I realized that every time I don’t post for a few days, I must begin my next entry by clarifying that I have not died of Ebola.
Yes, the virus has made its way to my home state. But unless I take a train to Bellevue hospital, walk into the secure, quarantined unit where the victim is being treated, and tell him to spit in my face, then I think I’ll be fine.
And considering that the dude is a doctor who risked his own health to volunteer to treat people in Guinea, I’m pretty sure he wouldn’t even spit in my face if I asked him to.
Why am I talking about asking people to spit in my face?
Anyway, we shouldn’t even be worrying about an Ebola outbreak in New York. What we should be worried about is Mali, where a 5-year-old traveled throughout the West African nation, not only Ebola ridden, not only showing symptoms, but with a nosebleed. The toddler has since died, and now officials fear others may catch it. It’s especially significant when you consider that health officials have determined that the ground zero patient of the whole West African outbreak, to begin with, was a 5-year-old.
But enough about Ebola.
What was significant about today? Sure, it’s the 110-year anniversary of the first Subway line opening in New York, but no one cares about that. It’s also been exactly 28 years since the New York Mets beat the Boston Red Sox to win the 1986 World Series. I do care about that, a lot, but it doesn’t fit my narrative so let’s move on.
Taylor Swift’s new album, 1989, dropped today.
And yes, albums that are not hip-hip or rap can “drop.”
I listened to the whole thing today. The whole goddamn thing. It’s 61 minutes and two seconds long. And I listened to it. If it makes me sound any better, I listed to it while I did an 8-mile run this evening, which took me 64 minutes to complete.
But who cares about my accomplishments. Back to Taylor.
The album is good. The rest of the tracks are nothing like “Shake it Off,” her satirical, malice-driven anthem against her critics. Rather, the album is more aligned with the second single, “Out of the Woods.”
Swift’s transition from country, where she started, to pop, has been a steady one. But in 1989, she abandons country entirely. The whole album is infused with energy, and Swift kind of tip-toes outside of the confines of today’s pop music. There’s a pleasing balance between conventional and innovation. It’s smooth yet disordered. It’s clear that she attempted to evolve her sound, while experimenting with various elements of pop, and I think she accomplished it.
My personal favorites after one listen are “How You Get the Girl” and “Wonderland.”
Now allow me to address another issue. I don’t care about admitting I like Taylor Swift. I’m secure with my masculinity (or lack thereof), and even more secure with what I believe is my highly sophisticated musical taste. Which also happens to include Taylor Swift.
You know what? I think I’d let Taylor Swift spit in my face.
Yeah, I just made this weird.