Through her re-recorded albums, Taylor Swift isn’t updating her songs as much as she’s updating her own mythology—and stepping into a feminist identity along the way. From julietteeholder:
cover reflects that outfit worn by the Romeo character in her 2008 “Love Story” music video. Swift no longer needs Romeo to “save her”; she can rescue herself. The cover forSwift in the driver’s seat of a car–literally in the place of control. And she did direct the short film that acts as a music video for “All Too Well: 10 Minute Version.”about the short film at Tribeca Film Festival, shifting “All Too Well” from “yet another whiny breakup song,” to serious art.
In some ways, this re-recording era has provided Swift an opportunity to reconcile her privilege and class status with her experiences being marginalized and silenced. She admits the old Taylor had an incomplete picture—skewed by outside, notably male, forces. Freed from this portion of patriarchal control, we see a fuller version of Swift.
Rather than disowning or distancing herself from her “old self,” Swift takes care to recreate the important pieces of herself from her past and trace her current values back to those versions of herself. Swift has grown more confident; she’s reclaimed ownership of her name, works and ideas. She’s engaged more in feminist work. These parts of her were there all along, she says; she just needed more life experience and freedom from oppressive patriarchal systems to fully realize them.
U.S. democracy is at a dangerous inflection point—from the demise of abortion rights, to a lack of pay equity and parental leave, to skyrocketing maternal mortality, and attacks on trans health. Left unchecked, these crises will lead to wider gaps in political participation and representation.. has been forging feminist journalism—reporting, rebelling and truth-telling from the front-lines, championing the Equal Rights Amendment, and centering the stories of those most impacted.
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