Guest Post: A Ranking of Taylor Swift’s Best Songs, Part 2

My friend Jon asked to guest post at Accidental Shelf-Browsing as his own blog is basically defunct; what he wanted to publish was his Top 10 ranking of Taylor Swift songs. This is considerably off-brand for this space (perhaps I am a fool for worrying about such things, but I do), so I said I would be interested in something that was very reflective about the aesthetic standards by which he made his judgements; I keep meaning to write a post about aesthetic standards and choosing between them, which his piece would then complement. The following is what he gave me. The usual disclaimers apply: Jon’s opinions do not represent my own, nor do I take responsibility for them. The only changes I have made are in converting formatting to something compatible with WordPress and in light copy editing.

Taylor Swift Speak Now - Pittsburgh

“Taylor Swift Speak Now – Pittsburgh,” by Ronald Woan. Source: flic.kr/p/9UX1U1

Because of its length, his post will come in two parts, which I have split arbitrarily in the approximate middle. This is Part 2. Part 1 can be found here (link).

If I recall correctly, I am the one mentioned below who observed Jon has strong deontological instincts.


An Objective and Unbiased Ranking of Taylor Swift’s Best Songs

Jon Wong

[continued]

  1. Mine
Song Catchiness:

60

Show-stopping Capabilities:

65

Lyrical Content:

70

Lyrical Quality:

75

Je-Ne-Sais-Quoi:

60

I admit that when I first drafted this list, I was inclined to leave Mine, the opening track to Speak Now, off the top 10 entirely. Then I listened to all the songs again in order to be fair to them. It only took one listen for me to realize I had erred in my original supposition that this song was not among her 10 best. My guess is that it has to do with Mine not standing out on a musical level, which speaks again to how important it is for *songs* to sound good. That seems like it would be self evident, but my years spent among indie-music elitists have shown me otherwise.

Mine is plenty catchy enough to listen to, but the standout qualities of this song lie in its lyrics. Taylor Swift is particularly good at writing ballads—an art that is perhaps a little rarer in pop music than in other genres, and this story of two partners taking on the world together is both cute and clever. It contains one of Taylor Swift’s very best lines: “You made a rebel of a careless man’s careful daughter,” as well as a chorus that changes with the context of the song with each revisit, which is something that artists frankly do not do often enough. Continue reading

Guest Post: A Ranking of Taylor Swift’s Best Songs, Part 1

My friend Jon asked to guest post at Accidental Shelf-Browsing as his own blog is basically defunct; what he wanted to publish was his Top 10 ranking of Taylor Swift songs. This is considerably off-brand for this space (perhaps I am a fool for worrying about such things, but I do), so I said I would be interested in something that was very reflective about the aesthetic standards by which he made his judgements; I keep meaning to write a post about aesthetic standards and choosing between them, which his piece would then complement. The following is what he gave me. The usual disclaimers apply: Jon’s opinions do not represent my own, nor do I take responsibility for them. The only changes I have made are in converting formatting to something compatible with WordPress and in light copy editing.

Taylor Swift Speak Now - Pittsburgh

“Taylor Swift Speak Now – Pittsburgh,” by Ronald Woan. Source: flic.kr/p/9UUwwX

Because of its length, his post will come in two parts, which I have split arbitrarily in the approximate middle. This is Part 1.


An Objective and Unbiased Ranking of Taylor Swift’s Best Songs

Jon Wong

A Primer:

In 2009, when I first began listening to Taylor Swift (to the extent that listened to all pop music), I felt a certain reluctance towards calling myself a “fan” of hers. Part of this was, I admit, due to my own musical bias/elitism regarding pop music—I enjoyed pop music as a collective, but I believed that pop music, by nature of its appeal to the masses, was inherently vapid, certainly in production and delivery, if not in actual content. Taylor Swift, along with Katy Perry, Lady Gaga, Rihanna, and the rest of the biggest and best of the late 2000s, felt very much like guilty pleasures. They were guilty pleasures I embraced and talked about openly, but guilty pleasures nonetheless. I felt the same way about Sum 41, Green Day, Avril Lavigne, Simple Plan, Linkin Park, and the rest of the pop-punk bands that came before them in the mid-2000s. I was also an idiot. Continue reading

Simple and Sophisticated Pleasures in the Capitol

While he was driving me to Toronto a few months ago, Jon and I were talking about YA fiction. Somehow in the course of that conversation I mentioned that I understood the Hunger Games films as containing a libertarian subtext, and that I had read an article about how many YA dystopia books have such a subtext. After Jon pressed me for further explanation, I interpreted The Hunger Games as a libertarian film for him; I was certainly not the first to notice its ideological commitments, and you can see some examples linked in my combative annotated bibliography on libertarianism. But part of my explanation is rooted in how The Hunger Games and its sequels depict the wealthy people of the Capitol as both gender-non-conforming and decadent. The luxury and sophistication of the Capitol citizens are intrinsic markers of their moral corruption above and beyond those pleasures’ costs to the poorer Districts, I said, and I went on to allude to a history of anti-luxury and anti-sophisticated-pleasures sentiment in Protestant and American conservatism. Jon has since asked me to write this up further for use in a high school classroom, but it might also be useful to others too.

an image of several elaborate chocolate cakes, including some with rabbit decorations

Karen Roe’s “The Making of Harry Potter 29-05-2012”

I have attempted to write this post a few times with little luck. A large part of the problem is that I do not remember how I came to understand this history of opposition to sophisticated pleasures and its relationship to American-style libertarianism. I do know of a few bits and pieces. There is a passage in H P Lovecraft’s The Mountains of Madness which used “decadence” in a way then unfamiliar to me which only afterwards made sense. There was an academic article I read about the characters of Falstaff and Prince John in 1 Henry IV and 2 Henry IV which referred to competing economic theories of luxury goods (especially “sack,” meaning a fortified wine) in Elizabethan England. There have been perhaps a half-dozen posts on the blogs of Roman Catholics like Pascal-Emmanuel Gobry which observe that Catholic countries have better food than Protestant countries because the former know how to enjoy life’s physical pleasures. I remember less well the dozens of broad generalizations of the effects Protestantism has had on the Low Countries, England, and North America I must have read between high school history classes, undergraduate courses at Queen’s, and graduate courses as UBC, or the lectures on the history of belief in the rise and fall of civilizations, or the articles about the effects all these have American culture today. Moreover there is the pattern of observations I have had in my own rural working-class childhood and in the time I spent in Fort McMurray.1 I cannot begin to summarize all of this. And if I cannot marshal all of these sources appropriately, I cannot make an argument, exactly; I do not expect anyone to just take my word for all of this, and yet I don’t even really know what my own sources are. What I can do is sketch out my position, and gesture toward some related material, and hope that I can supplement this with a better-researched piece later.

I have spent enough time in academia and then in a museum to be leery of making broad claims without substantiating them, but this is a blog post after all; if I cannot do this provisional kind of writing here, I cannot do it anywhere.

Continue reading

Consistency in Two Traditions of Fantasy, Part 2: The Deathly Hallows

A Second Possible Consistency

In Part One of this discussion, I introduced the problem of appreciating different kinds of consistency in fantasy literature and then I elaborated the planetary correspondences of The Chronicles of Narnia as an example of a fantasy series which uses a different kind of consistency than a logical one. Now, I am not going to argue that L. F. Baum also had planetary correspondences in his work, or that the Harry Potter franchise has some hidden theological depths. What I want to suggest, though, is that each might have something more like a thematic or atmospheric consistency in place of a logical one.

A painting of a thestral

Carol Smith, “Harry Potter-47”

I think it is worth making a distinction between two ways in which that might be true. First, it might have achieved such a consistency which is easy to overlook if you aren’t primed for it; Lewis’s Chronicles of Narnia, according to Ward, Are an example of this. Second, it might attempt such a consistency but not have achieved it. What I mean by this is that various markers in the text suggest a sort of consistency which it aims at but a careful examination of the text will nonetheless reveal it was not successful. In that case logical consistency of the sort at which G. R. R. Martin excels would not necessarily be the best standard by which to judge the text; however, the best standard by which to judge the text is some other kind of consistency at which it also fails.1 In such a way it might be analogous to Tolkien’s Middle Earth, which really doesn’t work in the sense of logical consistency: the population distributions and the modes of agriculture, resource extraction, and economics are all impossible or at least seriously implausible. However, Tolkien does a sufficiently good job of making all of the cultural aspects look coherent that this is easy to overlook. So it might be more accurate to say that these other texts might be better judged by different standards of consistency than it is to say they are consistent in different ways, because they may have failed to meet those different standards of consistency.

Continue reading

Consistency in Two Traditions of Fantasy, Part 1: Narnian Astrology

A Problem with Harry Potter

Due to the news that in the latest Harry Potter film the snake Nagini is revealed to be a human woman transformed, there has been a recent popular re-evaluation of the seven novels which originated the franchise. Many of the observations that I’ve seen on Twitter have focused on Rowling’s troubling use of racist stereotypes and her very Anglocentric errors. I have little to add as far as that goes because anything I’d have to say has been said already by others; the most relevant Twitter threads are Alexandra Erin’s and Shivam Batt’s. There is an assumption in some of these threads, however, that the world of Harry Potter could be or ought to be logically consistent in much the same way that our own is, which I consider to be mistaken. Take, for instance, questions of scale: of course it is logical nonsense that a school the size of Hogwarts is the only wizarding school in Britain given what the population of wizards in Britain seems to be in the books. And by the standards of something like Lois McMaster Bujold’s Five Gods series or G. R. R. Martin’s The Song of Ice and Fire, which have admirably plausible, intricate, and well-developed worlds, that’s a problem. The assumption that fantasy worlds must be built on some sort of logical or plausible structure is very characteristic of how mainstream fantasy1 does often operate, but I think it is worth observing that there have always been other kinds of fantasy which do not share this assumption: Barrie’s Peter Pan books, Carrol’s Alice books, and Baum’s Oz books come most readily to mind. These books’ lack of logical consistency does not mean that they lack any internal consistency; rather, they may have consistency of a wholly different kind. I think the best way to begin exploring this other kind of consistency is by examining Michael Ward’s interpretation of C. S. Lewis’s The Chronicles of Narnia, which I will spend the rest of this post doing. In a subsequent post I will speculate about possible consistencies in Harry Potter and other fantasy.

A reproduction of one of the original illustrations of THE LION, THE WITCH, AND THE WARDROBE, depicting a faun with an umbrella and a girl walking through forest.

THE CHRONICLES OF NARNIA are in the public domain in Canada, and my understanding of Canadian copyright law is that the original illustrations therefore would be as well. Please feel free to correct me if I am wrong in this.

Continue reading

Anglican Aesthetics

According to Bartlett, beauty is not a luxury.

qydlr

Source: Robin Dawes at flic.kr/p/qyDLR

In the sixth chapter of A Passionate Balance, “The ‘Beauty of Holiness’: Worship as the Heart of Anglicanism,” Alan Bartlett makes this announcement:

In this chapter, we have reached the heart of Anglicanism, which is worship; the purpose of Anglicanism, which is to foster Christlike holiness, individually and socially; and the essence of Anglicanism, which is that the two cannot be separated (170).

To be frank, this seems more like Anglicanism to me than all that talk of orthodoxy, ecclesiology, and reason. “It is rightly said,” Bartlett continues, “that if you want to know what makes an Anglican tick, don’t ask her about her doctrine, worship with her” (ibid). Maybe I am being overly autobiographical in my assessment, but it was liturgy that attracted me to the Anglican Church of Canada in the first place (though moral and practical matters are keeping me here). Elsewhere Bartlett notes that Cranmer’s gift as a liturgist, not as a theologian, means that “Anglicans do not define themselves in relationship to a particular body of theological writing but in relationship to the living use of liturgical texts” (171). There’s a reason I chose an image of the Book of Common Prayer to accompany my post on Anglican orthodoxy.

Continue reading