She is, quite simply, a global superstar.
Taylor Swift is a ten-time GRAMMY winner, the youngest recipient in history of the music industry’s highest honor, the GRAMMY Award for Album of the Year and she is the only female in the history of The Grammy’s to win Album of the Year, twice. Taylor is the only artist in history to have an album hit the 1 million first-week sales figure three times (2010’s Speak Now, 2012’s RED and 2014’s 1989). She’s a household name whose insanely catchy yet deeply personal self-penned songs transcend music genres, and a savvy businesswoman who has built a childhood dream into an empire.
But the numbers don’t tell Taylor’s story half as well as she could. After all, it’s the intangibles that elevate Swift into the stratosphere of our pop culture planet, allowing the 25-year old singer-songwriter to orbit in a more rarified air. Her large-scale charitable contributions are one thing, but it’s in the small gestures – the notes of compassion she posts on the Instagram photos of lovelorn fans, the genuine hugs she distributes without discretion – where Swift proves time and time again that platinum-selling, record-setting success has not changed her inherent nature. She is awkwardly honest and powerfully empathetic; a brazen superfan, loyal friend, fierce protector of hearts; and one of the world’s greatest ambassadors for the power of just being yourself.
Granted, for Taylor, “being herself” tends towards shimmering, gossamer perfection – but that’s an image regularly blown whenever she dons fake braces and a tri-pony to clown around on late night TV. She’s the first artist since the Beatles (and the only female artist in history) to log six or more weeks at No. 1 with three consecutive studio albums. And while she’s been named Billboard Magazine’s Wom
In the fall of 2014, when Taylor released her critically acclaimed fifth album, 1989, she astounded the world by selling almost 1.3 million albums in its debut week — a feat that had been called impossible. She calls 1989 her most cohesive collection of confessionals yet. It is a touchstone: Taylor’s songwriting and sonic evolution surprise us more than ever before. Heavily keyboard- and beat-driven, on 1989, the pop sensibilities that have always been the hallmark of Taylor’s music now move front and center. And throughout the album’s release and the record-breaking world tour that followed, she found herself, as always, in the glare of a blinding spotlight — but if you think that scares her, you haven’t been paying attention. She’s blazing into the next phase of her still-young career, where she’ll continue to dance like no one’s watching, write like she stole our collective diary, and inevitably soar to ever-greater heights. All that’s left to wonder is how many more lives she’ll lift in the process.
翻译：
她是很简单，一个全球性的超级巨星。
泰勒·斯威夫特是十次格莱美奖得主，在音乐行业的最高荣誉历史上最年轻的收件人，格莱美奖 年度最佳专辑 和她在格莱美的历史上，赢得年度专辑中唯一的女性，两次。泰勒是历史上唯一的艺术家有一个专辑创下100万首周销售数字的三倍（2010年的 讲 现在， 2012的 红 和2014年 1989年）。她是一个家喻户晓的名字，其疯狂朗朗上口又非常个人化的自我写作的歌曲超越了音乐类型，和谁建立了一个儿时的梦想变成一个帝国一个精明的商人。
但数字并不能说明泰勒的故事的一半，以及她可能。毕竟，它是提升雨燕到我们的流行文化的星球的平流层的无形资产，让25岁的创作歌手，以更稀薄的空气轨道。她的大型慈善捐款是一回事，但它是在小手势 – 同情她的Instagram的照片失恋歌迷职位的笔记，真正拥抱她分配没有自由裁量权 – 在斯威夫特再次证明一次，铂金销售，创纪录的成功并没有改变她的内在本质。她笨拙地诚实，有力地同情; 无耻超级粉丝，忠实的朋友，心中猛的保护; 和世界上最伟大的只是被自己的力量大使之一。
当然，泰勒，“做自己”趋向于波光粼粼，游丝完美-但每当她穿上假背带和三小马小丑围绕深夜电视上这是经常吹的图像。她是第一位艺术家，因为甲壳虫乐队（和唯一的女艺人在历史上）六个星期或以上1号有三个连续的录音室专辑记录。虽然她被评为 公告牌 杂志的 口碑
在2014年，泰勒发行了她广受好评的第五张专辑，秋季 1989一个已被称为不可能的任务-她通过出售其首周近1.3万张专辑震惊了世界。她称 1989年 她最有凝聚力的忏悔的最爱。这是一块试金石：泰勒的词曲创作和声音的演进比以往任何时候给我们带来惊喜。重键盘-并击败驱动的，在 1989年，在弹出的情面一直泰勒的音乐的标志现在进入前沿和中心。并在整个专辑的发行和破纪录的世界巡演随后，她发现自己，一如既往地在令人眩目的镁光灯刺眼-但如果你认为她害怕，你还没有被重视。她炽烈到她仍然年轻的职业生涯，在那里她将继续起舞吧，就像没有人注视，写像她偷走了我们的集体日记，并不可避免地飙升到越来越大的高度的下一阶段。所有剩下的怀疑是她会多少生命在这个过程中解除。
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