Christians Should Not Listen To Taylor Swift!

It is undeniable that Taylor Swift has become an idol in American society. She is by far the number one music icon. One cannot watch a Chief’s game without the prominently featured singer being shown or discussed at numerous points before, during, or after the game. Beyond that, she is the most frequently mentioned artist on any dating app, with droves of young women identifying as Swifties, as if that is a value proposition to dating them. There is no close second, and “Christian” apps are no different in this regard. As opposed to a deserving man like Elon Musk or Vladimir Putin, Taylor Swift was named Time Magazine’s Person of the Year—which again should be man. Even Newsweek conducted a survey and found that “18 percent of voters say they’re ‘more likely’ or ‘significantly more likely’ to vote for a candidate endorsed by Swift,” with the number increasing to “roughly 3 in 10” for Americans under 35.

Simply put, the influence of Taylor Swift is idolatry that needs to be understood and condemned by the church, not celebrated like Blake Glosson of The Gospel Coalition disgracefully did with his wicked column. This idolatry has only gotten worse since the embarrassing, retracted TGC article. And this idolatry is evident in the church. There are plenty of women worshiping with church music on Sunday while being “Swifties” Monday through Saturday. This idolatry embodies the feminism that is infecting a generation of women through music. Just as gangster rap bodes poorly for Black culture, Taylor Swift’s influence on young White women is cancerous to society.

Feminist Iconography

Who is Taylor Swift? An unmarried, childless 34-year-old woman who sings about unsuccessful relationships, often with high profile celebrities. More than that, she is a modern feminist icon. Just as Betty Friedan influenced a generation of women by projecting her dissatisfaction through The Feminine Mystique (1963), Taylor Swift’s music and persona achieve the same through music to the current generation of women. It is spiritual propaganda. Much like Friedan, who was a Judeo-communist activist, Swift has increasingly taken on a political role. In 2018, she endorsed Phil Bredesen who would go on to lose to Marsha Blackburn. During the 2019 VMA’s, she would petition the pro-homosexuality Equality Act during her speech. While she is unlikely to sway voters’ opinions in favor of Joe Biden, she has the potential to energize a depressed liberal female audience to vote. With politics being increasingly defined by adherence to or rejection of traditional gender roles, the Biden regime would require this to retain power.

The song Lavender Haze is itself a feminist anthem, taking an archaic phrase from the 1950s describing the honeymoon phase of a romance and perverting it into a feminist message:

I feel/ The lavender haze creepin’ up on me/ Surreal/ I’m damned if I do give a damn what people say/ No deal/ The 1950s shit they want from me/ I just wanna stay in that lavender haze

The remark about rejecting the 1950s excrement, being marriage and family—or the traditional housewife in favor of being in a real “lavender haze.” The music video further advances the feminist agenda by using a transvestite actor. The song is about seeking after the supposed haze and always being in the honeymoon phase of a relationship rather than aspiring towards marriage, family, and general maturation, which might entail greater challenges. In other words, it is a song about prolonged adolescence.

At Chronicles Magazine, Daniel McCarthy wrote this about the potency of Taylor Swift:

Swift is blue-eyed, blonde, beautiful, classically feminine in an age when beauty is supposed to encompass the widest array of body types and what it means to be a woman is open to question. She’s Miss Americana—the homecoming queen dating the football hero who’s headed to the championship. And although she’s sexy [strongly disagree], she hasn’t sold herself as a sex object the way a Madonna or Cardi B has.

Swift represents quite a traditional image of happiness for a young American woman. But she also represents a later feminist ideal—her songs are scathing about men, and she’s richer than her boyfriend. She’s independent—yet still adheres to a midcentury archetype: feminist and feminine.

McCarthy describes Taylor Swift as the “all American girl,” but that image comes with feminist subversion. McCarthy goes on to contrast Swift as being the female counterpart to Trump with men, emphasizing that while men do not want to be Trump, women want to be Swift. However, he does not think the Swift image has longevity in progressivism, which is an odd conclusion considering their support for abortion.

It cannot be ignored that women are more susceptible to propaganda in media, particularly that which elicits empathy. Shows like Will and Grace or Glee did much to advance the gay agenda, coining the term, “Will and Grace Effect.” Women listening to music from a disaffected, unmarried woman talking about her failed relationships reflects the deconstruction of the culture. That is the cancer of the “Swiftie.” Because it is propaganda, the music projects itself onto the listeners which then furthers the gender divisions increasingly evident in America that depress marriages and birthrates, and increase degeneracy. The music is more than music but is a lifestyle and an identity.

Conservative Twitter vs. Redpill

There is an ongoing debate on whether certain pundits in MAGA Twitter are overreacting to Taylor Swift or whether the attacks on her are derangement, something that Jason Whitlock and several others have articulated. The theory that Swift is a psyop or that the NFL would rig a Superbowl for the Swiftie election narrative, while possible, is irrelevant to this analysis. Legally, the NFL can manipulate its games to produce desired outcomes, so it is not much of a conspiracy. Nor is it a conspiracy that she endorses Biden (again) in a coordinated effort with Biden’s campaign to use influencers to campaign for him.

This is where the Conservative Inc. is failing to confront feminism. The NFL is supposed to be a bastion of masculinity, something men can bond over as football is the modern-day saloon. The increasing feminization of the game, along with other sports, has deteriorated and softened the product. To appeal to mothers, so-called player safety initiatives were added to reduce head injury and the game’s physicality. The emphasis on female inclusion, via coaches and referees is another push to feminize male-dominated spaces. And the racial pandering of the NFL, via its embrace of BLM, is further feminization of the game, as the BLM movement effeminizes black people by removing accountability for their behaviors. Taylor Swift, a feminist icon, being the main storyline of the NFL season further feminizes football. It is really an attack on masculinity.

Ideology, not economics, is the leading factor to why birthrates and marriage rates are in decline across the world. Societies no longer value marriage and childrearing, preferring women to be worker bees and calling them queens. Even in America, most younger women prioritize career over family, which has been the primary driver behind the average age of marriage increasing significantly in the past decade.

Whereas the Redpill understands the disastrous effects of feminism, this is where performers like Vivek Ramaswamy fall short, attacking Swift for surface level grievances instead of understanding the deeper, spiritual role feminism has had in deteriorating society. In this regard, she is a female Andrew Tate. Likely, most in Con Inc. do not realize how frequently she is mentioned in dating apps, so they do not see her influence on young women and the negative effects in the dating market, which contributes to the decline of the West.

Conclusions

The Spirit of the Age favors Taylor Swift for a reason. She is the modern embodiment of the Feminine Mystique. Unmarried women are overwhelming supporters of every satanic contagion affecting America, including and especially abortion, over which Swift has major influence. Swift is their champion—their idol. And while society elevates Swift, the churches are loath to call out her influence, especially since this pertains to women.

Just as they should not be listening to Lil Nas X, Christians should not be listening to Taylor Swift. It is not much to ask parents not to give their daughters expensive Swift concert tickets, just as it is not much to ask them not to spend thousands on Disney vacations. There is being “in the world and not of it,” and then there is being worldly. Taylor Swift is worldly. Her music is worldly—even increasingly Satanic if you listen to Karma. Being a Swiftie is worldly. And the Church must confront this worldly influence that is ubiquitously influencing those in their pews.