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Tuesday, October 4, 2022

It’s All Too Good by Taylor Swift and Weaponizing Memory

“The record label didn’t pick this song as a single,” Taylor Swift told an ecstatic audience on Friday afternoon in Manhattan, where several hundred fans gathered to debut her latest self-created music video: an elaborate music video for the new 10-Minute version of “All Too Well,” a bitter memory of past relationships, first appearing on her 2012 album “Red.”

“It was my favorite dish,” Swift continued. “It was about something very personal to me. It was very hard to do it live. Now for me, to be honest, this song is 100 percent about us and for you. “

Several people were already in tears – bursting into Beatlemania-style sobs as soon as Swift appeared in a royal purple pantsuit – but at this confession they cried even more. “My real mother!” one young woman gasped. The other, sitting upright and possibly precariously behind me, muttered repeatedly, “I’m going to vomit.”

Few top musicians of this millennium have had such a connection with their fans as Swift with her “Swifties”. To their credit, she feeds them well. She drops Easter eggs like a benevolent hen, has intricate meetings and greetings, and once invited some fans over to her house to listen to her new album while munching on the cookies she baked for them.

At Friday’s event (for the video with actors Dylan O’Brien and Sadie Sink), each member of the audience received an autographed poster for the film and – this is a famous song – a special “All Too Well” napkin pack.

But for all the hype surrounding the release of an extended track, some general affinity was lost too. “All Too Well” was a shared secret rather than a hit, a favorite track for true Swift connoisseurs and often music critics (including this one). Now the song, which appears on Red (Taylor’s Version), the last album she rerecorded so she can control her masters, was accompanied by a music video so long and detailed that Swift premiered for her and called it a short movie.”

Part of what fans feel about “All Too Well” is nostalgia for the earlier part of Swift’s career and, by extension, his own life. “Red” is arguably the most transitional of her nine albums, the bridge that marked the beginning of Swift’s pop crossover, but also the moment before her songs became as sleek and streamlined as on her next album, the 2014 blockbuster “1989”. “

Thus, the eclectic “Red” combines pop music featuring Max Martin’s “I Knew You Had a Problem” and “We Never Get Together Again” with folk songs “Treacherous”, “I’m Almost Going” and “Getting Started.” Again. ”“ All Too Well ”represents the artistic peak of music more oriented towards singers and songwriters, and concludes a chapter in Swift’s evolution: this is, at least to date, the last song she has written. her most trusted early collaborators, country songwriter Liz Rose.

“All Too Well” began during soundcheck rehearsal, with Swift playing the same four chords and impromptu lines about a relationship that had recently ended. “The song got more intense,” she later recalled. Her sound engineer wisely captured the impromptu jam session, and Swift later brought the recording to Rose.

One of the reasons Swift wrote her 2010 album Speak Now entirely on her own was to silence skeptics who thought Rose had a heavier hand in her music than Swift admitted. But in a 2014 interview, Rose said she acted “more like an editor.” “Taylor is good because she has lyrics suitable for her age,” said Rose. “I’m just helping her take the best.”

The 10-minute “It’s All Too Good” covers this process: it is angrier, much less filtered, and more explicit in every sense of the word. The five-minute version of “All Too Well,” which appeared on “Red,” was an achievement of crisp, streamlined storytelling and brightly lit details. The new version knows no such restraint. It’s superbly uncontrollable and viciously bubbling. With its release, the millennial You’re So Vain suddenly morphed into the millennial Idiot Wind.

In both incarnations, “All Too Well” is a song about turning memory into a weapon. The devil is in the details, the more specific, the more they seem to argue in the face of an insensitive and possibly manipulatively distrustful ex that this experience really happened: a lost scarf like an open refrigerator illuminating a dark kitchen.

But for all its hyper-personalization – and due to the public’s over-fixation on the famous actor rumored to have inspired him – Everything’s Too Good is also poignant about a young woman’s attempt to find retroactive balance in a relationship. it was based on an imbalance of power, which she could not at first notice.

The most striking lyrics in the new version refer to the age difference between an older man and a younger woman: “You said that if we were closer in age, maybe everything would be fine / And from this I wanted to die.” While the song’s hero is never accused of doing anything far worse than a slight remorse and a hypocritical possession of a keychain, “All Too Well” parallels the emotional work that many women have undertaken privately since the #MeToo movement: Looking Back back about past encounters or relationships that left them with a seemingly exorbitant sense of anxiety; wondering what exactly constitutes exploitation or emotional abuse; wishing that they could come back and show compassion or wisdom to their vulnerable young selves.

Because of the elegant simplicity of the structure, the shorter version of “All Too Well” is much better. But the strength of the new version lies in its irreconcilable confusion, as it allows a woman’s subjective emotional experiences to occupy a defiantly excessive amount of time and space. This became most apparent when Swift performed the entire song this weekend on Saturday Night Live. During a breathtaking performance, she went through a cycle of feelings as elementary as the seasons: the spring flutter of a new romance, the summer heat of passions, the autumn opera of sadness and, finally, when the snow fell around her in the last minutes of the song. – cooling relief of long delayed acceptance.

Swift hasn’t written such a scorching breakup song in the decade since All Too Well, and for the past few years she has kept her seemingly less melodramatic relationship with her boyfriend Joe Alvin as far away from the public eye as possible. In her later albums Folklore and Evermore, she revisited the acoustic sound that characterized the quieter side of Red, while writing more songs with character than the overtly autobiographical work for which she was once known and unfairly criticized. But returning to the old All Too Well grudges on such a public stage, she seems to reconnect the two phases of her career, reinventing her 21-year-old self as if she were a complex, intuitive fictional character. …

From time to time during SNL’s performance, Swift would look directly into the camera and throw a few glances that could cut through a diamond. Someone might have thought she was looking at her ex, who may or may not have this legendary scarf. But the truth was, the song wasn’t about him anymore. It’s also about the fans, the depth they heard in it before anyone else, and who else they’d like to forget.

World Nation News Desk
World Nation News Deskhttps://worldnationnews.com/
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