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Furthermore, relative to the oft-criticized oversexed young ladies of pop music, the Great Proverbial Mothers of America agree that they’d like their babies to grow up to be cowgirls, as long as that cowgirl is as effortlessly adorable and endearingly successful as Taylor Swift.
And well; from a distance, that idea seemed fine to me too.
‘Cause Swift’s package is “Purity Sue Ingenue”: eternally childlike, obedient and one-dimensional.
Mothers love this package, and teenage girls are hypnotized by her simple songs and pretty hair and propensity for crying on her instruments. When Beyoncè was Swift’s age, she was onstage with Destiny’s Child, proclaiming: It goes without saying — because, of course, no one wants to say it — that Swift was able to succeed so early ’cause her family was both supportive & wealthy enough to enable her ambitions.
If Swift’s work connects with teenage girls, it does so on the most simplistic, reductive territory of all: pining for boys, walking in the rain, kissing in the rain, crying drops of tears on her guitar, driving in trucks with cool boys, wanting boys she can’t have, more rain, more letter-writing, more stalking, more broken hearts, breathing problems as a side-effect of broken hearts, fairytale princess this, white horse that, more pining at the window, more psuedo-stalking, more incomplete hearts yearning for your touch, and one song that misinterprets Shakespeare and so criminally I’m certain she’s never read either.
Swift simply hasn’t had the life experience and doesn’t inherently possess the emotional maturity to create great art.
Which is fine — most young pop stars don’t, which is why they don’t win Grammys.
Yesterday, looking for Daily Fix links, I came upon an MTV news piece by James Montgomery titled “Why You Shouldn’t Hate On Taylor Swift.” Fair enough — the hype cycle moves quickly these days and now is probably the opportune moment for someone to step up and captain the “backlash-to-the-backlash” train.
She’s nice and honest, she’s pumped much-needed cash into the music industry, she looks cute in glasses and she’s friends with Our Heroine Ellen De Generes.
There wasn’t even anything to “hate” about Taylor Swift’s twangy addictive pop/country music until she snagged Album of the Year, thus transitioning her from “harmlessly popular teenage pop fad” into the (relatively) Legendary-for-artistic-merit context associated with prior winners like John Lennon, Bob Dylan, Lauryn Hill, U2, Outkast and Eric Clapton.
She certainly wouldn’t have needed — or the entire country’s fawning faux-sympathy for months afterward.
Taylor had another chance at the VMA’s end to prove her maturity by thanking and honoring Beyoncé for calling her back up to speak. ” Role models aren’t suspended children, trapped by projections and unable to grow until affirmed by an idealized male partner.