What sort of real life can stand up against fantasies like these? Listen to too many and you might ache again at the nagging feeling that those stories of yours have all been a bit uneventful and drab by comparison. Listen to her songs and you’ll ache at the resemblance to the most dramatic moments in your own private history. An unworthy suitor won’t just say something thoughtless he’ll skip a birthday party or leave a teenage girl crying alone in a hotel room. People don’t slowly ease into a relationship in her songs they show up at each other’s doors late at night and they kiss in the rain. Swift - or at least the version of Swift on her albums - has remained largely the same person since her debut: a thin-skinned, bighearted obsessive, with a penchant for huge romantic moments. (For 1989, she embraced feminism and threw away the last vestiges of her Nashville sound, but those were basically just aesthetic changes.) If the word on her has shifted since her debut, it’s because we’ve changed, not her. Other people say she’s Jewish.Īnd yet, unlike Madonna or Bowie, Swift got through the first 11 years of her career without any major reinventions. Some people say she’s a goddess of the alt-right. She’s been feminism’s worst nightmare, and an advocate for victims of sexual assault. She was a precocious teenager, and the ultimate embodiment of white privilege. And, outside the legions of fans who eat up everything she puts out, no take on her ever stays solid for long. I find it hard to explain why exactly, and I’m sure Swift would, too: Somehow, this one 27-year-old woman from Wyomissing, Pennsylvania, keeps finding herself at the center of our national conversations about race, gender, celebrity, victimhood, even the economics of the tech industry. One of them is a massive, multi-million-dollar enterprise filled with violence and betrayal, and the other airs on HBO. We love his music.In this business, there are two subjects that will boost your page views like nothing else: Game of Thrones and Taylor Swift. We just laughed like hell and said, 'Ain't that funny.' We love Neil Young. "We wrote 'Sweet Home Alabama' as a joke," Van Zant clarified a few years following the release. "We're Southern rebels but, more than that, we know the difference between right and wrong." In fact, those "boos" are thought to imply that the band disagreed with Wallace's politics-and that bit about Watergate seems to be a pointed remark about the hypocrisy of the North, which had its own problems, too.īy all accounts, there was no real "feud" between the artists. "We thought Neil was shooting all the ducks in order to kill one or two," Van Zant later said.
The portion of the song referring to Governor George Wallace in particular made some believe that Lynyrd Skynyrd disagreed with desegregation, seeing as how the governor stood for " segregation now, segregation tomorrow, segregation forever".īut others interpreted the lyrics as a reminder to Young that not all Southerners are the same. "In Birmingham they love the Gov'nor, boo boo, boo/ Now we all did what we could do/ Now Watergate does not bother me/ Does your conscience bother you?/ Tell the truth"
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