Sitting in her log cabin and throwing another log on the fire (although it’s June), a quarantined Taylor Swift looks out her window and sees, chiseled in stone, the all too famous monument which is the Mount Rushmore of current pop music. Swift sees her own face, and why wouldn’t she? She smiles as she thinks about all of her amazing accomplishments. Sure, her fans would say she may not have as many Grammys as she should, but the proof is in the proverbial pudding: Taylor Swift sells records.
As she looks at the other faces carved into rock, Swift cannot help but think of her relationship with every member on the mount. Next to her is Beyoncé, the undeniable queen of this century. Yet, the relationship between Taylor and the true Child of Destiny has never been contentious; truly, game has recognized game. To Beyoncé’s right is Drake, a person who has had a similar career arc to Swift. Each dominated their original genre until pop music had no choice but to give them the respect they deserved. Next to Drake is an interesting situation, as construction crews are fervently dynamiting Kanye West’s face off this hallowed monument.
Taylor allows herself a brief smile before turning away from her window, heading to her music room where her piano and guitar sat, and began to get to work.
From these sessions, folklore was born.Continue reading “Ghost In The Machine: a review of Taylor Swift’s “folklore””