Peen Simmons
Let’s Get Obtuse!
Is not particularly good. Continues the slide since Midnights of being oddly hookless and lyrically meandering and overly concerned with the artist’s self-created lore as subject/hook.
I’m not a hater. She’s a pro who has been a pro for a long time. 1989 and Red are both legit classic pop records that I like a ton. I thought Folklore and Evermore were interesting steps toward becoming a stronger and more complete/compelling/grown up lyricist. I like how those records sound and legitimately loved them.
Anton Jackoff caught a lot of shit for Midnights and Tortured Poetry Attempts being generally washy and slack. But it doesn’t seem like Max Martin and Shellback had any more luck getting Tay Tay to tune up her navel gazing and lazy writing.
Also, her Beavis and Butthead worthy paean to Travis’ peen is some cringey shit that would be too corny for a half-assed Nikki or Cardi mixtape. Get a bucket and a mop, I guess.
Anyway, this record sounds like rights-free soft rock and at this point the constant beefing with and vague booking about and talking down to fellow pop stars starts to feel like maybe Taylor should consider that the problem is, in fact, her. Maybe she’s a Kanye.
She’s hit that point that a lot of previously precocious artists hit as they drift into middle age where their lack of formal education and broader normal real world experience and more rigorous artistic practice habits leaves them as little more than tedious ciphers with nothing to say but with enough clout and reach that they never need to shut up or get told to do better.
Also her need always be the biggest winner and the biggest hater makes her a fitting superstar for the Trump era.
I’m not a hater. She’s a pro who has been a pro for a long time. 1989 and Red are both legit classic pop records that I like a ton. I thought Folklore and Evermore were interesting steps toward becoming a stronger and more complete/compelling/grown up lyricist. I like how those records sound and legitimately loved them.
Anton Jackoff caught a lot of shit for Midnights and Tortured Poetry Attempts being generally washy and slack. But it doesn’t seem like Max Martin and Shellback had any more luck getting Tay Tay to tune up her navel gazing and lazy writing.
Also, her Beavis and Butthead worthy paean to Travis’ peen is some cringey shit that would be too corny for a half-assed Nikki or Cardi mixtape. Get a bucket and a mop, I guess.
Anyway, this record sounds like rights-free soft rock and at this point the constant beefing with and vague booking about and talking down to fellow pop stars starts to feel like maybe Taylor should consider that the problem is, in fact, her. Maybe she’s a Kanye.
She’s hit that point that a lot of previously precocious artists hit as they drift into middle age where their lack of formal education and broader normal real world experience and more rigorous artistic practice habits leaves them as little more than tedious ciphers with nothing to say but with enough clout and reach that they never need to shut up or get told to do better.
Also her need always be the biggest winner and the biggest hater makes her a fitting superstar for the Trump era.
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