imperative imposed by the country to keep a natural song and use the studio tools - so that its growing talents - to try all kinds of inflections: seductive whisper, feline roars, straightening voice smootheddigitally who manages to extricate himself from any sexual characterization.As a good child in the millennium, she is perfectly comfortable with the dimension of expressive prosthesis of technological extensions.

Be that as it may be envisaged as a sign of conservatism or feminist takeover (and there is no reason that it is not both at a time)), it is neverexplicit, whether in acts or in the exhibition of its anatomy, unlike the vast majority of pop protagonists in 2014.It is the woman who still refuses to show her navel, an element which was in teenage pop of the 80s, 90s and the early 2000s what the butt is in 2014: the major instrument of the supposed affirmationerotic of all the starlets of the top 50.

Because Taylor Swift does not only come from Country - it also comes from the chic suburbs of Pennsylvania.We can easily imagine that when she saw Britney Spears, she immediately thought: "vulgar"».

As she often says lately, it is clear that her friendship with young feminists like Lorde, the chief editor of Rookie Tavi Gevinson and the creator of Girls Lena Dunham broaden her idea of female potential, including in terms of sexuality.

But its female solidarity has its limits.

A pretty nightmare machine

Part of the pleasure that 1989 has just watched Swift play with boys and overthrow the force report of many of his previous songs.Most often, they are the ones who remain to be grooved on the tile, or who are used and then throw away.

I come back to Blank Space, because it is really the song that sets the tone of the disc. Elle est couronnée par une déclaration dominatrice, délivrée dans un mélange glissant, mi-baffe, mi-ronronnement: «Boys only want love if it’s torture/ Don’t say I didn’t, say I didn’t warn ya»» («Les garçons ne veulent de l’amour que si c’est de la torture/Ne dis pas, ne dis pas que je ne t’avais pas prévenu»»)).It's just.

Mais quand il est question de certaines autres femmes, on éprouve comme une impression persistante qu’un autre vers de la chanson est tout à fait vrai: «Darling, I’m a nightmare dressed like a daydream»» («Chéri, je suis un cauchemar déguisé en rêve éveillé»»)).

Its stylistic tributes, its partnerships and its dedications denounce its alliances. Lorsqu’elle chante «I’m dancin’ on my own»» dans Shake It Off, je soupçonne que ce soit un hommage à Robyn, cliente de longue date de Max Martin, dont le style années 80 très appuyé peut être considéré comme une véritable influence ici.And then there are winks to Heap, Lorde, Del Rey and Dunham - the Bonus Track you are in love describes the course of the love story between Dunham and his boyfriend Jack Antonoff (Fun and Bleachers, and of course Swift collaborator for Out of the Woods and I Wish you would)) with a boundless affection and admiration that I find very touching.

Mais je ne partage pas l’avis de Jon Caramanica qui prétend dans le New York Times que Swift n’utilise «quasiment aucune référence contemporaine»» dans 1989 et qu’elle ne rivalise avec le reste de la pop mainstream qu’en se positionnant délibérément à part.Admittedly, it abstains from any incursion in hip-hop or other approaches of the genre, but it has been years that the 80s spirit has permeated women's white pop-and I believe that there, it poses directly and knowingly inRivale of Katy Perry, Miley Cyrus, Lady Gaga, Charli XCX, Icona Pop, Iggy Azalea (is it a deliberate melodic loan from Fancy that we hear in Bad Blood?)) And others, to make it a field of contenderagainst who sharpens both his persecution complex and his thirst for power.

I do not take too seriously the supposed quarrel with Katy Perry in the wicked Bad Blood letter (which in my opinion is deriving the style of Perry)) - it is only a new example of staging at the Swift.But she does it with a quiet cruelty that is cold in the back for an artist formerly so engaged in positive thought that she had her own line of greeting cards. Son récent badinage sur la «pop méchante»» et «sans cervelle»» versus la pop «clean, bonne et juste»» donne un curieux assemblage de morale et d’esthétique qu’à mon avis elle aurait du mal à défendre de façon cohérente.

I am not telling Taylor Swift that she must be a nice girl and not fight with her rivals.All these frictions are part of the joys of pop.But let's not face it by thinking that it does not create divisions (and that these divisions do not underline preexisting and sociologically evocative limits)). Maintenant qu’elle est officiellement lancée dans l’arène de la pop, toutes les autres divas sont averties: «If you come in my way/ just don’t»» («Si tu te mets sur mon chemin/gare à toi»»)).

So, you want to know what, in my opinion, really hides under its high -waisted sets?A weapon.To borrow the title of an album dating from 1989, a Pretty Hate Machine, "A pretty hate machine"».It probably looks a lot like this Tesseract's tunes in Avengers.

The white thing in the world

We therefore know that Swift tries to descend the other white singers, but what about the big pop stars, like Rihanna, or, go, the only real rival of Swift in terms of domination and ubiquity in the world of pop in2014, Beyoncé?

In short, Swift is far too smart to expose yourself by attacking such dangerous targets. Le langage scénique et les conventions du R&B ne sont pas à sa portée –ce qui est bien entendu le message qu’entend transmettre le clip de Shake It Off, aveu à titre préventif qu’il y a certains éléments de la pop qui échappent à Tay, notamment, en numéro un de la liste, la sphère vitale de la danse.She doesn't know how to dance, and insists the clip, she doesn't care.She is a author, not a showgirl.

Je m’aventurerai à défendre la scène de frétillement de popotin qui a brièvement plongé Swift dans la perdition comme étant une totale satire à l’intention de Miley Cyrus («Can't stop, won't stop movin'»», persifle Swift)) qui a fini par se retourner contre elle, en grande partie à cause d’un mauvais timing.As Ann Powers points out, the clip was broadcast in August, at the height of the crisis of police violence in Ferguson, Missouri, which considerably sharpened sensitivities.

And then, vocally, Swift cannot compete with girls like Beyoncé, and besides she does not try.In fact, I think she fears what to try would suppose would suppose.So, she hires a veteran of teenage pop like Martin rather than a Mustard DJ or a Mike Will Made It, as Caramanica remarks.The stories that surrounded Shake It Off's clip surely reinforced him in the idea that it was a wise decision.

Mais accuser Swift, comme l'a fait John Herrman dans The Awl, d’être «sceptique quant au progrès démographique de l’Amérique»», c’est pousser le bouchon trop loin. Je peux être d’accord avec l’idée que le style de Swift, sous bien des aspects, incarne une «blancheur mise en scène, intentionnelle»», comme l’écrit Herrman –ce qu’elle peut considérer comme étant fidèle à ce qu’elle est. Et il est arrivé qu’elle se serve de ce vernis d’innocence privilégié comme d’un bouclier –par exemple en se faisant passer pour la looseuse maladroite alors que c’est elle, la vilaine fille– ce qui procure au vers «nightmare dressed up as a daydream»» une rafraîchissante franchise.

Like most white artists, and whites in general, Swift could camp much more in its positions.But if, on the one hand, she is wrong to flirt with intercultural appropriations and that on the other, she is wrong not to do it, well, I do not know what you think but I have'Impression that she is stuck.And it does not deserve it, or in any case no more than white criticisms mainly from the middle classes which descend it.If only there were a well -punched song on this album that we could send them.

An appearance of Madonna

Un «cauchemar déguisé en rêve éveillé»» –mais quel genre de cauchemar? Etant donné le titre de 1989, peut-être s’agit-il du cauchemar de Stephen Dedalus: l’Histoire, de laquelle il tente de se réveiller.Perhaps this is the true story of 1989-after all, of the fall of the Berlin Wall and the Tiananmen square test, the year of the end of history, theTwilight of the Cold War, the dawn of neoliberal triumphalism.The year of Like in Prayer.

When Taylor Swift talks about 1989 as an album from the 80s, what she is really trying to do, in my opinion, is to set herself up in new Madonna - the threatening female interpreter undermany angles, defined by his mastery of both his destiny and the spirit of the time.It's a real business, guys.When she goes from one genre to another, she imitates Madonna's ability to metamorphose, her many opportunistic identities. Encore une fois, comme Madonna, insinue-t-elle, «Taylor Swift»» est sous bien des aspects à la fois une entreprise et un personnage construit de toutes pièces.

(If only Swift could push it further, up to extremes at the David Bowie-if 1989 is, let's say, his Young Americans, so maybe after we will have his Low or his Scary Monsters? Ok, I dream.))

J’ai évoqué l’idée que le caractère «années 80»» de 1989 a été exagéré, mais lorsque c’est vrai, le son semble vouloir se rapprocher (sans tout à fait y parvenir)) de Madonna.Some suggest that style looks like Don Henley or Miami vice, but we could just as well say Into the Groove.

And if not Madonna, then it's the Proto-Madonna, its more vulnerable precursor, I appointed Cyndi Lauper.Trail 10 of 1989, How You Get The Girl for example, could serve as a credits for a film by John Hughes with Molly Ringwald and which would make Cyndi Lauper.She is immediately followed by This Love, a kind of True Colors who would have Amy Grant.

Omphalos syndrome

The year 1989 also saw the first tubes of the New Kids on the Block, who were to define the boys-band genre of the 1990s, also appeared, from which Pop teen, Robyn, Max Martin and, in the end, 1989.

Joshua Clover, dans son livre publié en 2009 1989: Bob Dylan Didn’t Have This to Sing About, examine comment les événements historiques de «la longue année 1989»» ont servi de terreau culturel à la musique pop de l’époque.Clover's subtitle is a kind of mind-blowing worm from Jesus Jones Right here, Right Now, this 1991 tube who was talking about "watching the world to wake up in history"».

Clover avance que l’époque était l’apogée de la pop parce que «l’intemporalité déracinée»» à laquelle aspire toujours la pop était en parfaite adéquation avec l’illusion de consensus universel prévalant à la fin de la Guerre froide, ce qui a conduit la pop à «tenter de se définir comme un excès, une superfluidité qui dépasse tout contenant...in front of which the sensible action is impossible "».

This meta-pop consciousness of 1989 is also contained in the composition of 1989, in the sense that it is meta-taylor, an album easier to listen to as a maneuver for the benefit of its career than as music, where itspersonal life would be a kind of submetry inside this career.In this sense, the goal of 1989 is to make tubes about tubes, money from money - mixing interests and drawing from derivative products.

The installation of Swift in Tribeca, in a post-Bloomberg Manhattan absolutely colonized by high finance, is in fact a kind of return to the fold.Didn't this daughter of a third generation high-level exchange agent, vice-president of Merrill Lynch, grew up in a gigantic three-story home in Wyomissing, Pennsylvania?

During an interview for the Canadian Country CMT cable channel broadcast on Monday October 27, I saw her get angry on behalf of his father when the host Paul McGuire quoted the star of the country Jason Aldean saying to Billboard: "I can't sing a song to you on what it is to be a exchange agent at Wall Street, because I can't even tell you where it is, Wall Street.»"If Swift should be perfectly capable of understanding why a country of the country of Nashville can be tempted to exaggerate its provincial side, it nevertheless seemed authentically stunned that anyone who dares to know where Wall Street is located.He could have denying the existence of Jesus or Disneyland just as well.

It reminded me of the Syndrome de l'Omphalos, from the Greek word designating the navel.This is the illusion that the place you consider to be the center of power is in your eyes, as the author Cullen Murphy says, "the point of convergence of reality - that nothing is moreimportant that what happens there, and that no idea or perception is more important than those of its elites ”».The first known occurrence is imperial Rome.

Welcome to New York, Imperial Omphalos in the world capital.It’s been waiting for you.She was waiting for you.

Clover writes that, in the music of the post-1989 era, we must also hear "the empire that sings ... The ambiguous exultation of the beautiful geopolitical era of America, the apparent restoration of its hegemon gloryMondial… The antechamber of the unipolar world, the consensus of Washington and the last Pax Americaa, which conceals the spectacle of the economic boom of the 90s ”».

Sometimes when I enjoy Taylor Swift, I'm caught up in a thrill that it may be Wall Street that I hear singing in ordinary girl, herself costumed in waking dreams.Let the Choir Sing.Let the choir sing.

Dolly Parton didn't have all that behind her songs.

Finally, the navel as a Gordian knot

Among many competitors, my favorite song on 1989 is the same as most people, Out of the Woods, to which Antonoff's music gives an eccentric majesty that the rest of the disc does not reach.She wears the treatment of the so much praised of Swift, but also this simmering and irrepressible tension.

Beaucoup de chansons de cet album répètent la même phrase dans le refrain, mais dans Out of the Woods, il y a une unité de contenu et de forme, tandis que le protagoniste se demande si cette relation a une chance de survivre, et la manière obsessionnelle et compulsive dont elle répète la question et s’angoisse devrait lui servir de réponse: «Good!»», ment-elle.

C’est comme ça que je chasse l’esprit, le geist, de Swift, en tournant en rond, à l’image d’un 45 tours (un format dont la vie commerciale s'est achevée en 1989)) qui fait ses éternelles révolutions autour d’un bidule évidé en son centre.You can never stop without stopping on the small, elusive, invisible abdominal beam, of greed and feelings, art, ego, jealousy, love and hatred, drought and flood, oftruth and fiction, savior and monster - and he will never defeat himself.

Legend has only one and only one solution for such a node.It must be torn in half, cut the cord.But who will dare to take up the challenge and will be the Alexander of this beef chariot from pop culture?Who will brandish the purifying blade?In truth, it must be this guy, there...

"... With the Hella Good Hair.Come on over, baby "»