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What Taylor Swift Sees in “The Albatross”

How do you get the albatross off your neck? You know, your albatross. Your own dank collar of bird carcass, bespoke feathery deadweight of shame/rage/neurosis/solipsism/the past/whatever, the price of being you as it feels on a bad day … How do you let it drop?

In Taylor Swift’s “The Albatross”—a bonus track on her new double album, The Tortured Poets Department—the albatross is a person. A woman, to be precise. “She’s the albatross / She is here to destroy you.” Which could be a trope from some slab of 1970s misogynist boogie, Bad Company or Nazareth howling about a faithless woman and her evil ways, etc., etc., but—because this is Taylor Swift—it isn’t.

Let me quickly locate myself in the Taylorverse. I’m a “Bad Blood”/“We Are Never Ever Getting Back Together” guy. I like the bangers, the big tunes. Midnights was not my cup of tea: overdetermined as to lyrics (too many words), underpowered as to melodies (not enough tunes). For me, it was as if she’d taken the DNA of a maundering, heavy-breathing, medium-Swift song like Reputation’s “Dress” and unraveled it over a whole album, abetted by the soupy skills of Jack Antonoff. But what do I know? Midnights was one of the biggest albums of all time. And now, less than two years later: The Tortured Poets Department. And: “The Albatross.”

[Read: Taylor Swift is having quality-control issues]

Sonically, musically, we’re in Folklore territory with this song: the strings; the wending, woodwindy vocal line; the tender electronica; the muted mood; the pewter wash of tastefulness. Chamber music, if the chamber in question has been decorated by Bed Bath & Beyond. Is there a tune? I mean, kind of. Not one you’re going to be bellowing in a toneless rapture at the wheel of your car, but it’s there.

Lyrically, however, things are more lively. There’s this woman, the albatross: a bad habit, a bad relationship, a self-ensnaring situation, a bundle of familiar negatives (“Devils that you know / Raise worse hell than a stranger”). People have warned you about this person. She’s bad news! And Swift, ever-alert to the opprobrium of the herd, cannot help identifying with her. The voice shifts to the first person: “Locked me up in towers / But I’d visit in your dreams.” Reputation-style vibes of slander and persecution are felt: “Wise men once read fake news / And they believed it / Jackals raised their hackles …” As always, the Swifties are speculating: Who’s this song for? Who is it about? Joe Alwyn? Travis Kelce—and the warnings he got when he started dating Swift? Is she his own stubborn albatross?

By the end of the song, the singer herself has assumed the form of the albatross, and is flapping in to perform a “rescue.” “The devil that you know / Looks now more like an angel.” Embrace your shadow? Embrace your albatross? Embrace your partner with your own long-feathered and doom-laden albatross wings?

This is not how it usually goes with albatrosses.

[Read: Travis Kelce is another puzzle for Taylor Swift fans to crack]

Samuel Taylor Coleridge’s The Rime of the Ancient Mariner is the source, the fons et origo, of the albatross metaphor. In the Rime, a sailor shoots an albatross, and brings a curse upon his ship. Why does he shoot the albatross? No reason, or none given in the poem. Maybe it’s the old existentialist acte gratuit, more than a century early: Maybe he does it because the sun is in his eyes, like Meursault in Camus’s L’Étranger. He shoots it, anyway, prangs it with his crossbow, and the wind drops, and the ship slides into a hell-sea, and the dead bird, as punishment and emblem of shame, is hung around his neck.

Back, then, to our question: How do you get rid of the albatross?

Coleridge, fortunately for us, was very clear on this: You bless the water snakes. It’s all in Part IV of the Rime. The ship is becalmed, the sea is rancid, the crew are dead, and the Mariner—albatross slung Björk-ishly around his neck—is sitting on the deck in a state of nightmare. Meaning, purpose, a following wind: all gone. Perished with his shipmates. Now he’s in a scummy realm, a realm of mere biological outlasting. “And a thousand thousand slimy things / Lived on; and so did I …”

But. However. And yet. With nothing else to do, with no phone to look at, he watches the slimy things as they writhe and flare in the water, super-white in the moonlight, darker and more luxuriously hued when in the shadow cast by the ship itself. And something happens. His heart opens. Or perhaps it breaks. He is mutely, selflessly stirred and awakened. With his core, from his core, he spontaneously exalts what is before him: He blesses the water snakes.

And with a complicated downy loosening, and maybe a glancing clang from its beak, the albatross—fatal baggage of a bird—falls off into the sea.

Taylor Swift is not the first musician to engage with albatrossness. There’s Fleetwood Mac’s beautiful instrumental “Albatross” from 1968—slow celestial wingbeats, bluesy exhalations over a dazzling sea. There’s Public Image Ltd’s trudging, splintering “Albatross” from 1979, interpersonal, more in the Swift vein: “I know you very well / You are unbearable.” Corrosion of Conformity’s “Albatross” is a kind of sludge-rocking, negatively charged “Free Bird”: “You can call me lazy / You can call me wrong … Albatross, fly on, fly on.”

But for the full Coleridgean thing, the full voyage, nothing beats Iron Maiden’s “Rime of the Ancient Mariner.” The live version, preferably. This is a straight-up workingman’s adaptation of the poem, 14 minutes of galumphing rock opera, Coleridge’s words doggedly paraphrased by Maiden bassist–vision guy Steve Harris, and it succeeds spectacularly. Especially at the water-snakes moment, which the band orchestrates to perfection: a flicked and rushing pattern on the hi-hat, a trebly-warbly melodic figure on the bass, palm-muted chug-a-chug of one, then two (then three?) guitars, the tension blissfully building until Bruce Dickinson, with soaring all-gobbling theatricality, sings it out. “Then the spell starts to BREAK / The albatross falls from his NECK / Sinks down like LEAD / Into the SEA / Then down in falls comes the” [King Diamond–style infernal androgynous scream] “RAAAAAAIIN!!”

So what are the water snakes? Coleridge’s Rime is not, for me, an allegory, so the water snakes are not representing or symbolizing something. They are something. A coiling and uncoiling beautiful-terrible, playful-awful force that breaks the surface in snaky loops and flashes. Wonderfully indifferent to us, horrifyingly indifferent to us. But mysteriously in relationship with us, because it is in our eyes that these water snakes, these incandescent reptiles, these limbless creatures of the deep, are made holy. We are the ones who can bless them.

And you can’t decide to bless the water snakes, that’s the point. It’s not about gratitude. It’s not about improving your mental health. No squint of effort, no knotting or unknotting of the frontal lobes will get you there. The blessing arises by itself, or it doesn’t arise at all. Total brain bypass: a love so simple and helpless it barely even knows what it’s loving.

[Read: James Parker on the Rick Rubin guide to creativity]

So it becomes a question of orienting oneself to the possibility of this love. How to do it? I’m out of my depth here—which is just as it should be, for here we are in the zone of the mystics and the mega-meditators. We are full fathom five, where your feet don’t touch anything, because there’s nothing to touch. If you’re the Ancient Mariner—or perhaps if you’re addicted to opiates, as Coleridge was—you’ll have to go through it, all of it. You’ll have to be carried to the end of yourself. The blessing of the water snakes happens at the Mariner’s clinical bottoming-out: when he’s utterly isolated, on a suppurating sea, besieged by the forces of death.

The rest of us, maybe we don’t have to go—or be taken—that far. Maybe there are other, less drastic, more everyday opportunities and invitations for us to be broken down and opened up. For our grip on the albatross to be unclenched. For the love to pour through us like Iron Maiden. For the albatross itself to wrap its angelic Taylor Swift wings around your inner Travis Kelce.

One way or another, though, sooner or later, gently or with loud sunderings and burstings, it’s going to happen. Life, thank God—it’ll get you and get you again.

This article has been adapted from James Parker’s upcoming book, Get Me Through the Next Five Minutes: Odes to Being Alive.


Read full article on: theatlantic.com
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At first, police action was creating danger, then its absence did the same. Amid the confusion of today’s campus protests, it can be hard to predict who will be vulnerable to whom at any given time, and when protection can or should be provided.Clearly students there and then badly needed help, of a sort that faculty could not reasonably provide. In the current college climate, concern for safety is a constant, but rarely modulates above a steady background noise. At the protests, as during the school year, teachers mostly offer their protection as a means of staving off much lesser harms than those delivered by stick-wielding thugs. At Columbia, one professor urged news cameramen not to film students inside the encampment, according to The New York Times, seemingly to guard the students’ reputations.Columbia professors have been involved in student protests in the past, but they didn’t position themselves like this, as purveyors of moral support. Instead, they played the role of mediators. In 1968, when students occupied several buildings across campus, faculty at one point physically positioned themselves between the protesters and the police—in the interest of bringing the matter to a close. A faculty statement from the time read, in part, “As members of the faculty, we are determined to do everything within our power rapidly to resume the full life of this institution in the firm expectation that our proposals will permit a climate to prevail that will once again allow reason, judgment and order to reign.” That sentiment bears far more resemblance to the goals of today’s administrators and politicians—the restoration of order and resumption of business as usual on campus—than it does to the goals of professors who have intervened in recent weeks to keep students safe.Today’s protests might look similar to those previous ones when viewed in pictures, but their context is transformed. Students and parents have spent years demanding more and better services on campus, including services to help students feel and be safe and comfortable. Universities have swelled into giant bureaucracies in response to regulatory demands and competition. College life itself, especially at elite private universities, is now consumed by professionalization more than self-discovery, thanks in part to the astronomical cost of attendance. Campuses have become more diverse, making today’s faculty motivations different and more varied than those driving the (whiter, maler) Columbia faculty of ’68, who yearned for reason’s victory. And politics has become more identitarian, giving selfhood greater sway.In this new context, professors and students have developed a relationship of protection above all others. Faculty have been converted from instructors into personal coaches. Much is gained in this change, including its expression at campus protests; professors such as McAfee and Myers have shown bravery on behalf of students. And yet, something is also lost: By inserting ourselves into students’ lives as guardians of their welfare, we risk failing to protect an important aspect of their intellectual, political, and personal development—namely, their independence.Recounting the intervention that had led to her arrest at Dartmouth, Annelise Orleck reported saying to the police, “Leave our students alone. They’re students. They’re not criminals.” Like some other faculty, Orleck drew a line at calling in law enforcement, a choice she said was unprecedented in her 34 years at the college. But since Columbia set the precedent to do so, policing itself has become a subject of campus demonstrations. Participants may well be risking arrest by design. 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theatlantic.com