Taylor Alison Swift is an American singer-songwriter. She is known for narrative songs about her personal life, which have received widespread media coverage. At age 14, Swift became the youngest artist signed by the Sony/ATV Music publishing house and, at 15, she signed her first record deal.
Her 2006 eponymous debut album was the longest-charting album of the 2000s in the US. Its third single, "Our Song", made her the youngest person to single-handedly write and perform a number-one song on the Billboard Hot Country Songs chart. Swift's second album, Fearless, was released in 2008.
Buoyed by the pop crossover success of the singles "Love Story" and "You Belong with Me", it became the US' best-selling album of 2009 and was certified diamond in the US. The album won four Grammy Awards, and Swift became the youngest Album of the Year winner.
‘I Get Knocked Down’ Review: Singer Thumps a Tub for Life After Chumbawamba’s Lone Hit
variety.comChris Willman Music WriterIt’s one thing to grapple with having been a one-hit wonder, and another when that singular smash may have given the world a wrong impression of what you were all about … or just represented a moment in which selling out was quickly succeeded by flaming out.
These are some of the matters troubling former Chumbawamba frontman Dunstan Bruce’s mind in “I Get Knocked Down,” wherein the singer takes part as narrator, co-director, primary subject and putative conscience of a swept-aside alt-rock generation.
His intention with the film is to beat himself up a little and find some redemption, proceeding from the assumption that having been responsible for 1997’s globally massive “Tubthumping” is not its own eternal reward. “I Get Knocked Down” — named for a line in the chorus of “Tubthumping,” which will be instantly familiar to just about anyone sentient in the late ’90s — quickly emerges out of the gate as an often intriguing, sometimes unwieldy combination of two filmmaking approaches.
Parts of the film are pretty straightforward rock-doc, with plenty of satisfying archival footage portraying the long rise and short-lived plateau of Chumbawamba, a collective of self-described anarchists from Leeds who aimed to mix agitprop and pop and ended up sneaking leftist politics onto “Top of the Pops” and “The Rosie O’Donnell Show.”But the film’s beginning and ending and significant interludes in the middle are staged like an adaptation of a one-man (or two-man) show, with Bruce doing monologues about middle-aged angst, or being stalked by a sinister figure wearing a mask modeled after the grotesque baby head on the “Tubthumping” album cover.
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