10 Years of 1989

Taylor Swift's 1989 is officially ten years old. Here are my thoughts.

In 2016, two notable events took place at America’s prestigious awards shows: *Moonlight* won over La La Land, and 1989 triumphed over *To Pimp A Butterfly*. Though these two works come from vastly different mediums, they explore similar themes. *1989* and *La La Land* celebrate a bygone era of classic musicals and pop, while the others offer a nuanced commentary on African American culture. Yet, despite these thematic differences, the awarding bodies made two decisions that seemed to stand in contrast with each other.

It’s been ten years since *1989* made its mark on the charts, solidifying Taylor Swift as a master of reinvention. She has remained consistent in evolving her sound and image—from her debut album to *Red*, a country record that dabbled in pop. 1989 marked her full-blown transition into pop, launching her to heights few imagined she would reach. Taylor’s popularity mirrors the universe itself: her star never stops shining, just as the universe never stops expanding. She continued to redefine herself with *Folklore*, a folk-pop album that once again made her a critical favorite.

But in the words of a user on an online forum, 1989 was the Thriller of the Gen Z. The generation that toppled the dominance of the old school rocktivism to embrace the artificial pop star. We are in the golden (and simultaneously) the darkest age to be a pop star. But in an age where pop stars continue to define the landscape of pop music, 1989 in 2015 was a throwback to the once forgotten beauty of the Synths.

And it’s charting prowess never really ended. Even the rerelease of the album ended up being one of the best selling albums of that year (during the mighty Swiftainassance). While 1989 (Taylor’s Version) was revenge best served cold, it still lacked the very magic that made it so special in the first place, as the production felt louder and harder.

But the album starts off from the very get go, as a triumphant return for Taylor. Welcome to New York, is anthemic, in it’s veins. It is the beginning of a new era, and just like every new era, it is filled with a lot of heart in it. 1989 was the first time we witnessed the full blown takeover of production duties by the likes of Jack Antonoff, Max Martin, Ryan Tedder and Shellbeck. The ambition on this record is off the room.

The biggest singles off the record included Shake It Off and Blank Space. Many people consider 1989 as a rebuttal album to Taylor’s then arch nemesis Katy Perry, who was then one of the most popular artists with a chokehold on the charts. Of course, Taylor did extremely well for herself on the Album charts, but 1989 enabled her to have a monopoly on the singles charts with the massive hit Shake It Off and Blank Space.

Blank Space for me has always been that one track that still feels fresh even after many relistens. Maybe, it is the snare on the record, compounded by the minimalistic production style of Jack Antonoff, which is almost his trademark at this point. It is also the lyrics. Taylor’s albums are consistent with her public image. By 2015, she was no longer the American Sweetheart. And that’s what makes Blank Space so memorable. It is a hit at the media, constantly reporting on her personal life, which would eventually become a theme of her followup record Reputation (2017)

This is also the album that features songs like Style, which is a breathier synth pop rendition that is bound to make its listeners feel nostalgic. If the theme of the album is nostalgia, then Style sells it. It is one of the best Taylor songs out there. But what is a Taylor record without her quintessential B-Sides that has become her signature. With singles like Out of The Woods, and Wildest Dreams, which sees her in her most vulnerable self.  

Sure, a few tracks on the record does leave a bad blood. Bad Blood is one of them. It featured Kendrick Lamar and honestly, it still is one of my least favourite Taylor tracks, which is sad, cuz without that, this record is almost perfect. Shake it Off might have gotten much more boring in the last few years, due to the massive amount of replays on the radio.

And today, as the record celebrates 10 whole years, which is wild, cause there has been several ups and downs through Taylor’s body. One thing I miss about Taylor is her cohesion of the earlier records. It makes albums like her bloated epic Tortured Poet’s Department messy and ear fatigue inducing. But, each track has been listed with almost perfection. The cultural impact of the album, the generation’s obsession with an era that they were never born in, and the classic album cover, the dusty polaroid, and 1989 in permanent marker, will never be forgotten. Synthpop has had so many masterpieces come out since (in fact, the very same year Carly Rae Jepsen dropped her magnum opus E.MO.TION which was overshadowed on release but would go on to become a cult masterpiece) 1989.

Whatever your opinion on Taylor is, whether you like her, whether you were her former fans, whether you are a Swiftie, whether you are a Kanye West fan, whether you loathe pop music, the 2010s was her era, and 1989 was the fort that she conquered the world with.