Is Taylor Swift the Modern Yoko?

Pervis Muldoon wrote:

Trapper Gus wrote:

What this tread is about is pretty close to "because they are woman."

Do you really think there would be all this noise if one of the players was good friends a very famous man who was coming to the games?

Haley has awful views of how the country should be run, but all Republicans do.  (You do know my favs were Senator Warren in 2020 & Secretary Clinton in 2016 & 2008)

If Caitlin Clark was dating Donald Trump and he came to her games, I think that would impact her teammates.

Motown Spartan wrote:Her talent knows no bounds.

Other Teams Pursuing That wrote:I bought 2 t swift tickets in indy for $600 and then sold them for $7200

AvgMSUJoe wrote:I read Tay is on the treadmill 3 hours a day.

AvgMSUJoe wrote:I read Tay is on the treadmill 3 hours a day.

Trapper Gus wrote:

Motown Spartan wrote:Her talent knows no bounds.

If you are able to read The New Yorker article, I linked, you will discover that the artlessness, meaning the lack of polish, of her art is part of her artistic point.

She is from a very wealthy family, had tons of money in the family before she met John, and is a well-trained artist in visual, performance & musical art.

NigelUno wrote:

Kelce and Swifty are dating though.  

Motown Spartan wrote:Her lack of polish is her art? So sucking is her art? Thats just fucking lazy and made up and nobody would know her if not for John Lennon.

The Ono family was wealthy. They had some thirty servants, and they lived in the Azabu district, near the Imperial Palace, away from the bombing. The fires did not reach them. But Ono’s mother, worried that there would be more attacks (there were), decided to evacuate to a farming village well outside the city.

In the countryside, the family found itself in a situation faced by many Japanese: they were desperate for food. The children traded their possessions to get something to eat, and sometimes they went hungry. Ono later said that she and Keisuke would lie on their backs looking at the sky through an opening in the roof of the house where they lived. She would ask him what kind of dinner he wanted, and then tell him to imagine it in his mind. This seemed to make him happier. She later called it “maybe my first piece of art.”

Like any artist, Ono wanted recognition, but she was never driven by a desire for wealth and fame. Whether she sought them or not, though, she has both. Her art is exhibited around the world: last year at the Serpentine, in London (“Yoko Ono: I Love You Earth”); this year at the Vancouver Art Gallery (“Growing Freedom”) and the Kunsthaus in Zurich (“Yoko Ono: This Room Moves at the Same Speed as the Clouds”). She began managing the family finances after she and her husband John Lennon moved to New York, in 1971, and she is said to be worth hundreds of millions of dollars today.

There is no question that museums and galleries mount these shows and people go to see them because Ono was once married to a Beatle. On a weekday not long ago, I saw the Vancouver show, which occupied the whole ground floor of the museum, and there was a steady stream of visitors. None of the artists and composers Ono was associated with in the years before she married Lennon enjoys that kind of exposure today.

Ono may have leveraged her celebrity—but so what? She never compromised her art. The public perception of her as a woman devoted to the memory of her dead husband has made her an icon among the kind of people who once regarded her as a Beatles-busting succubus. Yet the much smaller group of people who know about her as an artist, a musician, and an activist appreciate her integrity. No matter what you think of the strength of the art, you can admire the strength of the person who made it.

Ono received an exceptional education. Beginning when she was very young, she was tutored in Christianity (her father was a Christian; there were not many in Japan), Buddhism, and piano. She attended a school known for its music instruction; she was once asked to render everyday sounds and noises, such as birdsongs, in musical notation. After the war, she attended an exclusive prep school; two of the emperor’s sons were her schoolmates. And when she graduated she was admitted to Gakushuin University as its first female student in philosophy.

It’s easy to feel that there is an amateurish, “anyone can do this” quality to her art and her music. The critic Lester Bangs once complained that Ono “couldn’t carry a tune in a briefcase.” But the look is deliberate. It’s not that she wasn’t well trained. She learned composition and harmony when she was little, and she could write and read music, which none of the Beatles could do. At Sarah Lawrence, she spent time in the music library listening to twelve-tone composers like Arnold Schoenberg.

She grew up bilingual and was trained in two cultural traditions. She went to secondary school and college in Japan in a period of what has been called “horizontal Westernization,” when artistic and intellectual life was rapidly liberalized as the nation tried to exorcise its militarist and ultranationalist past. Ono and her friends read German, French, and Russian literature in Japanese translation, and the young philosophers they knew were obsessed with existentialism. She also knew Japanese culture. One of the ways she supported herself in New York was by teaching Japanese folk songs and calligraphy. She knew waka and Kabuki. She was therefore ideally prepared to enter the New York avant-garde of the nineteen-fifties, because that world was already hybrid. Its inspirations were a French artist, Marcel Duchamp, and an Eastern religion, Zen Buddhism.

Trapper Gus wrote:

Motown Spartan wrote:Her lack of polish is her art? So sucking is her art? Thats just fucking lazy and made up and nobody would know her if not for John Lennon.

The Ono family was wealthy. They had some thirty servants, and they lived in the Azabu district, near the Imperial Palace, away from the bombing. The fires did not reach them. But Ono’s mother, worried that there would be more attacks (there were), decided to evacuate to a farming village well outside the city.

In the countryside, the family found itself in a situation faced by many Japanese: they were desperate for food. The children traded their possessions to get something to eat, and sometimes they went hungry. Ono later said that she and Keisuke would lie on their backs looking at the sky through an opening in the roof of the house where they lived. She would ask him what kind of dinner he wanted, and then tell him to imagine it in his mind. This seemed to make him happier. She later called it “maybe my first piece of art.”

Like any artist, Ono wanted recognition, but she was never driven by a desire for wealth and fame. Whether she sought them or not, though, she has both. Her art is exhibited around the world: last year at the Serpentine, in London (“Yoko Ono: I Love You Earth”); this year at the Vancouver Art Gallery (“Growing Freedom”) and the Kunsthaus in Zurich (“Yoko Ono: This Room Moves at the Same Speed as the Clouds”). She began managing the family finances after she and her husband John Lennon moved to New York, in 1971, and she is said to be worth hundreds of millions of dollars today.

There is no question that museums and galleries mount these shows and people go to see them because Ono was once married to a Beatle. On a weekday not long ago, I saw the Vancouver show, which occupied the whole ground floor of the museum, and there was a steady stream of visitors. None of the artists and composers Ono was associated with in the years before she married Lennon enjoys that kind of exposure today.

Ono may have leveraged her celebrity—but so what? She never compromised her art. The public perception of her as a woman devoted to the memory of her dead husband has made her an icon among the kind of people who once regarded her as a Beatles-busting succubus. Yet the much smaller group of people who know about her as an artist, a musician, and an activist appreciate her integrity. No matter what you think of the strength of the art, you can admire the strength of the person who made it.

Ono received an exceptional education. Beginning when she was very young, she was tutored in Christianity (her father was a Christian; there were not many in Japan), Buddhism, and piano. She attended a school known for its music instruction; she was once asked to render everyday sounds and noises, such as birdsongs, in musical notation. After the war, she attended an exclusive prep school; two of the emperor’s sons were her schoolmates. And when she graduated she was admitted to Gakushuin University as its first female student in philosophy.

It’s easy to feel that there is an amateurish, “anyone can do this” quality to her art and her music. The critic Lester Bangs once complained that Ono “couldn’t carry a tune in a briefcase.” But the look is deliberate. It’s not that she wasn’t well trained. She learned composition and harmony when she was little, and she could write and read music, which none of the Beatles could do. At Sarah Lawrence, she spent time in the music library listening to twelve-tone composers like Arnold Schoenberg.

She grew up bilingual and was trained in two cultural traditions. She went to secondary school and college in Japan in a period of what has been called “horizontal Westernization,” when artistic and intellectual life was rapidly liberalized as the nation tried to exorcise its militarist and ultranationalist past. Ono and her friends read German, French, and Russian literature in Japanese translation, and the young philosophers they knew were obsessed with existentialism. She also knew Japanese culture. One of the ways she supported herself in New York was by teaching Japanese folk songs and calligraphy. She knew waka and Kabuki. She was therefore ideally prepared to enter the New York avant-garde of the nineteen-fifties, because that world was already hybrid. Its inspirations were a French artist, Marcel Duchamp, and an Eastern religion, Zen Buddhism.

If I copy any more I'm probably getting way beyond the "fair use" limit.

You may not enjoy her Art, but she is more like Warhol and his "Factory" type of Art experience than "pretty pictures".  (I loved "Men In Black 3" and its send up of The Factory with Warhol filming the man eating a hamburger)

I thought the "Imagine" video was visually well done and presented its philosophical point of view well.  It doesn't sound like John Lenon, but it's not meant to.

Motown Spartan wrote:

Nobody would look at this for its artistic expression unless it was done by Yoko Ono. And nobody would look at any art by Yoko Ono if not for John Lennon. Her breakthrough wasn’t because of her art, it was because of John.

Cameron wrote:Most of the Avant Garde scene is just a bunch of spoiled rich kids who are too far up their own asses to see how stupid and shitty their "art" is. Prove me wrong.

GRR Spartan wrote:In under the wire for The Most Inane Post of 2023.

Congrats Steve.

Would never shoot to kill the messenger. Just wing the messenger as a reminder.

Motown Spartan wrote:Fucking brilliant!

Trapper Gus wrote:

Motown Spartan wrote:Fucking brilliant!

Always have laughed at the story about an art patron going to an exhibit of art  seeing a banana on a stool, picking it up and eating it, only to be arrested for vandalism.

Turtleneck wrote:No

kingstonlake wrote:

Turtleneck wrote:No

How bout now?

Turtleneck wrote:

kingstonlake wrote:

How bout now?

DWags wrote:I’d be willing to break another bone if somehow Taylor Swift kneeled during the Super Bowl national anthem just to see how crazy the right wing nuts go. Would be epic.

DWags wrote:I’d be willing to break another bone if somehow Taylor Swift kneeled during the Super Bowl national anthem just to see how crazy the right wing nuts go. Would be epic.

Robert J Sakimano wrote:I can't name a single song of hers, but as long as she drives fragile, insecure white people crazy, I'm all for it.

I now see that she suddenly has republicans/libertarians concerned with climate change as it relates to her carbon footprint, so she can literally do nothing wrong.

Rick Saunders wrote:

DWags wrote:I’d be willing to break another bone if somehow Taylor Swift kneeled during the Super Bowl national anthem just to see how crazy the right wing nuts go. Would be epic.

Is it ok if I imagine her kneeling during the Super Bowl national anthem in my room instead of a skybox?