Enough of the Swift 天罰（を下す）! MAUREEN CALLAHAN 激突するs Taylor as a money-grabbing, narcissistic, wannabe poetess and says this intellectually stunted, clich?d new album commits the worst sin of all
Call it the 拷問d Audience 返答.
A 全世界の marketplace carpet-爆弾d by Taylor Swift must now 耐える another album, another 宣伝の cycle, another 一連の会議、交渉／完成する of 得点する／非難する／２０-settling with ex-lovers and a level of navel-gazing that makes J.Lo seem modest.
Then again, Swift never has had a sense of humor about herself, has she?
So here we are, 疲れた／うんざりした of the 時代s 小旅行する and movie, the Taylor and Travis show, Taylor on the cover of Time as 2023's Person of the Year, the re-解放（する） of two older 記録，記録的な／記録するs last year, Taylor at the 2024 Golden Globes ― 表明するing 墓／厳粛／彫る／重大な displeasure after a joke about her overexposure ― and Taylor at the Grammys, just months ago, appearing to 無視する，冷たく断わる terminally ill legend Celine Dion in her haste to 得る，とらえる her トロフィー.
Swift 許すd no breathing room for 感謝 that evening, no moment to have her 記録，記録的な／記録する-breaking 業績／成就 沈む in, or at least 陳列する，発揮する a little bit of propriety.
A 全世界の marketplace carpet-爆弾d by Taylor Swift must now 耐える another album, another 宣伝の cycle, another 一連の会議、交渉／完成する of 得点する／非難する／２０-settling with ex-lovers and a level of navel-gazing that makes J.Lo seem modest.
Nope, just a 迅速な pitch for her 最新の 事業／計画（する） on 解放する／自由な 網状組織 airtime while feigning 完全にする 不信 that she ― little Tay-Tay! ― had 現実に won another award.
It seems Taylor Swift is most 奮起させるd not by true artists but 巨人s of 商業. Per the immortal 'Glengarry Glen Ross', she must 'always be の近くにing' on yet another 処理／取引.
'I want to say thank you,' Swift told her fans, 'by telling you a secret I've been keeping from you for the past two years.'
This 最新の Grammy, 受託するd seconds 事前の, was already in Swift's rearview.
'My brand-new album comes out April 19,' she continued. 'It's called "The 拷問d Poets Department". I'm going to go and 地位，任命する the cover 権利 now backstage. Thank you, I love you.'
Surely, I am not alone in needing a good, long break from the Tracy Flick of tepid pop.
We have reached 頂点（に達する） Swift, the cultural water （米）棚上げする／（英）提議する oversaturated, soaking us with her narcissistic runoff and bilge. So many meanies, so many 復讐 跡をつけるs, so much endless 支配するing and 得点する／非難する／２０-settling.
Enough! Make it stop! No wonder there's a stubborn 共謀 theory that posits Swift as a 中央情報局 psy-op who 支配（する）／統制するs everything from the 最高の Bowl to the 2024 大統領の 選挙. She could have been used at Gitmo to break テロリストs.?
Swift is a 天罰（を下す）, 責任がある, の中で other things: The 許すことの出来ない 傾向 of friendship bracelets on middle-老年の women; 非難する tween and teenage fans thousands of dollars for tickets; cynically 発表するing new albums and then suddenly 問題／発行するing 多重の other 見解／翻訳／版s with just one or two 追加するd 跡をつけるs, knowing her fans will 支払う／賃金 the price ― or, as with 'TTPD', 発表するing there's 現実に a 二塁打-length 版 just hours after its 解放（する）.
In other words, another marketing 策略 to bilk fans who bought what they thought was the whole thing.
On Thursday night, Swift first dropped at least four different 見解／翻訳／版s of 'TTPD', starting at $12.99 each.
Then, after the clock struck midnight:
'It's a 2am surprise,' she wrote. 'Here's the second 分割払い of TTPD: The Anthology. 15 extra songs. And now the story isn't 地雷 anymore… it's all yours.' 調印するd off with a heart emoji. Of course.
Total cost for eve ry 選び出す／独身 見解／翻訳／版 of 'TTPD', as of this 令状ing, comes in just shy of $200. And that's to say nothing of the overpriced merch (a hoodie goes for $75) on her 公式の／役人 場所／位置.
Taylor became a 億万長者 last year. But this gambit, so typical of her, isn't just about money. It's a way of 支配するing the charts, breaking sales 記録，記録的な／記録するs ― 船の索具 the system, really.
It all feels patently 不公平な, 特に for an artist who is 極端に 限られた／立憲的な. Not for nothing did her peers remain unmoved as she collected that 記録，記録的な／記録する-breaking Grammy this year.
Swift has been making music since 2006, but in all that time, she has not grown beyond a few, very myopic 支配するs: Famous ex-boyfriends (almost always terrible), her own victimization ― for such a powerful woman, she's never at fault, never an architect of her own 悲惨 ― and middle-school mean-girl stuff, with Kim K?her 長，率いる nemesis.
Here we are, 疲れた／うんざりした of the 時代s 小旅行する and movie, the Taylor and Travis show, Taylor on the cover of Time as 2023's Person of the Year, the re-解放（する） of two older 記録，記録的な／記録するs last year, Taylor at the Grammys, just months a go, appearing to 無視する，冷たく断わる terminally ill legend Celine Dion in her haste to 得る，とらえる her トロフィー.
Swift has been making music since 2006, but in all that time, she has not grown beyond a few, very myopic 支配するs: Famous ex-boyfriends, her own victimization, and middle-school mean-girl stuff, with Kim K her 長，率いる nemesis.
Swift may be 34 years old, but intellectually, philosophically, and emotionally, she is forever stuck at 13. Her discography will never 改善する, only regress.
Doesn't '拷問d poetry' say it all?
It's an adolescent's idea of 深い thoughts, the cover art 平等に cringe: Taylor in her underwear, writhing, one arm around her breasts and a 手渡す above her crotch, as if this connotes ― finally! ― romantic and 性の 成熟.
Same with dropping 'f***' 繰り返して on 'TTPD'. Courtney Love has it 権利.
'Taylor Swift is not important,' Love told the UK's Evening 基準 last week. 'She might be a 安全な space for girls, and she's probably the Madonna of now, but she's not 利益／興味ing as an artist.'
Hallelujah! The （激しい）反発 is brewing.
While American 圧力（をかける） remains far too timid, NME gave 'TTPD' three out of five 星／主役にするs, calling it 'devoid of any noticeable stylistic 転換 or 進化', with laughable lyrics about Charlie Puth and 'a tattooed Golden Retriever'.
This, from 'I Can Do It With a Broken Heart': 'I'm so 哀れな / And nobody even knows.'
That 感情 should 単独で be the purview of teenage girls.
What really stopped me dead was the eponymous second 跡をつける. 裁判官 for yourself.
'You're not Dylan Thomas / I'm not Patti Smith,' Swift sings. No kidding.
'This ain't the Chelsea Hotel / We're modern idiots'.
Such lyrics evince a ちらりと見ることing knowledge of a bygone counterculture, 言及／関連ing artists and 地元のs far more 初めの, thought-刺激するing, confrontational and expansive than Swift could ever hope to be.
It's cheap 指名する-checking.?It makes Swift look like everything she 趣旨s to hate: A try-hard, a phony, a girl who would do anything to be 冷静な／正味の.
Does anyone really think Taylor Swift has read 'Just Kids'? If so, she'd know Patti Smith was muse to Robert Mapplethorpe, and that Dylan Thomas, some 30 years Smith's 上級の, never lived at the Chelsea.
This is what we call a 詐欺. Swift has 無 辛勝する／優位. Sh e has no 利益／興味s outside her hermetic world of studio 開会／開廷／会期s with 生産者 Jack Antonoff, dinners with Blake Lively and Gigi Hadid at 経由で Carota, and the next love 利益／興味 she'll flog in the public square.
She is clich? after clich? after clich?, the epitome of basic, and the worst thing someone this famous can be: a bore.
Swift has 無 辛勝する／優位. She has no 利益／興味s outside her hermetic world of studio 開会／開廷／会期s with 生産者 Jack Antonoff, dinners with Blake Lively and Gigi Hadid at 経由で Carota, and the next love 利益／興味 she'll flog in the public square. (Pictured: With ex-boyfriend Joe Alwyn in 2019).
Swift, for all that pre-'TTPD' 圧力（をかける） about Emily Dickinson 存在 a distant relation ― swing a dead cat and a '23andMe' デオキシリボ核酸 実験（する） and we're all 関係のある to someone 著名な ― does not come across as a reader, a thinker, or an intellect.?If only she had some of the wit and mordancy of that other Swift, the 広大な／多数の／重要な 17th century satirist J onathan.
式のs. She is a mere 軍隊 of will, a 勝利 of showmanship, branding, and ambition ― but that's it.
解任する the true standout moment of the Grammys this year. It had nothing to do with Swift. That moment belonged to Tracy Chapman, 成し遂げるing her indelible 1988 攻撃する，衝突する '急速な／放蕩な Car' with country 星／主役にする Luke 徹底的に捜すs.
This is a song Swift could only ever dream of 令状ing. In a little over four minutes, '急速な／放蕩な Car' builds an entire world around two characters and tells a story of 青年, hope, 恐れる, romance and abandon that feels at once 明確な／細部 and 全世界の／万国共通の. Chapman （手先の）技術d a masterpiece that transcends 時代s, genres, age or gender, 身元 politics and socioeconomics.
Chapman left a room 十分な of her peers, over 30 years later, speechless and in 涙／ほころびs.
Taylor Swift, for all her money and her fame, will never 達成する such artistry.
For those of us sick of the Swift 産業の コンビナート／複合体 smothering us, with this 最新の incarnation of a would-be poetess ― 井戸／弁護士席, for now, this 否定できない flop will have to be enough.
