{"id":740,"date":"2020-08-22T12:47:30","date_gmt":"2020-08-22T12:47:30","guid":{"rendered":"http:\/\/taylorswiftswitzerland.ch\/?page_id=740"},"modified":"2026-05-01T23:36:58","modified_gmt":"2026-05-01T22:36:58","slug":"reputation-album","status":"publish","type":"page","link":"https:\/\/taylorswiftswitzerland.ch\/index.php\/albums\/reputation-album\/","title":{"rendered":"reputation"},"content":{"rendered":"\t\t
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\n\t\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\tExplore All Albums<\/span>\n\t\t\t\t\t<\/span>\n\t\t\t\t\t<\/a>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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reputation<\/h1>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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November 10, 2017<\/h4>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\n\t\t\t\t\t\t\t\t\treputation<\/em> (stylized in all lowercase) is Taylor\u2019s sixth studio album, released on November 10, 2017, through Big Machine Records<\/a>. Produced by Taylor, Jack Antonoff, Max Martin, and Shellback, it is an electro pop album that incorporates elements of hip-hop and R&B. Widely framed as Taylor\u2019s \u201ccomeback\u201d record, it was conceived during a period of withdrawal<\/a> from public life in 2016\u20132017, following a wave of controversies that had significantly impacted both her mental wellbeing and public image.\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\n\t\t\t\t\t\t\t\t\tTaylor Swift. It\u2019s a name that\u2014in 2017\u2014had reached monumental levels of fame, or rather, infamy. For every headline that praised her, there were nine more that tore her to pieces. With reputation<\/em>, she finally responded directly, leaning into the narrative that had been constructed around her rather than resisting it. On the lead single \u201cLook What You Made Me Do<\/a>,\u201d she announces, \u201cSorry, the old Taylor can\u2019t come to the phone right now\u2026Why? Oh, \u2019cause she\u2019s dead!\u201d<\/em> Throughout the album, she amplifies the exaggerated persona assigned to her\u2014the calculating, vindictive \u201csnake\u201d\u2014turning it into a larger-than-life character. Yet beneath the sharp edges and industrial pop production, reputation<\/em> gradually reveals something more vulnerable. The focus shifts inward and away from public battles, ultimately finding a sense of grounding and redemption in love.\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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Background and Announcement<\/h3>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\n\t\t\t\t\t\t\t\t\tFollowing the global success of 1989<\/a><\/em> (2014), Taylor found herself at the centre of an unusually intense cultural spotlight\u2014one that gradually shifted from admiration to scrutiny. While 1989<\/em> had cemented her status as a global pop figure, it also amplified the scale at which her personal life, relationships, and public image were dissected. By 2015\u20132016<\/a>, she was no longer discussed solely in terms of music, but as a cultural reference point through which broader debates about fame, gender, and authenticity were projected.\n

\nThis period reached its most volatile point during the public fallout with Kanye West and Kim Kardashian over the song \u201cFamous\u201d in July 2016, after which Taylor became the target of a viral hate campaign that culminated in the #TaylorSwiftIsOverParty<\/em> hashtag and widespread \u201csnake\u201d imagery that reframed her public persona almost overnight. The symbol became a shorthand for this shift, and mockery of her was no longer confined to music journalism\u2014it spilled into mainstream culture, advertising spaces, and everyday online interaction.\n

\nThe scale of the backlash was such that it extended beyond online spaces and into real life. Viral content included a widely shared \u201cRest in peace Taylor Smith\u201d memorial mural, reflecting how quickly the public had cast her as culturally \u201cfinished\u201d in online spaces. In later reflection, Taylor described this period as emotionally devastating, recalling to Rolling Stone<\/em> in 2019 how language itself\u2014her primary tool of expression\u2014felt turned against her, and how the intensity of collective hate created a sense of emotional isolation and paralysis:\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\n\t\t\t\t\u00abPeople love a hate frenzy. It\u2019s like piranhas. People had so much fun hating me, and they didn\u2019t really need very many reasons to do it. I felt like the situation was pretty hopeless. I wrote a lot of really aggressively bitter poems constantly. I wrote a lot of think pieces that I knew I\u2019d never publish, about what it\u2019s like to feel like you\u2019re in a shame spiral. And I couldn\u2019t figure out how to learn from it. Because I wasn\u2019t sure exactly what I did that was so wrong. That was really hard for me, because I cannot stand it when people can\u2019t take criticism. So I try to self-examine, and even though that\u2019s really hard and hurts a lot sometimes, I really try to understand where people are coming from when they don\u2019t like me. And I completely get why people wouldn\u2019t like me. Because, you know, I\u2019ve had my insecurities say those things\u2014and things 1,000 times worse.\u00bb\t\t\t<\/p>\n\t\t\t\t\t\t\t

\n\t\t\t\t\t\t\t\t\t\t\tTaylor Swift<\/cite>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/blockquote>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\n\t\t\t\t\t\t\t\t\tSeverely depressed, the events of 2016 led to a period of withdrawal and emotional numbing, during which Taylor largely stepped back from public life and social media. Over time, however, she began to rebuild stability in more private spaces\u2014through music, and through a new relationship with actor Joe Alwyn<\/a>, for whom she moved to his hometown of London at the end of the year. That shift marked the beginning of a quieter phase in her life, and became part of the personal context from which reputation<\/em> eventually emerged.\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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