[RobynYoBank]

Originally posted by Chill Bill

How about singing about something other than love and breakups?

And don't tell me that that's the only kind of song that can get big in this day and age. You know what the current #2 song in the country is about? Being afraid of the dark.

And if she is going to sing about a breakup, couldn't she write about it in a way that's a little more... you know... not juvenile and shallow.

To use a recent example, take Frank Ocean's 'Bad Religion', an absolutely heart-wrenching song about unrequited love. He compares the object of his affection to a God, an intangible figure that he'll desperately try to please despite getting nothing in return. That is powerful. Why can't Taylor write something like that?

She does sing about stuff other than love and break-ups. And if you think all of her love songs are juvenile and shallow, you clearly don't take the time to listen to her albums, so why should she try to please you?

I'd say dealing with growing up is the strongest overarching theme in her discography, not just love songs. And that's because dealing with love is a part of growing up, and she knows that.

I mean, posts like this are a dime a dozen on ATRL. But if you're going to take the most critically acclaimed album of the year and try to use it to demean the most-acclaimed major pop artist of the last decade, you really should at least take the time to explore her discography, because acting like she only makes shallow love songs is foolish. Even the shallowness she loves to spew out on certain songs is intricately related to the overall message of the album.

[Chill Bill]

Originally posted by RobynYoBank

She does sing about stuff other than love and break-ups. And if you think all of her love songs are juvenile and shallow, you clearly don't take the time to listen to her albums, so why should she try to please you?

I'd say the strongest theme consistent throughout her discography is dealing with growing up, not just love songs.

But I'm not talking about her discography in general, I'm specifically talking about her latest single and how shallow it is. I'm aware that she's capable of stronger songwriting, which is part of the reason why I find its shallowness to be so infuriating.

I mean, you hear a song like this from, say, Ke$ha, and it's no big deal, since it's pretty much par for the course in her case. But I expected better from Taylor.

[Auris]

Originally posted by MusicLoverDude

THANK you Taylor Anything but Flo Rida!

If she blocks Flo and ends Carly I will be the happiest person alive.

[Cal]

She broke my fave's record but it couldn't of happened to anyone better. Congratulations Taylor.

I'm BOPING.

[Auris]

LOL
Its so popular right now that none of her other songs even compare.

[RobynYoBank]

Originally posted by Chill Bill

But I'm not talking about her discography in general, I'm specifically talking about her latest single and how shallow it is. I'm aware that she's capable of stronger songwriting, which is part of the reason why I find its shallowness to be so infuriating.

I mean, you hear a song like this from, say, Ke$ha, and it's no big deal, since it's pretty much par for the course in her case. But I expected better from Taylor.

Come on, if you're going to take the time to bring an analysis of the quality of Frank Ocean's lyrics into this, you can do better.

First and foremost, WANEGBT is excellently written, regardless of the theme.

One of the most enjoyable facets of Taylor's discography--and something that many critics have noted--is the contrast between Taylor's self-awareness of coming-of-age and the desire to regress into teenage love and fairy-tales. Her albums more than prove that she's progressed in terms of songwriting and outlook, with Speak Now peeling back even more layers of insecurities than Fearless, but her music has always felt more genuine because she purposely betrays those remaining strings of innocence and hopeful naivety.

Would we still be able to enjoys tracks like "Never Grow Up" or "The Way I Loved You" or, even moreso, the beautiful "The Best Day" if we weren't allowed to see this struggle for and against adolescence play out on the grand scale of an entire album or her young discography? Hell, would we even have a deep context for a song like "The Way I Loved You" if we didn't know it was coming from the same girl who wrote "Love Story" and "Should've Said No"? She's always let people in to her heart, and her heart is full of fairy-tales and dragons and true love and spending time with her parents as a child; but her mind knows she's growing up and she has made no attempt to hide that either.

Progression and maturity are obvious. But that balance, or battle, between youth and maturity (as people want them to be mutually exclusive) and reality and fairy-tale fiction is what Taylor Swift is all about, so it really bothers me when people say that she shouldn't let herself go through that. Music for her is about wading through her problems and sharing those experiences with her fans; and if you can't handle her moments of clever and genuine immaturity, that's unfortunate, but I don't think that's enough of a reason to believe that she should change to meet your standards of a good song, especially when there are apparently plenty of people, fans and critics alike, very much capable of appreciating that journey.

[Chill Bill]

First and foremost, WANEGBT is excellently written, regardless of the theme.

No, it's not. It's shallow and empty and it sounds exactly like the kind of shpiel I would hear from the stuck- up popular girls in high school before they asked me to let them copy my homework.

One of the most enjoyable facets of Taylor's discography--and something that many critics have noted--is the contrast between Taylor's self-awareness of coming-of-age and the desire to regress into teenage love and fairy-tales.

That's just it, though; WANEGBT is completely devoid of self- awareness and introspection. It doesn't offer any insights into her relationship other than "we keep breaking up and getting back together and I'm sick of it and quite frankly it's all your fault". She refuses to take any responsibility for the relationship's failing or even consider the idea that she's even a little in the wrong. It's nothing but line after line of, "like, OMG, this guy sucks so much, and I am, like, totally not getting back with him".

It's not clever, it's not subversive, and there are a dozen other songs like it on the radio right now.

Music for her is about wading through her problems and sharing those thoughts with her fans; and if you can't handle her moments of clever and genuine immaturity, that's unfortunate

No, you know what? I can't. I can't empathize with Taylor Swift when she sounds like the real life incarnation of Summer from Napoleon Dynamite.

I mean, there's a reason why Paul Simon's Graceland didn't include a track called "My Wife's a Dirty Skank and I'm Glad She's Gone". He'd look like an unsympathetic a-hole, and rightfully so.

I don't hear any of the struggle between Taylor's adolescent fantasies and her desire to enter adulthood in this song, because it's unashamedly adolescent in its attitude. I've heard Taylor at least try to humanize herself in her other songs, but the narrator of WANEGBT is a borderline Mary Sue.

[RobynYoBank]

Originally posted by Chill Bill

No, it's not. It's shallow and empty and it sounds exactly like the kind of shpiel I would hear from the stuck- up popular girls in high school before they asked me to let them copy my homework.



That's just it, though; WANEGBT is completely devoid of self- awareness and introspection. It doesn't offer any insights into her relationship other than "we keep breaking up and getting back together and I'm sick of it and quite frankly it's all your fault". She refuses to take any responsibility for the relationship's failing or even consider the idea that she's even a little in the wrong. It's nothing but line after line of, "like, OMG, this guy sucks so much, and I am, like, totally not getting back with him".

It's not clever, it's not subversive, and there are a dozen other songs like it on the radio right now.



No, you know what? I can't. I can't empathize with Taylor Swift when she sounds like the real life incarnation of Summer from Napoleon Dynamite.

I don't hear any of the struggle between Taylor's adolescent fantasies and her desire to enter adulthood in this song, because it's unashamedly adolescent in its attitude. I've heard Taylor at least try to humanize herself in her other songs, but the narrator of WANEGBT is a borderline Mary Sue.

That's because you aren't bothering to listen to the song in the context of anything, and that's fine, but stop complaining if you're not willing to even take that step.

Everything you've mentioned about the song's immaturity--writing a song that's purposely devoid of deep introspection, refusing to take responsibility for the faults in a relationship--was directly addressed in my last post and in Taylor's discography, to the point where that the struggle between youth and adulthood is the center of her entire career.

The song, as other past songs in her discography, is supposed to be unashamedly naive, but trying to her discredit her on that point is short-sighted, because those songs have always tactfully contributed to a much grander image of Taylor Swift, adolescence and growing up. I would think someone so interested in metaphors, lyrical subversiveness, and historically nuanced albums would have some appreciation for the genuineness and impressive scope of her albums.

[Chill Bill]

Originally posted by RobynYoBank

That's because you aren't bothering to listen to the song in the context of anything, and that's fine, but stop complaining if you're not willing to even take that step.

You know what? Fine. If it makes you happy, I'll listen to Red when it's released and see if the song sounds any better within the context of the rest of the album. But as of now, I'm judging the single solely on its own merits. You can argue that it wasn't meant to be listened to that way, but then why did Taylor choose to release it as the lead single? If she takes her art as seriously as you think she does, wouldn't she be concerned about how the song reflects on her personality when released alone?

And call me ignorant or lazy, but I shouldn't have to immerse myself in Taylor's entire discography in order to appreciate this one song that's going to be invading my airwaves for the remainder of the year (and possibly for some time after that).

Everything you've mentioned about the song's immaturity--writing a song that's purposely devoid of deep introspection, refusing to take responsibility for the faults in a relationship--was directly addressed in my last post and in Taylor's discography, to the point where that the struggle between youth and adulthood is the center of her entire career.

Listen, I get it. I get that what Taylor was trying to do was to show us a side of herself that wants to avoid taking responsibility for her actions, but it's an ugly, ugly side of her nonetheless. It's not that I don't get it, it's that I don't like it. I don't care if it was obnoxious by accident or obnoxious on purpose; at the end of the day, it's still obnoxious.

[RobynYoBank]

Originally posted by Entertainment Weekly

Reports say Swift’s track broke the record for fastest rise to the top spot on the iTunes chart, beating Lady Gaga’s “Born This Way,” by reaching the summit in just 50 minutes.

Originally posted by MSN

American country-pop singer Taylor Swift lived up to her name when her new single, the gloriously-titled We Are Never Ever Getting Back Together, shot to the top of the iTunes chart in record time.

The 22 year-old premiered the song during a live webchat with fans yesterday.

When it was released to iTunes shortly afterwards, it beat the record set by Lady Gaga's Born This Way by taking the top spot in a reported 50 minutes.

Originally posted by upprox

t’s Taylor Swift’s world, and to think otherwise is to cheat on her, and then she’ll write a song about you and it’ll sell 17 million copies and THEN you’ll be sorry. It took all of a record-breaking 50 minutes for Swift’s newest BOYS ARE SUCH ICKY, INDIE RECORD-LOVING JERKS ballad for the sun-dress crowd, “We Are Never Ever Getting Back Together,” to hit #1 on iTunes, besting Lady Gaga’s “Born This Way.” That’s very impressive.

Originally posted by thehollywoodgossip

The latest case in point: Swift's fans (T-Swizzlers?) have proved to be more aggressive and enthusiastic than 25 million Little Monsters, as they helped Swift earn a new iTunes record.

She bested Lady Gaga in the process.

Within 50 minutes of its release last night, Swift's "We Are Never Ever Getting Back Together" shot to the top of the iTunes singles chart, knocking "Born This Way" from its perch as the fastest-selling single in digital history.

Added some interesting articles.

[iceroll]

Originally posted by RobynYoBank

Come on, if you're going to take the time to bring an analysis of the quality of Frank Ocean's lyrics into this, you can do better.

First and foremost, WANEGBT is excellently written, regardless of the theme.

One of the most enjoyable facets of Taylor's discography--and something that many critics have noted--is the contrast between Taylor's self-awareness of coming-of-age and the desire to regress into teenage love and fairy-tales. Her albums more than prove that she's progressed in terms of songwriting and outlook, with Speak Now peeling back even more layers of insecurities than Fearless, but her music has always felt more genuine because she purposely betrays those remaining strings of innocence and hopeful naivety.

Would we still be able to enjoys tracks like "Never Grow Up" or "The Way I Loved You" or, even moreso, the beautiful "The Best Day" if we weren't allowed to see this struggle for and against adolescence play out on the grand scale of an entire album or her young discography? Hell, would we even have a deep context for a song like "The Way I Loved You" if we didn't know it was coming from the same girl who wrote "Love Story" and "Should've Said No"? She's always let people in to her heart, and her heart is full of fairy-tales and dragons and true love and spending time with her parents as a child; but her mind knows she's growing up and she has made no attempt to hide that either.

Progression and maturity are obvious. But that balance, or battle, between youth and maturity (as people want them to be mutually exclusive) and reality and fairy-tale fiction is what Taylor Swift is all about, so it really bothers me when people say that she shouldn't let herself go through that. Music for her is about wading through her problems and sharing those experiences with her fans; and if you can't handle her moments of clever and genuine immaturity, that's unfortunate, but I don't think that's enough of a reason to believe that she should change to meet your standards of a good song, especially when there are apparently plenty of people, fans and critics alike, very much capable of appreciating that journey.

I got chills reading this, great analysis.

[RobynYoBank]

Originally posted by Chill Bill

But I'm not talking about her discography in general, I'm specifically talking about her latest single and how shallow it is. I'm aware that she's capable of stronger songwriting, which is part of the reason why I find its shallowness to be so infuriating.

I mean, you hear a song like this from, say, Ke$ha, and it's no big deal, since it's pretty much par for the course in her case. But I expected better from Taylor.

You're still not really understanding my point though. The song is not poorly written or regressive in an artistic sense; it's likely purposefully regressive and mindfully and hopefully immature--if we use her body of work as any sort of example. And because of that, I simply don't see how you can instantly condemn the song, especially since it's cleverly written.

But by all means, say you hate the song. That's not what I'm trying to argue with you about.

[Hunter_13]

Originally posted by RobynYoBank

Added some interesting articles.

Oh my god, yes!

[Chill Bill]

Originally posted by RobynYoBank

You're still not really understanding my point though. The song is not poorly written or regressive in an artistic sense; it's likely purposefully regressive and mindfully and hopefully immature--if we use her body of work as any sort of example. And because of that, I simply don't see how you can instantly condemn the song, especially since it's cleverly written.

You keep insisting that it's 'cleverly written', but I've scoured all the verses and I can't find a single ounce of, um, cleverness. The whole thing is played completely straight. If there was any trace of wit, or irony, or hyperbole to be found in the verses, I'd embrace the notion that it's not meant to be taken at face value, but as it stands, it kind of sounds like it is. It's not tongue-in-cheek, it's finger-in-nose.

Taylor isn't using this tone to make an artistic statement or reveal some intimate detail about herself; she's just doing exactly what everyone else on the radio is doing, only worse. Seriously, if I were to do a review of this song, all I'd have to write is, "I liked it better when it was called 'Blow Me (One Last Kiss)'."

I mean, you make something suck on purpose, and at the end of the day it's still going to suck.

[RobynYoBank]

Originally posted by Chill Bill

You keep insisting that it's 'cleverly written', but I've scoured all the verses and I can't find a single ounce of, um, cleverness. The whole thing is played completely straight. If there was any trace of wit, or irony, or hyperbole to be found in the verses, I'd embrace the notion that it's not meant to be taken at face value, but as it stands, it kind of sounds like it is. It's not tongue-in-cheek, it's finger-in-nose.

Taylor isn't using this tone to make an artistic statement or reveal some intimate detail about herself; she's just doing exactly what everyone else on the radio is doing, only worse. Seriously, if I were to do a review of this song, all I'd have to write is, "I liked it better when it was called 'Blow Me (One Last Kiss)'."

I mean, you make something suck on purpose, and at the end of the day it's still going to suck.

Songs can be cleverly written without being witty or packed to the brim with literary devices. It is a skillfully written pop song, and it fits in the larger mesh of the story she's trying to tell about growing up. The song is meant to be taken at face value, and if you want to get technical, the song even directly addresses the immaturity you're talking about. The song is completely self-aware: the lyrics make it bleedingly obvious that she knows how stupid the relationship is and how juvenile her decision to continue to talk about it and let herself ride a teenage love-hate rollercoaster with another boy.

I mean, come on. The lyrics 90% of people are criticizing:

I'm really gonna miss you picking fights
And me, falling for it screaming that I'm right
And you, will hide away and find your piece of mind with some indie record that's much cooler than mine

are so subtly, completely, and brilliantly self-aware that they confront all of your criticisms at the same time without sacrificing what the song was meant to be: a ride on the old chaotic teenage rollercoaster that she loves as much as she hates.

[ClashAndBurn]

10560 Customer Ratings

[ryanpittman97]

If aint broke dont fix it

[mrnick]

this song is TOO AWESOME.

Congrats Taylor.

[muddysquirrel]

Originally posted by RobynYoBank

Songs can be cleverly written without being witty or packed to the brim with literary devices. It is a skillfully written pop song, and it fits in the larger mesh of the story she's trying to tell about growing up. The song is meant to be taken at face value, and if you want to get technical, the song even directly addresses the immaturity you're talking about. The song is completely self-aware: the lyrics make it bleedingly obvious that she knows how stupid the relationship is and how juvenile her decision to continue to talk about it and let herself ride a teenage love-hate rollercoaster with another boy.

I mean, come on. The lyrics 90% of people are criticizing:

I'm really gonna miss you picking fights
And me, falling for it screaming that I'm right
And you, will hide away and find your piece of mind with some indie record that's much cooler than mine

are so subtly, completely, and brilliantly self-aware that they confront all of your criticisms at the same time without sacrificing what the song was meant to be: a ride on the old chaotic teenage rollercoaster that she loves as much as she hates.

[castle13]

Originally posted by RobynYoBank

Songs can be cleverly written without being witty or packed to the brim with literary devices. It is a skillfully written pop song, and it fits in the larger mesh of the story she's trying to tell about growing up. The song is meant to be taken at face value, and if you want to get technical, the song even directly addresses the immaturity you're talking about. The song is completely self-aware: the lyrics make it bleedingly obvious that she knows how stupid the relationship is and how juvenile her decision to continue to talk about it and let herself ride a teenage love-hate rollercoaster with another boy.

I mean, come on. The lyrics 90% of people are criticizing:

I'm really gonna miss you picking fights
And me, falling for it screaming that I'm right
And you, will hide away and find your piece of mind with some indie record that's much cooler than mine

are so subtly, completely, and brilliantly self-aware that they confront all of your criticisms at the same time without sacrificing what the song was meant to be: a ride on the old chaotic teenage rollercoaster that she loves as much as she hates.

Originally posted by RobynYoBank

Come on, if you're going to take the time to bring an analysis of the quality of Frank Ocean's lyrics into this, you can do better.

First and foremost, WANEGBT is excellently written, regardless of the theme.

One of the most enjoyable facets of Taylor's discography--and something that many critics have noted--is the contrast between Taylor's self-awareness of coming-of-age and the desire to regress into teenage love and fairy-tales. Her albums more than prove that she's progressed in terms of songwriting and outlook, with Speak Now peeling back even more layers of insecurities than Fearless, but her music has always felt more genuine because she purposely betrays those remaining strings of innocence and hopeful naivety.

Would we still be able to enjoys tracks like "Never Grow Up" or "The Way I Loved You" or, even moreso, the beautiful "The Best Day" if we weren't allowed to see this struggle for and against adolescence play out on the grand scale of an entire album or her young discography? Hell, would we even have a deep context for a song like "The Way I Loved You" if we didn't know it was coming from the same girl who wrote "Love Story" and "Should've Said No"? She's always let people in to her heart, and her heart is full of fairy-tales and dragons and true love and spending time with her parents as a child; but her mind knows she's growing up and she has made no attempt to hide that either.

Progression and maturity are obvious. But that balance, or battle, between youth and maturity (as people want them to be mutually exclusive) and reality and fairy-tale fiction is what Taylor Swift is all about, so it really bothers me when people say that she shouldn't let herself go through that. Music for her is about wading through her problems and sharing those experiences with her fans; and if you can't handle her moments of clever and genuine immaturity, that's unfortunate, but I don't think that's enough of a reason to believe that she should change to meet your standards of a good song, especially when there are apparently plenty of people, fans and critics alike, very much capable of appreciating that journey.