Taylor Swift did a couple things in the span of one award acceptance on Grammy night that elicited polarized reactions. And, considering that Swift, in her role as America’s sweetheart, rarely does anything to polarize people, it was a big deal. Some may automatically assume that what one is referring to is her blatant disregard for Celine Dion’s presence on the stage as she stood there awkwardly waiting to be acknowledged in some way, any way by the Album of the Year winner when she walked up to collect her bounty (which was in stark contrast to how Miley Cyrus gushed over Mariah Carey during her entire acceptance speech for Best Pop Solo Performance). Instead, Swift acted like a frat boy only paying attention to his “homies” as she hugged those she deemed partly responsible for her album’s success.
Obviously, Dion wasn’t someone she put in that category. But Lana Del Rey, clearly, was. Which is why Swift performed another polarizing act in one fell swoop by forcefully taking Del Rey onstage with her. Not just because she contributed vocals to “Snow on the Beach” that were initially undetectable until Swift released yet another version of Midnights (ergo, another money grab), but because, per Swift’s assessment, “I think so many female artists would not be where they are and would not have the inspiration they have if it weren’t for the work that she’s done.”
She’s not saying that she’s one of those artists, of course. For, after all, Swift was “on the scene,” fame-wise, years before Del Rey, with no one to look to for inspiration except Shania Twain and Faith Hill (and it shows). But at least she can acknowledge that musicians such as Billie Eilish weren’t exactly trying to emulate her. Or Dion, for that matter. Certainly not Swift, who kept looking behind her while onstage at anyone else she could thank except for Dion, grasping at, “I wanna say thank you to Serban Ghenea, Sam Dew, Soundwave…Lana Del Rey, who is hiding.” Ah yes, as most introverted people who didn’t want to be dragged onto a stage in a very public venue against their will tend to do. Something she made crystal clear with her resisting body language. But Swift seemed to realize at the last second that it might behoove her to take LDR up onstage to prove her female solidarity shtick was genuine, knowing full well that many fans of Del Rey’s were praying (and perhaps foolishly assuming) she would win for Did You Know That There’s A Tunnel Under Ocean Blvd, since she couldn’t even manage to snag any of the other awards she was nominated for, namely Best Pop Duo/Group Performance (for her collaboration with Jon Batiste on “Candy Necklace”), Song of the Year (for “A&W”), Best Alternative Music Album and Best Alternative Music Performance. Thus, briefly remembering the way in which Lana fans treat her like Jesus far more than Taylor’s do, she did a “cover your ass” move by bringing Del Rey onstage. To think otherwise, is more than slightly naive.
Before having this “calculated” revelation, Swift momentarily forgot she was at the same table as Del Rey so she could embrace Jack Antonoff, the man who seems to be perennially serving as the middle of a female musician sandwich. But especially this female musician sandwich. The camera itself juggled (or “toggled between,” if you prefer) getting reaction shots of both Del Rey and Antonoff when the award was announced. And watching Del Rey herself juggle the emotions of being upset over losing (for there’s no denying that she genuinely believed this would be the album that would finally get recognized) and trying to bounce back quickly so she can be happy for her friend, it’s apparent that the last thing she wants to do is have to grapple with those conflicting emotions in front of not just an entire room of people, but an entire nation of them watching at home.
As Antonoff presumes to take the credit for it all by leading the way to the stage, Del Rey tries to laugh off Swift’s attempt at pulling her up there, trying to resist at the same time so that Swift gets the message: no, this isn’t really what I want to do. Swift, being the alpha that she is, doesn’t take no for an answer and continues to drag her until Del Rey stops fighting it so that the optics on the whole awkward situation don’t look so bad. And, well, very uncomfortable. Because it is uncomfortable to have to watch someone doing something they obviously don’t want to. And when introverts are feeling low, they certainly don’t want to have to have those emotions broadcast, literally, to millions of people. Yet, the dichotomy is that, without Swift doing what she did, Del Rey would have stayed under the radar to a whole slew of people in the “flyover states.” The states, in fact, that she likes visiting the most.
With this conundrum in mind, there’s a joke about introverts that gets bandied around sometimes, something to the effect of: “Any introvert you ever met was because they were friends with an extrovert.” Del Rey suffered that phenomenon and then some at the 2024 Grammys, enduring the introvert’s dilemma of hating attention but also wanting to be given credit when it’s due.
Pulled onto the stage by a woman with nothing but “good intentions,” it was as though Del Rey became the victim of her own spouted lines from 2020, in the wake of her “question for the culture”: “I’m sorry that a couple of the girls I talked to, who were mentioned in that post, have a super different opinion of my insight, especially because we’ve been so close for so long. But it really, again, makes you reach into the depth of your own heart and say, ‘Am I good-intentioned?’ And of course, for me, the answer is always yes.” Naturally, that’s going to be the answer from anyone’s subjective viewpoint, no matter what they’re doing. Even Putin and Netanyahu think what they’re doing is “good-intentioned” when they reach into the depth of their own “hearts” and ask if they are.
At another point, Swift gushed of Del Rey, “I think that she’s a legacy artist, a legend in her prime right now. I’m so lucky to know you and to be your friend.” This adding to a vibe that only served to make Del Rey look pitiable and pathetic rather than praiseworthy. As though Swift was putting more of a highlight on what a “loser” Del Rey was for not getting the award rather than how “cool” she is. With Swift being of the Never Been Kissed philosophy, “All you need is for one person to think you’re cool, and you’re in.” But based on some of the winners that night (and throughout the ceremony’s past), does Del Rey really want to be deemed “cool” by the Recording Academy?
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