Taylor Swift has taken pop culture news headlines by storm yet again in the past few weeks, promoting her two new singles and upcoming album, Reputation, which is to be released in November. Swift’s MTV Video Music Award debut of her first single and music video of the new album, “Look What You Made Me Do,” has prompted heated discussions regarding what each intricate detail of the video means. Fans and haters alike have taken a microscope to the video, asserting meaning to every minute aspect of the video, including her costumes, jewelry choices, background details, and the like. While Swift obviously designed this video to be specific and clever with the imagery and lyrics, critics continue to focus on a “shift” in Swift’s attitude and message. An article on Vox.com asserts in its title, “Taylor Swift’s new single ‘Look What You Made Me Do’ is dark and petty as hell.” I agree that the video definitely presents a dark, almost Halloween-ish portrayal of Swift and her much talked about career, relationships, and personal life. But I don’t understand why critics are so quick to label Swift as “petty” or “playing the victim” (which she, herself, mocks in the video) or even a “bad role model” for her younger fans.
A popular argument in response to Swift’s “Bad Blood” on her previous record, 1989, stated that Swift had set a bad example, especially for younger fans, by harping on her past beef with fellow popstar, Katy Perry. My question is this: since when do we all have to act like we like each other? I understand this sounds cynical and pretty anti-social, but it’s simply the truth. If Perry and Swift have a sour relationship, why should either of them have to pose as friends? More importantly, why do people react with such judgment when the argument is between two powerful, successful women? I am all for female empowerment and for BOTH genders working together to reach a common goal of equality, but this becomes complicated when society keeps telling women to blindly love and support all other women, simply because they are women. If we silence Swift and Perry by telling them not to express their feelings honestly in their music, then we are completely missing the point of female empowerment. Autonomy is having the freedom to MAKE that choice to write that badass banger of a song, even if it is about a fellow international popstar.
In addition to the focus on Swift as anti-feminist in this way, I also wonder about the irony that’s at work in this discussion that shames Swift for calling out those who have treated her poorly or made her upset. While there are a wide variety of lyrical topics for songs, I think it’s safe to say that many songs are explicitly about love, heartbreak, and relationships between people. Yet, people mock Swift for being the Girl Who Cried Boyfriend and thereby reject the artistry that goes into her songwriting and music production. The irony arises when we turn to other genres of music and understand that “throwing shade” through music has been around a lot longer than the phrase “throwing shade” became a thing. In 1972 Carly Simon sang, “You’re so vain/ I’ll bet you think this song is about you/ Don’t you?” and sparked a lyrical mystery that was only solved a couple of years ago, when Simon explicitly confirmed the rumors that the song was, indeed, about Warren Beatty. In 1976 Hall & Oates sang “Rich Girl,” which was ironically about a man, who the music duo mocked for being a shallow heir to his father’s restaurant chain, stating, “You can get along if you try to be strong/ But you’ll never be strong.” Even Bob Dylan, the iconic figure of coolness in American music, wrote “Positively 4th Street” in 1965, ending with the clincher, “Yes, I wish that just for one time you could stand in my shoes/ You’d know what a drag it is to see you.” OUCH. Dylan was praised for the lyrical genius and the callous lines, almost certainly about long-time girlfriend and singer, Joan Baez. My point is that this shade throwing with lyrical zingers is nothing new, and Swift certainly did not invent it. She has, however, made a name for herself by having the courage and confidence to call out those f***boys and f***girls who have had an impact on her. In 2010 Swift boldly named John Mayer in her song “Dear John,” which blames Mayer for being a womanizer (which he has even admitted to) and taking advantage of a vulnerable young woman (she is 12 years younger than him). While Swift does play up her innocence in this song, it was stunning and cutting edge for her to call out an infamous ladies’ man, who had already left other successful women (i.e. Jennifer Aniston, Minka Kelly, Jessica Simpson, etc.) in the dust. In an industry that has historically profited off of raging emotions, heated arguments, and volatile relationships, is it that shocking that Swift continues to deliver lyrics that never fail to express those feelings? Rappers have famously gained notoriety in the industry by dropping names, throwing shade, and revealing old grudges in lyrical details. Drake and Meek Mill both benefitted from publicity and streaming boosts in their 2015 feud, sparked by a tweet from Meek Mill which suggested that Drake did not write his own raps. The two rappers sparred back and forth, as each released songs aimed at the other. Drake shut down the battle after releasing “Back to Back,” titled thus as it was written and produced before Meek Mill could respond to Drake’s previous rap. Drake raps, “Is that a world tour or your girl’s tour?/ I know that you gotta be a thug for her/ This ain’t what she meant when she told you to open up more.” In referencing Meek Mill’s relationship with female rapper Nicki Minaj as her romantic partner and opening act on her tour, Drake makes this lyrical attack in the most humiliating and personal of fashions. Rap fans everywhere applauded this rap battle and praised Drake’s lyrical skill. Calling out someone specifically in a song can be accepted and respected by consumers of music. In fact, it’s been encouraged by the music industry and popular culture throughout history.
I’ve heard enough about Dark Taylor vs. Old Taylor. Artists are artists specifically because they are unusually gifted when it comes to performance, reinvention, and (when you’re a true artist) longevity. Swift even mocks this myth of the “Old Taylor” in her LWYMMD video, stating that the “Old Taylor” is dead. Swift remains relevant today because of her unique ability to recount extremely personal and specific experiences as universals of human life, while also recognizing her own public image and perception. And this isn’t anything new, either. To those who argue that Swift has turned a new leaf into pettiness and grudges since her “Bad Blood” release, I would like to point out Swift’s song “Better Than Revenge,” which she released on her 2010 album Speak Now. Swift writes, “She should keep in mind/ There is nothing I do better than revenge” and later, “I’m just another thing for you to roll your eyes at, honey/ You might have him but I always get the last word.” The bottom line is that if you’re mad at Taylor Swift for throwing shade, writing lyrics about exes, having disagreements with other human beings, or trying to evolve as an artist, then you haven’t been paying attention to musicians at all in the last century. You may be rolling your eyes at Swift and at all of the pop culture frenzy and gossip surrounding her mythic fame, but her net worth of over $250 million (plus her countless musical accolades, loyal fan base of “Swifties,” highly anticipated album drop, continued success for the past 11 years, etc.) certainly does have the last word.