Leftovers: Swift Heats Up Recycled Tropes and Serves Warm

In response to “The Complicated Genius of Taylor Swift’s Newfound Rage” … bullshit. Or what’s so complicated about white feminism, privilege and appropriation? Christopher Columbus in a formal gown.

This is not to say that Swift has appropriated the cultural identifiers of other subcultures … (all the time), but contrary to the position of Diane Pecknold, the author, that she is doing something, heretofore, unseen, is to miss the entirety of predatory, capitalist, white supremacy on this continent (or any other, for that matter). It strikes me that Taylor is doing nothing new in the commodification of victimhood. Let’s start with the reason that so many more of us know this q-tip’s name: Kanye West.

I will never! forgive him for foisting this woman upon us. If he had handled his own damn, emotional work, we wouldn’t even be talking about this. But nooooo, he had to get drunk and emotionally regurgitate his imposter syndrome, not-so-secret love of Beyoncé and the renting-of-clothes-and-gnashing-of teeth mourning over the fact that she chose Jay-Z over him, in front of god and everybody who was anywhere near the internet that night. Otherwise, Taylor would still be toiling in bland-to-middling, skinny girl, pseudo-country music Nashville banishment and we would only hear her name while driving through parts of the country that don’t get NPR and the cell towers are too far away to stream data.

But I digress.