In “Taylor Swift: The Official Release Party for a Showgirl“The prominent pop star of our time introduces the 12 tracks on her 12th album,”Life on a showgirl. “Sitting before a painted forest background (much Shakespeare) she takes a few minutes to sketch in the background of each song, which describes each of them as the type of artist who considers everything she writes with total and as love, as if the songs were her child – but in this case she has a clear favorite. Kick in and last.feeling-Ia … ”
You can say that Swift knows what a fantastic song it is, because in the “Official Release Party …” she shows the complete video for it (which she wrote and directed) not once but twice, she includes an extended backstage clip of herself on the computer that comes with visual ideas for it, and she sprinkle ” -so to make” fate of an “fate.
The song’s video, which represents Tay as “Showgirls” from various historical eras (a Cabaret Burlesque artist, a busy Berkeley-bath beauty, an artist model that poses for a pre-raphaelite painting, a Vegas-Showgirl), is an identified multi-set of Fusion of Analog and Department of Analogue and Digital, with the Depths and Digital. Near the end of the “Official Release Party …” she then comes and talks about what the texts mean to her. Ophelia, driven angry with Hamlet’s unstable acts, can almost be a character of a Taylor Swift song – a romantic martyr who handles a freer that has more problems than she does. But as Swift explains it (and perhaps this is what is why it is such an ecstatic song), Ophelia, on “The Life of a Showgirl”, is anti-Taylor-the lost soul that Swift sees that she could have been if she had not chosen a healthier and happy way, which she describes it is something that is something that is helped. Therefore, the happiness with the entire record.
But the “Official Release Party of a Showgirl”, such as the album this 90-minute, in-theaters-for-only-two-days Taylor Swift Special has been designed to market, cannot come close to maintaining the high of Opelia’s fate. “You leave the theater with the song buzzing in your head. The rest of the numbers have an airy dance-pop shimmer and a winning clarity in the message, but most of them don’t really make it up the stairs to hook the sky.
The video for “Ophelia” is also unlike the others. The rest of the films have Taylor and Taylor alone, against digitally improved art backgrounds that are oblique and cracked through what looks like a rectangular lensed kaleidoscope. It is a kind of psychedelic effect, and not a bad one, but it is a bit puzzling to see the one used for all videos. Between it and the fact that Swift, in costume, is the only figure in them (although she is often multiplied), there is a same image for the presentation that starts to make the effect to it for a single extended video.
I Couldn’t Help But Notice That The Showgirl Idea, Which Makes “The Life of a Showgirl” Sound Like A Concept Album à la Madonna’s “Confessions on a Dance Floor,” is there in Swift’s costumes and music-demo ” (“If you ever Left Me High and Dry, I’ll Cry My Eyes Violet”), it isn not actually reflected in many of the album’s lyrics.
I raise the question because the “Official Release Party …”, which launches “The Life of a Showgirl” as a kind of fan -friendly theatrical weekend bash (let there be no doubt that Taylor Swift has the power to bring people into cinemas), is less of a cornucopia of image than you can expect. “Fate for Ophelia” video is irresistible, and it’s fun to see Tay, in a sequence of “Making of” video, decorated in a frosty platinum wig like a Marilyn/Jean Harlow Hollywood Chorus Chorus Girl, dance on chairs backstage with their comrades. But when the other videos slip along, the effect of that kaleidoscope (there is actually an opening title that warns viewers if the stroboscopic quality of it) becomes more like animated wallpaper. This may be because the idea is that we are not intended to focus on the visual but on the texts, which are printed appearance on the screen.
The Stories Those Lyrics Tell Can Be Compelling, and a Couple of the Choruses Approach Hook Status, Like “Opalite” (In Which Swift Uses Man-Made Opals as a Metaphor for the Idea That You Have To Create Your Ow Happiness), or her scatting debt “Wood,” a double Entenre (About Knocking on Wood for Good Luck, But Also… The Other Kind of Wood) That Had the Audience in Saw It With Laughing Out High. As the latest in the series of confessing/accusing Popkilanton which is Taylor Swift’s album, “The Life of a Showgirl” has what it takes to connect to her galaxy by fans, but “Official Release Party of a Showgirl,” while it may be a prototype for how Swift in the future. Which may not wear so well with time.
