In “Taylor Swift: the official release of a showgirl”, the pre -eminent pop star of our time presents the 12 titles of his 12th album, “The Life of a Showgirl”. Sitting in front of a backdrop of the painted forests (very Shakespeare), she takes a few minutes to sketch in the background of each song, each describing of them as the kind of artist who considers all that she writes with a total and equal love, as if the songs were her children – although in this case, she has a clear favorite. It would be “the spell of Ophelia”, which opens the album and is its obvious off competition. As soon as I heard it, I thought: this one will come into play and for the last. It opens with what looks like Coldplay piano agreements, which then develop in a contagious maximalism dance groove which is not too far from the wheelhouse of Lady Gaga. Everything is built in a hook that does not leave – the exultual way that Swift is loose on “Oh-feel-a … ”
You can say that Swift knows what is a great song, because in “Official Release Party …” She shows the full video for her (which she wrote and made) not once, she includes a prolonged backstage of herself on the computer to come with visual ideas for her, and she continues to return to a song.
The video of the song, which envisages Tay as “showgirls” of different historical eras (a burlesque artist from the cabaret, a bathing bathing beauty, an artist model posing for a pre -raphaélite painting, a showgirl vegeta), is a multiset fusion developed by analog and digital identities. Towards the end of the “official party …”, she comes then and talks about what the lyrics mean for her. Ophelia, made crazy by Hamlet’s unstable actions, could almost be a character in a song Taylor Swift – a romantic martyr dealing with a pretender who has more problems than she. But as Swift explains (and perhaps this is why it is such an ecstatic song), Ophélia, in “The Life of a Showgirl”, is the anti-taylor-the lost soul that Swift sees that it could have been if the effect at the effect had helped it. Hence the happiness of the whole file.
But “an official release party of a showgirl”, like the album this Taylor Swift Special, in the 90 -minute mines, was designed on the market, cannot get closer to the summit of the “Fate of Ophelia”. You are leaving the theater with this ludent song in your head. The rest of the figures have an airy dance flicker and a winning clarity of the message, but most of them do not completely make the stairs to hang paradise.
The video of “Ophelia”, it is also different from the others, which are lyrical videos. They present Taylor and Taylor alone, against digitally improved art decorations which are biased and fractured through what looks like a rectangular objective kaleidoscope. It is a kind of psychedelic effect at reduced rate, and not a bad, but it is a bit confusing to see it used for each of the videos. Between this and the fact that Swift, in costume, is the only figure in them (although it is often multiplied), there is the same awareness of the presentation which begins to make the effect in that of a single extensive video.
I couldn’t help but notice that the idea of Showgirl, which makes “The Life of a Showgirl” rings like a concept album in Madonna “confessions on a dance plain”, is there in the costumes of Swift and music music (if you every struggle me high and dry, I cry my eyes purple), In Wated in Notfled in Notfred in Buwers of the album’s.
I raise the question because “the official party …”, which launches “the life of a showgirl” as a kind of convivial theatrical weekend (that Taylor Swift has the power to bring people to the cinemas), is less an imaging cornerducopia than you might expect. The video “Fate of Ophelia” is irresistible, and it is fun to see Tay, in a sequence of the “Making of” Video, dotted with a platinum-blonde-blonde wig as a Marilyn / Jean Harlow Hollywood chair, dancing on chairs behind with his comrades. But while lyrical videos slide, the effect of this kaleidoscope (there is in fact an opening title warning viewers of stroboscopic quality) is more like animated wallpaper.
The stories that tell the words can be convincing, and some of the choirs are approaching hook status, such as “opalite” (in which Swift uses artificial opals as a metaphor for the idea that you have to create your own happiness), or its scathing reconfiguration of the luck of George Michael, but also of “Wood” who has done the world to do the world. As the last in the series of confessional / accusations pop cantos which are the albums of Taylor Swift, “The Life of a Showgirl” has what it takes to connect with its galaxy of fans, but “the official party on the part of a showgirl”, when it could become a prototype for How Swift Fellies albums in the Future (35 million dollars The value of Tways of Two Promotion which simply exposes aspects of the album which may not be as well useful over time.
