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Jessica Simpson?s New Book Is Revealing. The New Taylor Doc? Not So Much.

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the Mickey Mouse Club
Columbia Records
Rolling Stone
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Miss Americana
Pier Dominguez
Taylor Swift
Jessica Simpson’s
Nick Lachey
Justin Timberlake
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Jessica Simpson.”Open
Britney Spears
Christina Aguilera
Mariah Carey
Joe Simpson
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Lady Gaga’s
Lana Wilson
Kanye West’s
John Mayer
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Mick Jagger
Scott Borchetta
Scooter Braun


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“I had been able to pull off sexy virgin,” she writes of her first album, “but acting like a woman who loved sex but had never actually done it was a math problem I could not quite figure out.” The second album also underperformed.The cover of Open Book.In the memoir, Simpson describes how little agency she had as all these men — including her father and manager, Joe Simpson — made decisions about her career. The trajectory of her mainstream pop music career reads almost like a cautionary tale of being unable to live up to the public demand for constant reinvention that Swift — in contrast — has so far managed to navigate.Simpson is now 39, far removed from the pressures of the conventional pop star economy and not afraid to call out powerful industry figures, other celebrities, and even her parents in the memoir. “I became the person who everyone wanted me to be,” she says of her early success.Swift talks about her struggles with body image and her disordered relationship to food, reminding us that in many ways, standards of beauty haven’t changed much since the peak Simpson teen pop era. (Simpson, in contrast, is now using Open Book to talk back about the way the media framed her relationships with men like Lachey and John Mayer, who once took over an entire album publicity cycle by calling her “sexual napalm.”)Taylor Swift and her mom in Miss Americana.We do get clear insight into Swift’s decision to publicly support political candidates for the first time during the 2018 midterms, a decision informed by her countersuit against a radio DJ who groped her. That moment is the clearest glimpse we get into how Swift makes career decisions in general — and there aren’t many others included in the film.When she talks about the industry’s demands, Swift imagines the public saying, “Reinvent yourself, but only in a way that we find to be equally comforting, but also a challenge for you.” It’s hard not to think about the way that Miss Americana itself fits into that formula. I needed to learn a lot before I spoke to 200 million people, but I’ve educated myself now and it’s time to take the masking tape off my mouth, like forever.” The documentary ends neatly with her composing a new political anthem.But in general, because Miss Americana is focused on the latter half of Swift’s career — not the carefully stage-managed early one, which her savvy parents famously helped her build — there is a lack of dramatic tension. There is no new insight here into Swift’s relationship with powerful music industry figures like Scott Borchetta and Scooter Braun, whom she has spoken out against in her fight to retain control over her early work — another way in which she’s recently refused to be “the good girl.”The way Swift frames the Kanye West controversy — a fascinating pop culture moment in which race and gender collided in complicated ways — as solely a narrative about her coming into her voice is another difficult conversation the documentary sidesteps.

As said here by Pier Dominguez