Granted, for Taylor, “being herself” tends towards shimmering, gossamer perfection – but that’s an image regularly blown whenever she dons fake braces and a tri-pony to clown around on late night TV. She’s the first artist since the Beatles (and the only female artist in history) to log six or more weeks at No. 1 with three consecutive studio albums. And while she’s been named Billboard Magazine’s Woman of the Year (the only artist to receive this nod twice, and their youngest-ever honoree), one of Time Magazine’s 100 Most Influential People in the World, and one of only eight candidates for Time’s most prestigious honor, Person of the Year, in 2014, she’s probably the only person on those lists who uses social media to post notes to her best friends and videos of her cats.
In the fall of 2014, when Taylor released her critically acclaimed fifth album, 1989, she astounded the world by selling almost 1.3 million albums in its debut week — a feat that had been called impossible. She calls 1989 her most cohesive collection of confessionals yet. It is a touchstone: Taylor’s songwriting and sonic evolution surprise us more than ever before. Heavily keyboard- and beat-driven, on 1989, the pop sensibilities that have always been the hallmark of Taylor’s music now move front and center. And throughout the album’s release and the record-breaking world tour that followed, she found herself, as always, in the glare of a blinding spotlight — but if you think that scares her, you haven’t been paying attention. She’s blazing into the next phase of her still-young career, where she’ll continue to dance like no one’s watching, write like she stole our collective diary, and inevitably soar to ever-greater heights. All that’s left to wonder is how many more lives she’ll lift in the process.
Sourced by Taylor Swift’s official website
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