It will be really embarrassing if an article titled "Why Taylor Swift Is The Reigning Queen of Pop" hits the stands the same week She loses all of the AMAs She is nominated for.
“When I’m 40 and nobody wants to see me in a sparkly dress anymore, I’ll be, like: ‘Cool, I’ll just go in the studio and write songs for kids.’ It’s looking like a good pension plan.”
I hate that She says this.
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Swift hopes to collaborate with new songwriters and producers. But she planned to begin, she said, by heading back into the studio with Max Martin and Shellback. “I want to go in with Max and Johan first, just to figure out what the bone structure of this record is going to be.
“I have a lot of things to draw from emotionally at the moment. But I have to draw from them with a different perspective than on Red. I can’t say the same things over and over, you know? I mean, I think it’s just all the more important that I don’t ever allow myself to coast.
“At the same time, there’s a mistake that I see artists make when they’re on their fourth or fifth record, and they think innovation is more important than solid songwriting. The most terrible letdown as a listener for me is when I’m listening to a song and I see what they were trying to do. Like, where there’s a dance break that doesn’t make any sense, there’s a rap that shouldn’t be there, there’s like a beat change that’s, like, the coolest, hippest thing this six months—but it has nothing to do with the feeling, it has nothing to do with the emotion, it has nothing to do with the lyric. I never want to put things in songs just because that might make them popular, like, on the more rhythmic stations or in dance clubs. I really don’t want a compilation of sounds. I just need them to be songs.”
As for the theme of those songs: That’s a foregone conclusion. “I only write songs about crazy love,” Swift said. “If I go on two dates with a guy and we don’t click, I’m not writing a song about that. It didn’t matter in the emotional grand scheme of things. There’s a lot that goes on in daily life that isn’t really worth turning into a verse and a chorus.”
“I heard from the guy that most of Red is about,” Swift said. “He was like, ‘I just listened to the album, and that was a really bittersweet experience for me. It was like going through a photo album.’ That was nice. Nicer than, like, the ranting, crazy e-mails I got from this one dude. It’s a lot more mature way of looking at a love that was wonderful until it was terrible, and both people got hurt from it—but one of those people happened to be a songwriter.”
She rolled her eyes. “So what are you going to do? Did you not Wikipedia me before you called me up?”
In fact, seeing Swift live is revelatory: It’s in a setting like Bridgestone that her uniqueness, the weirdness of her conventionality—and, yes, her feminism—snaps into focus. I’ve been going to arena shows for three decades; I’ve never experienced a louder, more rabid crowd than at Swift’s concert. Nor, for that matter, a more female crowd, music critics from New York and creepy dudes from Oklahoma to the contrary. Even at a Justin Bieber show—even at a women’s-studies seminar—you won’t find as pronounced a female-to-male ratio, nor such a wide age range: toddlers and teens and tweens and their moms, for sure, but also college co-eds, and grandmothers, and rowdy thirtysomething office workers, like the gals who sat in the row behind me, passing a flask of booze. To push through the turnstiles of a Taylor Swift concert is to enter, as the saying goes, a women’s space. Swift has the power to turn a hockey arena into a room of one’s own.
But I thought Her fanbase only consisted of 12 year old girls?
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She puts on a good show. In the past, Swift’s singing has been shaky—who can forget the wounded-water-buffalo *harmonies in her duet with Stevie Nicks at the 2010 Grammys—but these days her pitch is sure; she sings confidently, *prettily, if not quite muscularly. The *concert is elaborately choreographed, and she hits her marks like a pro. But the most fascinating bits come between songs, when Swift speaks to the crowd. Her *banter consists almost entirely of talk about songwriting. It is a rather eccentric brand of stage patter: more hippie arts-camp counselor than rock star.
“At the same time, there’s a mistake that I see artists make when they’re on their fourth or fifth record, and they think innovation is more important than solid songwriting. The most terrible letdown as a listener for me is when I’m listening to a song and I see what they were trying to do. Like, where there’s a dance break that doesn’t make any sense, there’s a rap that shouldn’t be there, there’s like a beat change that’s, like, the coolest, hippest thing this six months—but it has nothing to do with the feeling, it has nothing to do with the emotion, it has nothing to do with the lyric. I never want to put things in songs just because that might make them popular, like, on the more rhythmic stations or in dance clubs. I really don’t want a compilation of sounds. I just need them to be songs.”
Sales of Taylor Swift song downloads have topped 75 million; according to the Recording Industry Association of America, she is the No. 1 digital singles artist of all time.
I need help, does anyone know where did this come from? I thought in the 2009 ACMs she performed You're Not Sorry? I can't seem to find a full video too
I am so excited. 