EVERGREEN HEADLINE: Is Taylor Swift’s album really full of white supremacy and homophobia, or has everyone lost their minds?
Taylor Swift’s new album “The Life of a Showgirl” is barely three days old, and already woke killjoys are tearing it apart, finding offensive lyrics where there are none.
Overly-online social media critics of Swift instantaneously apparently decided the new album is rife with racism and homophobia, as well as secret messages of support for the patriarchy, eugenics, and Donald Trump.
Forensic “investigations” have uncovered “dog-whistles,” but only woke detectives themselves are capable of hearing them.
Either Swift is a covert alt-right influencer, or her young critics have been taught to see oppression everywhere, including where it quite clearly is not.
Didn’t the left get this all out of their system before Trump’s first term?
● Can’t Shake It Off: How Taylor Swift Became a Nazi Idol.
—Vice.com, May 23rd, 2016.
● White Supremacists Call Taylor Swift An Aryan Goddess.
—NPR, May 27, 2016.
● Neo-Nazis Are Really Into Taylor Swift.
—KQED, May 25th, 2016.
Dominic Green had fun deflating that weird obsession of the legacy media in 2018: Taylor Swift, Nazi Barbie? “Really, the only Nazi Barbie was Klaus Barbie, a model long out of production. Pop’s echoes of fascist propaganda testify not to pop’s pretend radicalism, but to its merciless commercialism.”
Flashback to last year: Grammy Host Trevor Noah Mocks Taylor Swift Conspiracy Theories — As She Arrives Late for Ceremony.
I agree, I thought the lefties at the Atlantic were also pretty out there, way back in 2013: Who Said It, Adolf Hitler or Taylor Swift? “Can you tell the difference between a quote from one of history’s most infamous revenge-seeking megalomaniacs and Adolf Hitler?”
Ultimately though, I’m pretty sure Swift is shaking all of this off: “And that’s the life of a showgirl. Taylor Swift‘s ‘The Official Release Party of a Showgirl,’ a cinematic complement to the pop star’s 12th studio album, ‘The Life of a Showgirl,’ sauntered to No. 1 at the worldwide box office with an estimated $46 million over the weekend. Those ticket sales — including $13 million from 54 international territories as well as $33 million domestically — represent a massive turnout for a release that wasn’t on anyone’s radar until a few weeks ago.”