It’s been just over a month since the release of Taylor Swift’s newest album, The Life of a Showgirl. With some defending the album’s upbeat, soft pop style and uncomplicated lyricism, others say that Swift has simply produced generic dullness, and a certain vibe of heteronormative conservatism.
Though Swift defines herself as a liberal who defends the rights of women and the LGBTQ+ community, questions have been raised as to her actual dedication to raising political awareness. Certainly, Swift has been absent in commenting in recent months on a variety of current affairs—notably, her lack of comment on Israel and Palestine.
I concur with many that one should not look to the popstar for political validation. However, her impact on the world stage is undeniable. Swift single handedly boosted local and national economies through revenue and spending for the ‘Eras tour’, by £1bn in the UK, for example. And even altered voting patterns after revealing her anti-Trump stance, demonstrated by the 1.226 per cent jump in voting registrations following her Instagram post encouraging the Democratic nomination. It is clear that when Swift talks (or sings), the world listens.
So does this album, the reaction to it, and her distinct silence on the issues of today edge Swift into the right-wing? Or is such reaction based in the anti-feminist dialogue which often surrounds her? The latter seems to be the conclusion of many ‘Swifties’, that criticism of Swift must be attributed to sexist narrative surrounding female success. It is obvious that many pray for the downfall of the singer based on some sort of patriarchal hatred of the star for rising to the top of the music industry. Narrative surrounding her apparently ‘perpetual’ dating habits and litany of break-up songs are undoubtedly steeped in misogyny, and for that, the star has every right to speak up about the struggles she’s faced.
But is this enough? Swift’s personal privilege as a wealthy, straight, Caucasian woman results in her ‘feminism’ often targeting purely this demographic. Many are waiting for the star to engage in and discuss publicly more intersectional feminist dialogue.
Furthermore, many have noted the heteronormative style of The Life of a Showgirl. References to her desire to ‘have a couple kids, got the whole block looking like you’, have been analysed as being ‘conservative-coded’. Traditional values are a core tenet of MAGA, and with the current political climate in the US, is it that far of a reach to match like with like and accuse Swift of aligning herself with right-wing values?
The facts are, Taylor Swift is a billionaire engaged to an NFL player. Thus, Swift is so far removed from us common masses that it would be somewhat natural for her to not quite understand the problems and prejudices facing the majority of her fans. However, having set herself up to be an influential politicised figure by speaking on some current issues means that she can’t subscribe to a half-in, half-out policy of caring about prejudice.
I myself will continue to enjoy Taylor Swift’s music and obviously claw for new releases, whilst also acknowledging that her self-appointed status as a politicised figure is wholly inadequate and that her new album is, honestly, not the best.
“Taylor Swift RED tour” by janabeamerpr is licensed under CC BY 2.0.
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Is Taylor Swift the New Face of Heteronormative Conservatism?
It’s been just over a month since the release of Taylor Swift’s newest album, The Life of a Showgirl. With some defending the album’s upbeat, soft pop style and uncomplicated lyricism, others say that Swift has simply produced generic dullness, and a certain vibe of heteronormative conservatism.
Though Swift defines herself as a liberal who defends the rights of women and the LGBTQ+ community, questions have been raised as to her actual dedication to raising political awareness. Certainly, Swift has been absent in commenting in recent months on a variety of current affairs—notably, her lack of comment on Israel and Palestine.
I concur with many that one should not look to the popstar for political validation. However, her impact on the world stage is undeniable. Swift single handedly boosted local and national economies through revenue and spending for the ‘Eras tour’, by £1bn in the UK, for example. And even altered voting patterns after revealing her anti-Trump stance, demonstrated by the 1.226 per cent jump in voting registrations following her Instagram post encouraging the Democratic nomination. It is clear that when Swift talks (or sings), the world listens.
So does this album, the reaction to it, and her distinct silence on the issues of today edge Swift into the right-wing? Or is such reaction based in the anti-feminist dialogue which often surrounds her? The latter seems to be the conclusion of many ‘Swifties’, that criticism of Swift must be attributed to sexist narrative surrounding female success. It is obvious that many pray for the downfall of the singer based on some sort of patriarchal hatred of the star for rising to the top of the music industry. Narrative surrounding her apparently ‘perpetual’ dating habits and litany of break-up songs are undoubtedly steeped in misogyny, and for that, the star has every right to speak up about the struggles she’s faced.
But is this enough? Swift’s personal privilege as a wealthy, straight, Caucasian woman results in her ‘feminism’ often targeting purely this demographic. Many are waiting for the star to engage in and discuss publicly more intersectional feminist dialogue.
Furthermore, many have noted the heteronormative style of The Life of a Showgirl. References to her desire to ‘have a couple kids, got the whole block looking like you’, have been analysed as being ‘conservative-coded’. Traditional values are a core tenet of MAGA, and with the current political climate in the US, is it that far of a reach to match like with like and accuse Swift of aligning herself with right-wing values?
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The facts are, Taylor Swift is a billionaire engaged to an NFL player. Thus, Swift is so far removed from us common masses that it would be somewhat natural for her to not quite understand the problems and prejudices facing the majority of her fans. However, having set herself up to be an influential politicised figure by speaking on some current issues means that she can’t subscribe to a half-in, half-out policy of caring about prejudice.
I myself will continue to enjoy Taylor Swift’s music and obviously claw for new releases, whilst also acknowledging that her self-appointed status as a politicised figure is wholly inadequate and that her new album is, honestly, not the best.
“Taylor Swift RED tour” by janabeamerpr is licensed under CC BY 2.0.
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