The youthful gentlemen and ladies rose from their seats, illuminated the ambience with the luminescence of their mobile phones, elevated them above their heads, and engaged in a rhythmic dance to the music. Some ventured towards the forefront of the venue, metamorphosing into strangers intertwined, their shoulders pressed against one another, forming an impromptu procession resembling a diminutive locomotive.
This spectacle does not transpire within the realm of a music festival; rather, it unfolds during a screening of the concert film “Taylor Swift: The Eras Tour.”
Since its unveiling on October 13, 2023, the global box office revenue for this cinematic chronicle of the concert has surpassed the formidable milestone of US$200 million, thereby establishing a groundbreaking record for concert films within the North American market.
Not everyone possesses such captivating allure, but Taylor Swift undeniably does.
At the tender age of 34, Taylor eloquently substantiates her status as a luminary of the contemporary era.
However, the trajectory to stardom is not an innate endowment.
Reverting to the chronicles of 22 years past, Taylor, then a denizen of middle school in Reading, Pennsylvania, grappled with the frigid hostility emanating from her peers.
Utilizing creativity as a panacea to combat the solitude accompanying marginalization, Taylor traversed the landscape of adolescence with resilience.
Many are unaware that the currently sanguine and self-assured Taylor endured a period of seclusion during her teenage years. The rationales, mundane and banal, were as follows:
At the age of 12, her predilection for country music diverged from her peers, who embraced the trendier realms of electronic music and R&B. Her indifference to fashionable adornment stood in stark contrast to classmates engrossed in discussions about the latest sartorial trends from the pages of “VOGUE.” While participation in sports clubs was the norm for socializing on American campuses, Taylor, towering in stature, remained oblivious to the intricacies of sports.
Beyond mere disparities, isolation sometimes sprouted from the seeds of envy.
In retrospect, a girl who had taunted Taylor during her teenage years confided in Croy Govan, the biographer of “Taylor Swift: The Rise of a Nashville Girl,” revealing, “She radiates such brilliance that it eclipses our own, and ostracizing her becomes a means of reclaiming our own power.”
Discerning the wellspring of others’ malevolence, as well as one’s own, proves to be a potent reclamation of power, both for Taylor and those who marginalized her. These are lessons bestowed by the passage of time.
Childhood isolation, even in the absence of overt physical harm, manifests itself conspicuously in glances and words, eventually metamorphosing into an indelible thorn in the tapestry of memory.
Upon attaining fame, Taylor recollected a poignant incident during an interview, deeming it an “incurable pain.”
On that particular night, she extended invitations to her classmates for a collective shopping excursion, only to encounter rejection on all six occasions. Undeterred by her daughter’s potential disappointment, Taylor’s mother accompanied her to the mall, where they fortuitously encountered the six girls who claimed to be “exceedingly occupied” and hence unable to partake in the shopping expedition.
Subsequently, Taylor chose to forgo integration into the girls’ social clique, extricating herself from her own solitude and transitioning into an observer of both loneliness and camaraderie. She gleaned, at an early age, that anguish could be a wellspring of creative inspiration surpassing that of happiness. Consequently, she forged a personal “mantra”: “It’s permissible; I can compose a song about it.”
The ordeal of campus isolation found its narrative in her composition “The Outside.” The lyrics poignantly query, “What can I do to elevate myself? No one has allowed me entry into her world.” Composed at the tender age of 12, Taylor, tenacious in her aspirations, dedicated herself to becoming a vocalist despite becoming a social pariah in her school.
Five years later, “The Outside” found its place in Taylor’s inaugural studio album, “Taylor Swift,” released in 2006. The album, garnering sales of 39,000 copies in its inaugural week, heralded a cascade of acclaim, accolades, and notoriety, leading to a pursuit of wealth and fame.
Subsequently, Taylor ascended to the zenith of popular music, gracing the cover of “VOGUE” magazine on numerous occasions and forging alliances with luminaries from the American Professional Basketball League (NBA). Attributes considered unbecoming during her teenage years underwent a dramatic reinterpretation. However, Taylor refrained from viewing this transformation as a vendetta against her erstwhile tormentors, instead perceiving it as an inadvertent byproduct of her journey toward becoming a legendary songstress.
Expressing gratitude for her past loneliness, Taylor remarked in an interview, “You know, if I had been content back then, what would have transpired? I might still be in Pennsylvania!”
Dismissing rumors and scripting an era of her own, Taylor realized that her narrative transcended the conventional denouement of a fairy tale. Each triumph over skepticism was accompanied by an omnipresent cloud of doubt.
At the age of 14, Taylor collaborated with a musician two decades her senior, acutely aware of the skepticism surrounding her. “I understand that every collaborator is contemplating, ‘Today, I am crafting a composition for a fourteen-year-old.'”
Nonetheless, she confronted this skepticism with consummate professionalism, preparing 5 to 10 ideas before each meeting to be considered on equal footing with her more seasoned counterparts.
At every juncture, Taylor undertook seemingly insurmountable endeavors. Initially, a music director asserted that only 35-year-old homemakers tuned into country music, casting doubt on the feasibility of a teenage girl featuring prominently in the genre. Unfazed, Taylor staunchly believed that contemporaries of her age could also fall in love with country music. She proceeded to compose, release albums, grace the Grammy stage, and catalyze the global popularity of country music.
Subsequently, doubts emerged concerning the compatibility of country music with pop. At the age of 25, Taylor silenced naysayers with her transformative album “1989.” In 2014, the album secured the top spot on the U.S. album sales chart with 3.66 million copies sold. A year later, she clinched Album of the Year at the 58th Grammy Awards and Best Pop/Rock Album at the 43rd American Music Awards.
The most virulent online vitriol Taylor encountered since her debut transpired in 2016.
Renowned American singer Kanye West released the song “Famous,” featuring derogatory lyrics directed at Taylor. Despite Taylor’s public declaration of ignorance regarding the lyrics in advance, Kanye’s then-wife disseminated a recording of her husband’s prior phone call with Taylor, attempting to substantiate Taylor’s purported mendacity.
Though subsequent analysis confirmed the editing of the recording, and Taylor reiterated, through her publicist, her lack of awareness of the disparaging lyrics in the official version, public sentiment overwhelmingly sided with her.
The titles of country princess and pop queen were supplanted by the epithet “a snake.” Individuals inundated the comment sections of her social media accounts with serpent emojis, deriding her perceived malevolence akin to that of a snake or scorpion.
On the American social media platform Twitter (now rebranded as “X”), the utterance “Taylor Swift has concluded” has emerged as one of the most prevalent topics. This discourse serves as a conduit for individuals to articulate their perceptions of Taylor’s alleged hypocrisy, malevolence, and malice.
In the tempest of public sentiment, each minutiae might transmute into evidentiary substance for an impending reckoning. Lyrics, once extolled for their nuanced emotional cadence, metamorphosed into proof of licentiousness; erstwhile interviews, wielded to unveil emotional wounds, now constitute testament to a malevolent core.
Subsequently, in the documentary “Miss Americana,” Taylor divulged a diary entry scribed in August 2016. On the entire folio, aside from the date, a solitary line resided: “This summer is the apocalypse. (This summer heralds the termination of the world as prophesied in the Bible.)”
At the zenith of her disfavor, when adoration waned and defeat loomed large, Taylor retreated for a span of twelve months. During this interlude, she harnessed the medium of music to articulate the agony of rejection by myriad hearts. These compositions coalesced into the 2017 opus “reputation,” orchestrating her resurgence atop the echelons of the pop music milieu.
Reflecting on the creative process, Taylor elucidated, “I felt isolated and anguished. I perceived myself as a wounded creature lashing out.” She elected “Look What You Made Me Do” as the inaugural composition of the album, articulating in the lyrics:
“I regret to inform you that the former Taylor cannot engage in telephonic discourse presently.
For what reason, you inquire?
Because she has departed this realm.”
This narrative bears a striking semblance to the storyline of the domestic drama “The Legend of Zhen Huan.” Upon her reemergence, Taylor relinquished the persona of a virtuous figure, adopting an audacious self-expression. She castigated all that is aesthetically displeasing. To employ a colloquialism from the Chinese online lexicon, she metamorphosed into “Niu Hulu Taylor.”
There exists no conjecture potent enough to again subjugate her. As of July 2023, Taylor has claimed the apex of the US Billboard sales chart with 11 albums, eclipsing the record set by the venerable American songstress Barbra Streisand, etching her name as the preeminent female vocalist in history. Remarkably, she stands at the youthful age of 34, steering a generation toward maturity.
In 2022, Taylor was conferred with an honorary doctorate in art from New York University. The citation underscored her ardent advocacy for the marginalized and her eloquent representation of artists collectively.
Discourse surrounding Taylor extends beyond music, permeating realms of cinema and socio-economic development. In 2023, local economies hosting Taylor’s “Times Tour” concerts experienced a substantial surge in consumption and tourism. Novel expressions coined “in Taylor’s name” commenced gracing newspapers—
The financial analysts at the esteemed “Fortune” magazine termed the upswing in revenue attributable to Taylor’s concerts as the “TSwift Lift.” The British publication “Daily Mail” coined the portmanteau “Swiftonomics,” positing, “Taylor’s concert tour birthed the phenomenon known as ‘Swiftonomics,’ enhancing the fortunes of establishments in proximity, including hotels, dining establishments, and clothing retailers.”
Furthermore, Taylor’s musical oeuvre and life narrative serve as wellsprings of inspiration for the global youth at a metaphysical level.
Tian Yu, a Chinese progeny born in 1995, reminisced about setting Taylor’s third album track “Back to December” as her morning alarm. Taylor’s mellifluous tones would emanate from beneath her pillow at 6:30 each dawn.
Upon the alarm’s chime, she refrained from immediate dismissal—a tacit agreement with her three roommates. Melodic strains permeated the dormitory in the early hours as the quartet sat upon their respective beds, utilizing music as a conduit to transition from the nocturnal reverie to the impending matutinal study session.
Taylor, born in 1989, preceded Tianyu by a few years. Although not a contemporary, their connection transcended peerage, akin to that of an “elder sister and younger sister.” During Tianyu’s high school years, Taylor crooned of romantic and heart-wrenching love, encapsulating the turbulence and pain inherent in the journey to maturity. As Tianyu progressed to college, Taylor’s musical repertoire expanded to encompass societal narratives and existential introspection.
Tianyu elucidated, “Taylor is not merely a minstrel dwelling in nostalgia. She has matured alongside us, leading a generation toward adulthood.” Her favored anthem, “New Romantics,” extracted from the album “1989,” harbors a lyric that has endured as her mantra: “I could construct a fortress from all the bricks they hurled at me.”
Kun Qi, a Taylor aficionado studying in Edinburgh, echoed similar sentiments. “If you embody the archetype of a curly-haired troubadour with a guitar slung across your back, your words may fall upon deaf ears, and detraction may assail you. Gradually ascending to the pinnacle of the industry, your pronouncements gain resonance, disseminating the convictions you wish to convey while attenuating idle gossip. It is a truly inspiring trajectory.”
Kun Qi recounted nights when the track “22” played incessantly from Taylor’s fourth album during her high school years. After evening study sessions, she retreated to her dormitory to continue her academic endeavors, with Taylor’s “22” resounding in her headphones, envisioning herself at the age of 22. “Amidst significant pressure, I would derive solace from this song, drawing courage from my anticipations of reaching the age of 22.”
Approaching the close of 2019, on the brink of turning 30, Taylor engaged in an interview with British media, articulating her aspirations for the forthcoming decade. She expressed, “I am content to acknowledge the societal and cultural maladies surrounding my body image. I am not a mere mannequin, but a woman who merits nourishment, relishes delectable fare, and navigates the tumultuous seas of life without resorting to body control as a means of mastering existence.”
Concluding the interview, Taylor left two aphorisms that may echo of chicken soup for the soul but have been ingrained in her practice: “Concentrate on your innate sense of morality and concentrate on becoming what you aspire to be.”