input: Swift uses her life experiences as an inspiration in her work. In her songs, Swift often addresses the "anonymous crushes of her high school years" and celebrities. Swift frequently criticizes ex-boyfriends, an aspect of her songwriting downplayed by The Village Voice: "Being told What Songs Mean is like having a really pushy professor. And it imperils a true appreciation of Swift's talent, which is not confessional, but dramatic." However, New York believes the media scrutiny over her decision to "mine her personal life for music ... is sexist, inasmuch as it's not asked of her male peers". The singer herself has said that not all her songs are factual and that they are sometimes based on observations. Aside from her liner note clues, Swift tries not to talk about song subjects specifically "because these are real people. You try to give insight as to where you were coming from as a writer without completely throwing somebody under the bus". For a female to write about her feelings, and then be portrayed as some clingy, insane, desperate girlfriend in need of making you marry her and have kids with her, I think that's taking something that potentially should be celebrated--a woman writing about her feelings in a confessional way--that's taking it and turning it and twisting it into something that is frankly a little sexist. The Guardian has praised Swift for writing about teenage years "with a kind of wistful, sepia-toned nostalgia" over the course of her first two albums. New York has remarked that many singer-songwriters have made great records as teens, but "none made great records so explicitly about their teens". The magazine has also compared her work to Brian Wilson. In Fearless, Swift featured fairy tale imagery and explored the disconnect "between fairy tales and the reality of love". Her later albums address more adult relationships. In addition to romance and love, Swift's songs have discussed parent-child relationships, friendships, alienation, fame, and career ambitions. Swift frequently includes "a tossed-off phrase to suggest large and serious things that won't fit in the song, things that enhance or subvert the surface narrative". Rolling Stone describes Swift as "a songwriting savant with an intuitive gift for verse-chorus-bridge architecture". According to The Village Voice, she uses third-verse point of view reversals frequently. In terms of imagery, repetition is evident in Swift's songwriting. In The Guardian's words, "she spends so much time kissin' in the rain that it seems a miracle she hasn't developed trenchfoot". Slant Magazine adds, "to Swift's credit, she explores new lyrical motifs over the course of [her fourth] album". Although reviews of Swift's work are "almost uniformly positive", The New Yorker has said she is generally portrayed "more as a skilled technician than as a Dylanesque visionary".

Answer this question "Has Swift spoken of any other influences for her lyrics?"
output: Swift often addresses the "anonymous crushes of her high school years" and celebrities.

input: The original band membership consisted of saxophonist Walter Parazaider, guitarist Terry Kath, drummer Danny Seraphine, trombonist James Pankow, trumpet player Lee Loughnane, and keyboardist/singer Robert Lamm. Parazaider, Kath, Seraphine, Pankow and Loughnane met in 1967 while students at DePaul University. Lamm was recruited from Roosevelt University. The group of six called themselves "The Big Thing", and played top 40 hits. Realizing the need for both a tenor to complement baritones Lamm and Kath, and a bass player because Lamm's use of organ bass pedals did not provide "adequate bass sound", they added local tenor and bassist Peter Cetera. While gaining some success as a cover band, the group began working on original songs. In June 1968, at manager James William Guercio's request, The Big Thing moved to Los Angeles, California, and signed with Columbia Records. The band changed its name to "Chicago Transit Authority". It was while performing on a regular basis at the Whisky a Go Go nightclub in West Hollywood that the band got exposure to more famous musical artists of the time. Subsequently, they were the opening act for Janis Joplin and Jimi Hendrix. As related to group biographer, William James Ruhlmann, by Walt Parazaider, Jimi Hendrix once told Parazaider, "'Jeez, your horn players are like one set of lungs and your guitar player is better than me.'" Their first record (April 1969), the eponymous Chicago Transit Authority, is a double album, which is rare for a band's first release. The album made it to No. 17 on the Billboard 200 album chart, sold over one million copies by 1970, and was awarded a platinum disc. The album included a number of pop-rock songs - "Does Anybody Really Know What Time It Is?", "Beginnings", "Questions 67 and 68", and "I'm a Man" - which were later released as singles. For this inaugural recording effort the group was nominated for a Grammy Award for 1969 Best New Artist of the Year. According to Peter Cetera, the band was booked to perform at Woodstock in 1969, but promoter Bill Graham, with whom they had a contract, exercised his right to reschedule them to play at the Fillmore West on a date of his choosing, and he scheduled them for the Woodstock dates. Santana, which Graham also managed, took Chicago's place at Woodstock, and that performance is considered to be Santana's "breakthrough" gig. A year later, in 1970, when he needed to replace headliner Joe Cocker, and then Cocker's intended replacement, Jimi Hendrix, Graham booked Chicago to perform at Tanglewood which is considered by some to be a "pinnacle" performance. After the release of their first album, the band's name was shortened to Chicago to avoid legal action being threatened by the actual mass-transit company of the same name.

Answer this question "Are there any other interesting aspects about this article?"
output:
Their first record (April 1969), the eponymous Chicago Transit Authority, is a double album, which is rare for a band's first release.