Reviewed by: JON CARAMANICA
For almost a decade, Taylor Swift has
been waging, and winning, a war,
smiling all the while.
Country music has been — was — a
natural enemy for her: hidebound,
slow moving, lousy with machismo.
She could break the rules and make
people nervous simply by showing up.
And yet country was also a hospitable
host body. She faced almost no direct
competition there, and it’s a genre
that embraces success, grudgingly if
Most important, country gave Ms.
Swift context. It made her a
transgressor, which means even her
most benign songs could be read with
mischievous intent. From the outside,
she looked like a conquering titan. But
from the inside looking out, even as
the genre’s biggest star, she was
always something of an underdog,
multiplatinum albums and accolades
That she would one day abandon
country has long been clear. It’s a big
box, and a porous one, but a box all
the same. “1989” (Big Machine),
though, her fifth album and the first
that doesn’t at all bother with country,
manages to find a new foe.
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Source: The New York Times