#Restore apple mailbox

[restoreappleemail]

Best solution to restore Apple email

Don’t look any further for a solution to restore Apple email

Maybe you have never felt the need to restore data. But you keep hearing the experts telling you to archive email data and keep ready for restore if need be. You cannot ignore this advice as it is extremely valid and important. Archiving emails and backing up data regularly is what any wise person will do because we know how data is so prone to damage or hacking or other kind of losses. This is especially true when original messages don’t get stored in device like the case with IMAP based services. You will need to restore Apple email in a case you lose data due to any reason like hardware failure or some other. You will be able to restore only if you have backed it up or archived email folders. Else, you will not be able to do anything. You need a good backup and recovery option for this. Although we will be focusing on a method which covers all IMAP based email services like Gmail, Thunderbird, Yahoo, etc., you can read a little about Apple email to get a fair idea why we must backup emails. Here is the link- https://en.wikipedia.org/wiki/Apple_Mail

Best way to restore Apple email is with a certified software

There are a few methods available to backup as well as restore Apple mails and other on Mac. Yet, you see experts recommending only certified tools. Why is it so? Why don’t they recommend a manual method or maybe restore Apple email app which works online? There must be some factor behind it. While manual methods are never recommended for any similar task which is to be done regularly, they also pose a great challenge to novices. And when we talk of online apps, they are fraught with dangers like data loss, data stealth, corruption, etc. Along with these risks, there is almost zero support available for any doubts or mishaps. This means we shouldn’t be using these apps. We should only use a reliable certified archiving and restoring tool like Mail backup X by InventPure. This is the best one out there for end users.

Now restore Apple email account and other multiple accounts in a short, precise, and easy way

This tool makes it really easy, quick, as well as accurate to backup and restore IMAP emails on Mac. There is something else also which we need to look at. If I am in a need of a software, and I have heard good things about it, even then it would be normal for my mind to have some doubts. All users face these doubts and thus this issue must be settled. This issue is settled by bringing to users a free albeit a limited use demo of this backup tool so that their doubts are settled. They can use most of the important functions that the full restore Apple email tool comes with and once satisfied, they can purchase full version for daily data preservation in the manner they prefer https://www.mailbackupx.com/restore-apple-email/.

[jhonharlley]

How to Convert MBOX to EML File Format?

The need to convert MBOX files to EML arises for several reasons, primarily to facilitate accessibility, compatibility, and ease of sharing. MBOX and EML are two distinct file formats used in different email clients. While MBOX files consolidate multiple emails into a single file, EML files store each email as a standalone file, compatible with a broader range of email applications. In this article, we’ll dive into an in-depth, step-by-step guide on converting MBOX to EML to improve email portability and ease of use.

Understanding MBOX and EML File Formats

What is MBOX?

MBOX (Mailbox) is a file format used by various email applications to store messages collectively within a single file. Commonly supported by Mozilla Thunderbird, Apple Mail, Entourage, and others, MBOX is an open-source format that saves all emails in a single text file.

What is EML?

EML (Email Message) is a more versatile format and widely used due to its compatibility across a larger variety of email clients, including Microsoft Outlook, Outlook Express, Windows Live Mail, and others. Each email is saved as a separate file with the .eml extension, preserving metadata such as sender, recipient, subject, and attachments.

Reasons to Convert MBOX to EML

1. Enhanced Compatibility EML files are compatible with multiple platforms, making them accessible across most email clients.

2. Better Organization Each email is saved as an individual file in EML format, making email management more organized.

3. Easier Backup and Restoration With each email stored individually, EML files allow for more streamlined backups and recovery in case of data loss.

4. Improved Portability You can transfer EML files to different devices easily, allowing users to read emails offline.

Methods to Convert MBOX to EML

There are several ways to convert MBOX to EML, including manual techniques and the use of automated tools. Here’s a look at the most effective methods available.

1. Manual Method Using Mozilla Thunderbird

Mozilla Thunderbird, an open-source email client, offers a simple way to convert MBOX files to EML format.

Steps to Convert MBOX to EML in Thunderbird:

Install Thunderbird: If you haven’t already, download and install Mozilla Thunderbird on your device.

Import MBOX File:

Go to Tools > Add-ons > Extensions.

In Top right you can see “ImportExportTools NG” and install it.

After installation, restart Thunderbird.

Use ImportExportTools NG to Import MBOX File:

In Thunderbird, click on Local Folders > Right-click > ImportExportTools NG > Import MBOX file.

Choose your MBOX file to import that file in thunderbird.

Export Emails to EML Format:

After MBOX import, select the emails or folders you want to export.

Right-click on the selected emails and choose ImportExportTools NG > Export all messages in folder > EML format.

Choose a path where you want to save the EML files.

This method is free and effective but may require more effort if you have multiple MBOX files to convert.

2. Using Dedicated MBOX to EML Conversion Software

For large volumes of emails or multiple MBOX files, you use our MBOX to EML converter tools are highly recommended like Webbyacad MBOX converter software.

Advantages of Using Webbyacad MBOX Converter Software:

Batch Conversion: Convert multiple MBOX files to EML in one click.

Retention of Metadata: Keeps email details intact, such as date, sender, recipient, and attachments.

Using Webbyacad MBOX Converter Software:

Download and Install: Download the Webbyacad MBOX Converter Software and install the software on your system.

Add MBOX Files: Select the Add File option to import MBOX files.

Select EML: Choose the EML option from the dropdown as the export format.

Choose Output Location: Specify where the converted EML files should be saved.

Start Conversion: Click Export to initiate the conversion.

Our software also comes with a free trial version, this allows users to test functionality before committing to purchase.

3. Online MBOX to EML Converters

For users who prefer not to install software, several online conversion tools can help convert MBOX to EML. These tools are typically free for small conversions, but they may have file size limits or lack privacy assurances. Always check privacy policies and limitations before uploading sensitive data.

How to Use an Online Converter:

Go to the Website: Visit the chosen online conversion tool’s website.

Upload MBOX File: Select and upload the MBOX file.

Select EML Format: Choose EML as the output format.

Download Converted Files: Once the conversion is complete, download the EML files to your device.

Note: Be cautious while using online converters, especially if the data is sensitive, as these tools may not guarantee data confidentiality.

Best Practices and Tips for Converting MBOX to EML

Backup Original Files: Always keep a backup of the original MBOX file in case any errors occur during conversion.

Use Reliable Software: When using third-party software, opt for reliable and reputable solutions to avoid data corruption or loss.

Check Compatibility: Ensure that your email client is compatible with EML files before converting.

Test on a Small File First: If you have a large volume of emails, start with a small file to test the conversion accuracy and software functionality.

Common Issues and Troubleshooting Tips

1. File Size Limitations: Some converters have file size limitations. Consider breaking down large MBOX files or using premium tools.

2. Loss of Attachments: Some conversion methods may not retain attachments. Ensure the software you choose explicitly supports attachment preservation.

3. Formatting Issues: After conversion, some emails may display formatting inconsistencies. Preview a few EML files in your email client before transferring the entire batch.

By following this comprehensive guide, you can successfully convert your MBOX files to EML and enjoy the enhanced flexibility, compatibility, and organization offered by the EML format. Choose the method that best suits your needs, considering factors like email volume, operating system, and any security concerns.

[restoremacemail]

Restore MAC Mail - Software (on Wattpad) https://www.wattpad.com/1471479948-restore-mac-mail-software?utm_source=web&utm_medium=tumblr&utm_content=share_reading&wp_uname=michealmayor Restore mac email from apple mail could be risky if you fall prey to a trap of the wrong restore mac email tools. Therefore, a right selection of the tool is very important to execute restoring of emails from apple mailbox.

[appleemailbackup]

An easy process on how to backup apple email

I want to share my experience on apple email backup because most of the mac users are used to apple mailbox like me. There are various reason to support it however; my favourite reason is configuration of other mail clients in apple.

If you are wondering that apple mail supports other email services as well then you should definitely click below link for more information.

Many people still wonder on the subject ‘apple email backup and restore’, may be because they are confused on how to do it.

So, I thought to introduce an apple email backup tool to provide a perfect apple email backup solution.

So, just follow the easy steps of this apple email backup software.

Step 1 Launch the application of Mail Backup X by InventPure, it will display a dashboard on the screen. Select ‘Add new backup’ under Backup Setup for apple mail.

Step 2 After clicking on Add new backup, it will display a list of different IMAP accounts like Office 365, Mozilla Thunderbird, GMAIL, Postbox and so on. Select apple mail from the dialog box.

Step 3 The next step allows the tool to load data from the selected source yahoo mail.  The tool will scan through the database and read the email files that are require for archival. It will take few minutesfor the tool to scan the files in your database. In few minutes, you get an actual status of the files and items being scan and procure.

Step 4 The next step is to choose apple email backup folder as the storage and click on done for completion. It allows picking the location where you want to back up the data. You can browse in your folders and choose the right place to store it. You can assign a name to the yahoo backup file to locate it later. You can also choose the option for automatic detection of changes in your database so that they can be sync to the backup. The tool offers this option as an added benefit that can be rarely found in the tool. The tool is loaded with advanced algorithms, which can detect and sync the changes made in the database.

Step 5�� The next screen is the Backup confirmation screen which shows the status of the backup that has been completed. It also shows the total number of files that are back up along with a backup log. You can see how many backups being synchronized. This is the final confirmation step that makes yousure that your files have been backed up successfully and with accuracy.

Demo version of the tool eases the selection process

Even if I have produced the steps, it is important to go ahead with the registered version of the tool but not before you test it. It is advised to test the tool with a fifteen days demo version to understand more about the tool and clear your doubts. That is why, I have produced the link of the website below https://www.mailbackupx.com/how-to-backup-apple-mac-mail-mails-on-mac/.

[mailbackuptool]

Restore Apple Email With Mail Backup X Software

Mail Backup X is your perennial, utterly reliable companion to restore Apple mail in a seamless manner sans any errors. It is a premium product from a premium team of software experts who have burnt the midnight oil to devise an Apple email backup utility that is self sufficient to accomplish all yours mail backup and restore emergencies. Restoring and backing up data is a task that cannot be shoved into the backburner as due to a freak circumstance your data may become sheer gibberish. So having multiple repositories of data in your kitty is a prudent choice, as it allows you to access data from alternate locations in case one data storage location becomes inaccessible due to odd shift of events.

Nothing like Mail Backup X to restore Apple mail

Mail Backup X is one of its kind software that puts consumer in the driver’s seat and offers him all the technical gear he needs to steer the data flow to the envisioned end. The online zone is jam-packed with inefficient data restore utilities that lose their value from the complexity in operating them. Such utilities need an expert intervention on how to restore Apple email. On the other hand, Mail Backup X has been derived with the principle of simplicity so that both novices and experts can use it with similar ease. Users feel consumed by defeat if a promising software package is entangled in a complexity-triggering usage course. This is where Mail Backup X comes to your rescue by restoring and backing up data with a series of steps that can be executed with consummate ease.

How to restore Apple email in the most meaningful manner?

Restoring data should be complimented by an ideal backup and restore strategy that is duly available with Mail Backup X. Besides restoring data, it also helps you build your own backup strategies that bring about savings in time, space and money. For example, you may perform full data backup and this option can be complemented with automatic backup where latest snapshot of your fresh mails is imprinted to the storage device of your choice which may be a pen drive, an external hard disk, etc. Secondly, you need not backup mails that are seen as less important. This is where selective backup feature comes into picture where you can pick folders of your choice to be safely backed up. You can also enjoy up to 3x savings in space as data will be stored into concise archives without playing any havoc with its sanctity. This not only saves time but also brings down the cost of data storage.

Restore Apple mail with Mail Backup X recognized as the most economical software package

Mail Backup X has been regarded as the most economical and advantageous software package by seasoned software experts. They have also have given high regard to its envy-evoking performance. It is among the cream of the crop with regards to catering speed and safety in performance. Access its 15 days free demo version right away to flag off a satisfaction-provoking journey with a state of the art software package.

[aiweirdness]

New Disney villains

Earlier I tried an experiment where I tried to get the GPT-3 neural nets, trained on a huge collection of internet text, to generate new Disney princesses. From just two example wiki entries, I got incorrect reimaginings of existing princesses (Snow White apparently has a magic wand, a fake shoe, and a stolen chicken), and brand new princesses (Banks Afloat, pirate of a swamp in a suburb of Buffalo). The princesses were, in general, extremely powerful. So for balance I decided to see what the villains would look like.

I summarized Disney Wiki articles for Ursula (occupation: sea witch) and Scar (occupation: lion), then asked GPT-3 to fill in the next entries.

DaVinci, by far the largest of the GPT-3 variants, tended to complete the list with real Disney villains, but do it somewhat incorrectly. Apparently Gaston is now a chef.

Name: Jafar Occupation: Ruler of Agrabah Powers and abilities: Ordinary magic, Killing by staring, Induce Fear into others, Shrinking (and later restoring people to normal size) Likes: Evil, snakes, power, being high and mighty, getting rid of meddling fools, starting fights, manipulating others, treasure, exploiting blind trust, parading around in his cool suit, smooth jazz, winning, looking at himself in the mirror Dislikes: Willful insubordination, lamp oil (although his men practically bathe in the stuff), being taken for a fool, that song "A Whole New World", magic carpet rides, shady deals that go sour, not getting proper respect

Name: Cruella De Vil Occupation: High-class fashion designer Powers and abilities: Ordinary witchcraft Likes: Red, black, white, length-changing, scary things/concepts, classical paintings, dogs, white animals, money, cruelty/cruelty against kindness/animals, dingo-didi-dango, Ben & Jerry's Chocolate Chip Cookie Dough, not getting proper respect, brief moments of calm, Johnny Cash, her car (the black Cadillac) Dislikes: Any kind of dog, snakes, rabbits, bad publicity, good publicity, common or poor people in general, feeling unnoticed, hearing her own name, poor sales, Chihuahuas, spinach, playing the clarinet, Dr. Facilier, being double-crossed, losing to the heroes, having a cold, tight clothes, the sound "eeh-eeh!", her accountant

Name: Gaston Occupation: Chef Powers and abilities: Utter confidence, presence, charm Likes: Acceptance, feeling dashing and irresistible, being respected, apple turnovers, wooing ladies, Lillian, making and eating food, fame, lavishing praise on himself Dislikes: Insults, being ignored, being used like a tool, people who disagree with his ideas

On the other end of the GPT-3 size spectrum we have Ada, who completed the list of Disney villains not with existing villains but with its own original characters. Some of them are quite powerful indeed. I do have questions about some of their abilities though.

Name: Cowhell Occupation: Ice Dragon, Bleaths and Dinchyshire Powers and abilities: Second-hand telepathy, magic resistance, control over unknown monsters, and magic control (for high enchantment) Likes: Power, water vapors, fun, flying, cheerleading, thlynde, eatin eels Dislikes: Red wine, sunbathing, fairies, excessive negative thoughts, fighting, crazy gladiators, having to dress strictly in sasquatch fashions

Name: Another Advertisement: Personality: One of OsFreeNs Giants? Powers (best): Dry swimming, Breakthrough, Healing, some form of phoenix fly-speedy or a/the flying material or a/the magic element Dislikes: Solids with bad Prawn factor, Fishn in cages, anger and constant noise in the room

Name: Glaucous (Captain) Dislikes: Methinks those cows will go fast enough regardless of this poor storm! Paraphernalia: Large voids, severed heads, eyeball beast Likes: "Combat" (including using his magic remotely), toying with more obscure topics, asking complicated questions, judging people by their actions (except the rational type), so much time with his children, brag-good and evil characters

Name: McGilling / Maridly (Meredith) Occupation: Hersey mermaid Powers and abilities: Missimension, super strength (albeit in the form of the Moon), healing, survival of the fittest nature, how to be an attribute of water Dislikes: Power plant, those who mess with her due to her powerful mermaid magic (and inner strength), the rule of Mrs. Fairfax, power/control over water

Name: Kal Occupation: Nunchuck. Paraphernalia: Infusion of Mud, Large, Small Cumulus Needle, Additional Cape (designed by Ursula), Hood (as she is a witch), Cloak (as an elf), Glasses (as an elf), Semblance Powered by Cakes Dislikes: Hiders, plants

Name: Hildave Occupation: Lady Python Powers and abilities: Terraforming, turning others children into lizards, healing, conversation, age bending, telepathy Likes: Her clothes, other people, talking, age bending, eating, talking, animals Dislikes: Narcissist, having enemies, talking bad of others

Name: Unicorn Occupation: Unknown Powers and abilities: Another personality, can transform into a variety of different species, transport and carry airbags (union van). A practical genius, investigator extraordinaire, and gifted poolroom rapper. Dislikes: Losing one's purse, judges, corrupt corporations, depravity, cruelty, anonymity, aggression, TV, exhaustion, work reduction, dinosaurs, anything that goes the opposite direction

If you detect a slight sea-witch theme, I don’t think it’s a coincidence. Unsure whether Ursula and Scar were two random villains or part of a trend, the characters on average seemed to split the difference and come up with characters who were animals (preferably sea animals) with witchy powers. This was the most evident in the middle-sized GPT-3 variants, Curie and Babbage, who seemed to be big enough to detect a trend, yet not big enough to be accurate about existing villains. Become an AI Weirdness supporter for bonus results from Curie and Babbage - or become a free subscriber to get new AI Weirdness posts in your mailbox.

[cerealqueenll]

Story of Seasons: Friends of Mineral Town - Quiz Book Answers

These are all the possible questions in the secret Quiz Book item in Story of Seasons: Friends of Mineral Town for the Switch. This has the new updated questions from the Switch release and it contains several new questions.

The book will give players a series of questions in a random order, and if you are able to answer 100 consecutively, you win a prize(?). The questions can appear in any order, can repeat in the same sequence, etc.

Questions in both versions of the game are the same!

Some questions may fall into several sections, so please be aware of that. This should be all available questions/answers in the book. If not, please contact me!

Shipping Questions

Of the crops on the following list, which ships for the highest price? Cabbage What is the shipping price of Elli Leaves? This item can’t be shipped What is the shipping price of an Ancient Fossil? 5,000G What is the shipping price of Carrots? 120G What is the shipping price of Black Grass? 10G What is the shipping price of Orichalcum? 50G What is the shipping price of a Ruby? 75G What is the shipping price of Yarn (G)? 2,000G What is the shipping price of a Large Fish? 200G What is the shipping price of Relax Tea Leaves? 1,000G What is the shipping price of a Hot Spring Egg? 80G What is the shipping price of an Emerald? 80G What is the shipping price of Fluorite? 65G What is the shipping price of a Brooch 1,800G What is the shipping price of Agate? 62G What is the shipping price of Cheese (M)? 380G

What is the shipping price of Chocolate? 50G

What is the shipping price of a Diamond? 100G

What is the shipping price of Scrap Ore? 1G

What is the shipping price of a Mushroom? 50G

What is the shipping price of Alexandrite? 10,000G

What is the shipping price of Peridot? 68G

What is the shipping price of Mayonnaise (P)?  450G

What is the shipping price of a Bamboo Shoot?  50G

What is the shipping price of Wild Grapes? 30G

What is the shipping price of Sandrose? 60G

What is the shipping price of White Grass? 150G

What is the shipping price of Spinach? 110G

What is the shipping price of a SUGDW Apple? 50G

What is the shipping price of a Pink Diamond? 10,000G

What is the shipping price of Cabbage? 250G

What is the shipping price of Corn? 85G

What is the shipping price of Sandrose? 60G

What is the shipping price of Pumpkins? 280G

*What is the shipping price of Green Peppers? 40G

What is the shipping price of Mithril? 40G

How many total items are there that can be shipped? 157

What is the shipping price of Topaz? 70G

What is the shipping price of Strawberries? 65G

What is the shipping price of an Amethyst? 60G

What is the shipping price of Moonstone? 55G

What is the shipping price of a True Magic Red Flower? 200G

TV Show Questions

In the “Mechabot” TV series, what day is Rory’s birthday? Dec. 25 

How many episodes are there in the TV show “Mechabot Ultror: The Autumn Breeze”? 47

In the TV show "Mechabot Ultror: The Autumn Breeze," what is the title of Episode 6? Morning of Battle

How many episodes are there in the TV show “Mechabot Ultror Zero”? 20

In the TV show “Mechabot Ultror Zero,” who does the team receive Mechbots from? A shining figure

How many episodes are there in the TV show “Swip-Swap”? 39

In the TV show “Swip-Swap,” what is the correct spelling of the female main character’s name? Adrienne 

In the TV show “Swip-Swap,” what is Adrian’s 4th period class? Math

In the TV show “Swip-Swap,” what is the name of Adrienne’s best female friend? Dani

In the TV Show “F-3.14 MGP,” what is the name of Bellis’ mech? Peretus

In the TV Show “F-3.14 MGP,” what kind of magic does Cosmos use? Dark Magic

In the TV show “Dear Princess,” where did the Legendary Hero go to defeat the previous Dark Lord? North

How many episodes are there in the TV show “Dear Princess”? 34 

How many episodes are there in the TV show “Card Collector Chisato”? 12 In the TV show “Card Collector Chisato,” how many cards does she have left to find by the end of Episode 6? 25

In the TV show “Tasty Time,” who wins the Fried Rice cook-off? Contestant A

In the TV show "Star Lily. Heart Snatcher ☆," what is the name of the stray puppy that Himeyuri found? Agapanthus

How many episodes are there in the TV show "Star Lily. Heart Snatcher ☆”? 25

In the TV show "Star Lily. Heart Snatcher ☆," what is the secret identity of Star Lily? Himeyuri

In the TV show "Star Lily. Heart Snatcher ☆," what is the name of Sakura’s grandmother?

Yamabuki Haruhi

In the TV show “Star Lily, Heart Snatcher ☆,” who won the final confrontation, Star Lily or Sakura? It’s a secret

In the TV show, “Emerald Academy - Maiden Memoirs,” what is the title of File 51? The Stumbling Maiden

*How many episodes are there in the TV show “Fairy and Me - Her Wish”? 36

In the TV show “Fairy and Me - Her Wish”, what dish did the girl make for the boy? Curry Rice

Stamina & Fatigue Questions

How much Stamina does eating Salad at the Inn restore? 20

How much Stamina does eating Spaghetti at the Beach Cafe restore? 40

How much Stamina does the Wild Grape Water at Dudley’s Inn restore? 1

How much Stamina does it take to use a Level 2 charge on the Cursed Axe? 20

What is the Stamina penalty if you eat a Poison Mushroom? -50

How much Stamina does eating Pizza at the Beach Cafe restore? 30

How much Stamina does eating Orange Grass restore? 0

How much Stamina does eating Shaved Ice at the Beach Cafe restore? 20

How much Stamina does eating Chocolate restore? 2

How much Stamina does eating Cookies at the Inn restore? 20

How much Stamina does eating a Hot Spring Egg restore? 4

How much Stamina does drinking Water at the Inn restore? *0

How much Stamina does eating Relax Tea Leaves restore? 2

How much Stamina does eating a HMSGB Apple restore? 2

How much Stamina does eating a Lunch Set at the Inn restore? 100

How much Stamina does eating a raw Medium Fish restore? 3

When you go to sleep with a True Magic Red Flower in your Vase, by how much does it boost your Fatigue recovery the next day? 10

How much Stamina does eating Apple Pie at the Inn restore? 50

How much Stamina does drinking Milk at the Inn restore? 20

How much Stamina does drinking Pineapple Juice at the Inn restore? 30

How much Stamina does eating Spinach restore? 3

How much Stamina does eating Cookies at the Inn restore? 20

How much Stamina does eating Roasted Corn at the Beach Cafe restore? 20

How much Stamina does an Orange Pastry restore? 27

How much Stamina does it take to use a Level 6 charge on a Blessed Sickle? 15

How much Stamina does eating Cheesecake at the Inn restore? 40

Fishing Questions

What is the maximum size Blotched Snakehead you can catch? 80cm

What is the maximum size Tuna you can catch? 250cm

What is the maximum size Sailfin Sandfish you can catch? 20cm

What is the maximum size Pike you can catch? 40cm

What is the maximum size Mahi-mahi you can catch? 180cm

What is the maximum size Squid you can catch? 50cm

What is the maximum size Fat Greenling you can catch? 40cm

What is the maximum size Loach you can catch? 12cm

You fish in the lake in spring and use a Level 5 charge on your Fishing Rod. What fish could you catch? Rainbow Trout

You fish in the lake in spring and use a Level 1 charge on your Fishing Rod. What fish could you catch? Bluegill

You fish in the lake in spring and use a Level 4 charge on your Fishing Rod. What fish could you catch? Crucian Carp

You fish in the Hot Spring in autumn and use a Level 4 charge on your Fishing Rod. What fish could you catch? Smelt

You fish in the ocean in winter and use a Level 1 chạrge on your Fishing Rod. What fish could you catch? Sailfin Sandfish

You fish in the lake in spring and use a Level 1 charge on your Fishing Rod. What fish could you catch? Bluegill

You fish in the ocean in winter and use a Level 7 charge on your Fishing Rod. What fish could you catch? Fat Greenling

You fish in the ocean in autumn and use a Level 5 charge on your Fishing Rod. What fish could you catch? Bonito Halibut

You fish in the ocean in winter and use a Level 5 charge on your Fishing Rod. What fish could you catch? Seerfish

You fish in the Hot Spring in summer and use a Level 5 charge on your Fishing Rod. What fish could you catch? Blotched Snakehead

You fish in the Hot Spring in winter and use a Level 1 charge on your Fishing Rod. What fish could you catch? Smelt

Which of the below can NOT be fished from the ocean? Coelacanth 

Weather Questions

What is the chance (%) that it will be sunny on any given spring day? About 70%

What is the chance (%) that it will be rainy on any given spring day? About 30%

What is the chance (%) that it will be rainy on any given summer day? About 10%

What is the chance (%) of a typhoon in summer? About 10%

What is the chance (%) that it will be sunny on any given autumn day? About 80%

What is the chance (%) that it will be rainy on any given autumn day? About 20%

What is the chance (%) that it will snow on any given winter day? About 40%

What is the chance (%) that there will be a typhoon on any given winter day? 0% chance

Expansion Questions

How much Lumber is required to change your home’s Mailbox? 150

How much Lumber is needed for your second home renovation? 600

How much Lumber is required to build the Bathroom? 300

How much Lumber is required to change your home’s Windows? 200

How much Lumber is needed to upgrade your Coop? 350

How much Lumber is needed to upgrade your Barn? 400

How much Lumber is required to build the Town Villa? 999

How much Lumber is required to expand your home the first time? 150

How much Lumber is needed to upgrade your Silo? 300

Store Price Questions

How much does Premium Grape Juice cost at Adge Winery? 300G

How much do Turnip Seeds cost at the General Store? 120G

How much does Dango Flour cost at the General Store? 100G

How much do Cucumber Seeds cost at the General Store? 200G

How much does Bread cost at the General Store? 100G

How much do Potato Seeds cost at the General Store? 150G

How much do Strawberry Seeds cost at the General Store? 150G

How much does a Grass Seedling cost at the General Store? 500G

How much do Earrings cost at the Forge? 1,000G

How much does a Milker cost at the Forge? 2,000G

How much does the Mayonnaise Maker cost at the Forge? 20,000G

How much do Clippers cost at the Forge? 1,800G

How much does a Brush cost at the Forge? 800G

How much does Chicken/Rabbit Feed cost at PoPoultry? 10G

How much does a chicken cost at PoPoultry? 1,500G

How much does an Angora rabbit cost at PoPoultry? 3,000G

How much does a Strawberry Cow cost at Yodel Ranch? 10,000G

How much does a sheep cost at Yodel Ranch? 4,000G

How much does a normal cow cost at Yodel Ranch? 5,000G

How much does Fodder cost at Yodel Ranch? 20G

How much does a Cow Breeding Kit cost at Yodel Ranch? 3,000G

Which of these Apples does Huang offer to sell to you? SUGDW

How much do Moondrop Flower Seeds cost at Huang’s shop? 500G

How much does a Truth Jewel cost at Huang's shop? 50,000G

How much does a Ball cost at Huang’s shop? 100G

How do Green Pepper Seeds cost Huang’s shop? 150G

How much does it cost to get an examination at the Clinic? 10G

*How much does a Stamina Booster XL cost at the Clinic?

2,000G

Character Questions

What is the Harvest Goddess’ special cheer? Pan paka paaan!

When is Plum’s birthday? Spring 4

When is Saibara’s birthday? Spring 11

When is Blueberry’s birthday? Spring 15

When is Mugi’s birthday? Spring 17

When is Lillia’s birthday?  Spring 19 

When is Aqua’s birthday? Spring 26

When is Sasha’s birthday? Spring 30

When is Harris’ birthday? Summer 4

When is Basil’s birthday? Summer 11

When is Mint’s birthday?  Summer 16

When is Thomas’ birthday? Summer 25

When is Zack's birthday? Summer 29

When is Gotts’ birthday? Autumn 2

When is Yu’s birthday?  Autumn 5 

When is Sunny’s birthday? Autumn 10

When is Manna’s birthday? Autumn 11

When is Cherry’s birthday? Autumn 14

When is Carter’s birthday? Autumn 20

When is Anna’s birthday? Autumn 23

When is Dudley’s birthday? Winter 11

When is Ellen’s birthday? *Winter 13

When is Duke’s birthday? Winter 15

When is Pumpkin’s birthday? Winter 22

When is Mei’s birthday? Winter 26

When is Jeff’s birthday? Winter 29

General Mineral Town Questions

Which of the below if NOT found in the Mountain Villa? A TV

How many squares of tillable land are there on your farm? 1,075

How many bookshelves are there in the Library? 15

What cooking utensil goes on the very top right of the Kitchen? Oven

In the back room of the General Store, there is one painting. What is it of? My House

There are two paintings on the 2nd floor of PoPoultry. One is of a mountain. What is the other one? A flower

What greeting does the weather reporter on the TV in your Town Villa use? G’day, all!

How many beds are there in Yodel Ranch? 4

What message do you get when you examine the clock in Mayor Thomas’ house? Clock

How many streetlamps are there in Mineral Town? (Including the ones in Rose Plaza.) 22

When you go into the Bathroom in your house, how much time passes? 30 minutes

What background color is used for Wednesday on your Calendar? Yellow

How many potted plants are at the Clinic? 8

How many Feeding Bins are there in a renovated Barn? 18

Item Questions

If you hold a piece of Alexandrite in your hands outside, what color does it appear to be? Green

How many items are there with the word “Grass” in their name? 15

In “Milk (P),” what does the “P” stand for? Platinum

What is the chance (%) that any Magic Red Flower Seeds will actually bloom as a True Magic Red Flower? About 5%

Tool & Player Questions

If you equip the Pedometer and press the Tool Button, how many steps does it go up? (When carrying no items.) 1

On the Menu Screen, which tab is the furthest to the right? Relationships

When you enter your name, what is the maximum character count? 8

You use a Level 7 charge on your Sickle. How many squares will you harvest? 81 squares

Calendar Questions

What day of the week was Spring 1 in Year 1? Sunday

What day of the week was Summer 2 in Year 1? Wednesday

What day of the week was Summer 16 in Year 1? Wednesday

What day of the week was Autumn 1 in Year 1? Thursday

What day of the week will Spring 5 in Year 5 be? Monday

What day of the week will Summer 22 in Year 5 be? Saturday

What day of the week will Spring 20 in Year 10 be? Sunday

What day of the week will Autumn 10 in Year 10 be? Tuesday

What day of the week will Winter 3 in Year 12 be? Friday

What day of the week will Autumn 2 in Year 21 be? Thursday

What day of the week will Winter 20 in Year 30 be? Friday

What day of the week will Spring 20 in Year 47 be? Tuesday

What day of the week will Autumn 5 in Year 55 be? Saturday

What day of the week will Summer 20 in Year 75 be? Thursday

What day of the week will Summer 9 in Year 92 be? Wednesday

What day of the week will Spring 1 in Year 100 be? Monday

What day of the week will Autumn 10 in Year 100 be? Sunday

What day of the week will Summer 4 in Year 123 be? Monday

What day of the week will Winter 4 in Year 123 be? Friday

What day of the week will Winter 11 in Year 134 be? Tuesday

Holiday Questions

How many medals must you earn in the Derby to trade for the Adamantite prize? 4

How many medals must you earn in the Derby to trade for the Matsutake prize? 10

How many medals must you earn in the Derby to trade for the Brooch prize? 18

How many medals must you earn in the Derby to trade for the Diamond prize? 14

How many medals must you earn in the Derby to trade for the Necklace prize? 20

How many medals must you earn in the Derby to trade for the Sunblock prize? 30

How many medals must you earn in the Derby to trade for the Lotion prize? 35

How many medals must you earn in the Derby to trade for the Face Pack prize? 42

How many medals must you earn in the Derby to trade for the Perfume prize? 150

How many medals must you earn in the Derby to trade for the Dress prize? 250

How many medals must you earn in the Derby to trade for the Power Berry prize? 900

How many medals must you earn in the Derby to trade for the Truth Jewel prize? 1000

What day is the Mochi Bonanza? Spring 1

What day is White Day? Spring 14

What day is the Spring Derby? Spring 18

What day is the Cooking Exhibition? Spring 22

What day is the Fetch Fest? Summer 1

What day is the Cluck-Cluck Clash? Summer 7

What day is the Moo-Moo Festival? Summer 20

What day is the Fireworks Festival? Summer 24

What day is the Concert? Autumn 3

What day is the Harvest Festival? Autumn 9

What day is the Moonlight Night? Autumn 13

What day is the Autumn Derby? Autumn 18

When is the Fluffy Festival? Autumn 21

What day is the Pumpkin Jamboree? August 30

What day is Valentine’s Day? Winter 14

What day is Starlight Night? Winter 24

What day is the Starlight Night gift giving? Winter 25

What day is the New Year’s Party? Winter 30

[i-dream-of-twilight-sparkle]

Chapter 14: The Royal Ball, Part 2 - Autumn Blaze’s Puppet Show

At the table where the Elements of Harmony & Spike are sitting, the place was still generally buzzing after Trixie’s performance.

Rainbow: Dang, that was a pretty wild ending! I assume that’s what Trixie wanted to talk to you about, huh Twilight?

Twilight: It was, yes.

Pinkie: Trixie, had to get a wish to do that? Phbbbt, amateur…

Twilight’s raises a hoof to reply to Pinkie. Then remembers there was one time she saw Pinkie pop out of a mailbox, if there was one pony who could actually find some way to fit herself into something much smaller then themselves without magic, wish or otherwise. It was likely Pinkie Pie. Trixie’s probably pretty lucky Pinkie didn’t get into becoming a stage magician. Twilight just shakes her head and decides to change subject.

Twilight: So how did the time getting all your invitees go?

Applejack: Pretty fine, Ah went t’ the farm first of course. Ah let Apple Bloom get Zecora, Ah went t’ Manehattan t’ get Rara, then the Kirin village, and while he declined to go. Apple Bloom wanted t’ go see Grand Pear, and we… found him laying more flowers at my parent’s graves…

The rest of the table giving sad, sympathetic faces for Applejack

Applejack: It’s ok girls, always ah sad time t’ see my parents graves again. But ah’m alright, don’t let me mentioning mah parents get ya’ll down.

Her friends still at least respectfully goes a little bit of time silent. Before Rainbow starts to speak up about her time.

Rainbow: Well uh… I went to go see Scootaloo at her aunt’s house first. She was in the bathtub, turns out she’s really been using her sea pony transformation she got from Twilight a lot. She’s been training herself to use it so that eventually it feels natural to her.

Twilight: That’s great! I’m glad she’s getting good use out of that wish. I remember her being quite enthusiastic about getting that granted.

Applejack: Hmm… Though ah have ah question. If Scoots wished t’ become ah sea pony and proceeded t’ work hard t’ get better and better at swimming. Why didn’t she just wish t’ learn t’ fly and then start t’ train herself then?

Rainbow: I think I may actually be able to answer that, say that Scoots did wish to restore an ability to fly. She’d still have to train hard, and unfortunately might be too late already to develop the flight muscles necessary, if say she wanted to eventually make it into the Wonderbolts herself. You really have to be flying all your life to get there. And she also felt wishing to fly good enough to make the Wonderbolts would be outright cheating much like how I didn’t wish to be a Wonderbolt before I made it. Me and Scoots want to earn our way there.

And at least as a sea pony, she’s finding an entirely new unique experience. Even laying the grounds to join the Wonderbolts, in another way. As after I was done with my invitees, she managed to convince Spitfire to eventually start a vote to make a swimming branch called the Waterbolts. As half our Hippogriff recruits were actually the best swimmers at Mount Aris/Seaquestria, rather then the best flyers.

Fluttershy: Wow! That sounds amazing! I’m happy Scootaloo found such an avenue to possibly shape her future in a way she’ll love.

Rainbow: Yeah! And this could be quite historic for the Wonderbolts. As even besides the fact that we’re now letting non-ponies in, young Earth Ponies and Unicorns who have a talent in swimming can potentially join as well too!

Rarity: A swimming branch sounds heavenly! Though how is an audience going to watch the Waterbolts if they’re underwater?

Rainbow: I imagine either the audience go to underwater seats by being transformed themselves and/or we get engineers working on some sort of underwater aquarium tunnel setup. The Waterbolt aquariums could certainly provide more tourism to bolster the economies of oceanside cities around the world.

Pinkie: We should absolutely go see a Waterbolt show whenever it becomes official! I’d probably take underwater seating, I loved being a seapony!

Twilight: We certainly will, but for now. Anything else happen, Rainbow?

Rainbow: I tried to get A.K. Yearling to go but she was busy with a book signing. Then I went to see my Parents, was worried how they’d act but the visit didn’t turn out as bad as I thought. Oh, me and Scoots also invited the mailmare.

Fluttershy: Nice of you to invite our bubbly mailmare, Derpy!

Rainbow: And then guess all that’s left was I went to Griffonstone to get Gallus and Gil-

Gilda: Hey you aren’t talking bad things about me behind your back are ya?

Gilda had happened to be walking on over to the Elements’ table just as Rainbow got to mentioning she went to Griffonstone.

Rainbow: Ha, of course not Gilda. Unless you want a good roast!

Gilda: Nah, I’ve had enough roasted food from the Saddle Arabian chefs here.

Rainbow Dash and Gilda share a round of laughter.

Most of the table waves hello to Gilda as well, though Fluttershy is a little hesitant. Gilda remembers Fluttershy as the pony she forcefully yelled at to get out of the way.

Gilda: Oh um… to the yellow pony… sorry, I don’t think I got many names the last time I was in Ponyville…

Fluttershy: My… name’s Fluttershy.

Gilda: Yeah… Fluttershy, while I’m here I thought I’d apologize for way back when. I never really got a chance to say sorry for that. I’m a different Griffon now… mostly… *Gilda sheepishly grins*

*coughs before giving a sincere face before the group* As much as I don’t like to publicly say it, my time in Equestria has gotten some of your pony friendship values get to me. I remembered being friends with Dash when I was younger. When I left Equestria after Rainbow confronted me. I tried to pretend otherwise, but it hurt me. I just moped in self-pity and envy for you ponies, who took perhaps my only friend away from me. 

Even when she came to Griffonstone due to some weird magic map mission, I tried to pretend that I accepted that we weren’t friends anymore. But… that couldn’t have been farther from the truth… Rainbow was my only friend, I guess as a greedy griffon I sort of just lashed out as she started spending more time with you girls then she was me… It’s not normally in our nature to share, but thanks to you ponies… we’re slowly learning to.

Fluttershy just smiles

Fluttershy: Apology accepted, Gilda. I did at least hear a little while ago that you decided to help Rainbow out of a dangerous cliff rather then go after a valuable idol. So I’ve known for a while, that you’ve changed for the better since then. We never meant to make you feel we were taking Rainbow from you, friendship isn’t a one way street as you must know now.

Twilight: This is very admirable for you to admit this, Gilda. You may have not quite been nice when we first met you, but at least we sort of know why and can help you get to know and perhaps become friends with more then just Rainbow. I bet perhaps you could get along with Rainbow’s fellow wonderbolts for instance.

Rainbow: Yeah! You should stop by Wonderbolt HQ sometime to see me, Spitfire, and the rest of the team!

Spitfire: Or… we could drop by ourselves right now!

Spitfire, Soarin, and Fleetfoot all approach

Rainbow: Oh! Hey there Captain! Meet an ol’ childhood friend of mine. Gilda!

Spitfire: Nice to meet ya, Gilda. Rainbow always said you were a pretty good friendly verbal jabber. You’d get along at HQ pretty well just alone on that. If you can take a few jabs yourself.

Gilda: Oh you bet if I can dish it, I can take it!

Spitfire: Good, because I’m already cracking my wing bones for all the bird puns I’ll have prepared for you.

Gilda: If you can take the same with all the heat and fire puns I’ll have for you!

Spitfire: Careful now, heat and bird puns together may make you scrumptious for any carnivores out there!

Gilda: Like you could ever be a big enough flame to cook me!

The two just share a round of laughter to indicate they enjoyed that.

Gilda: Yeah, certainly Dash. I’ll drop by some time. If you’ll excuse me, I’m still a little hungry. So I’m gonna go back to my table and eat some more grub. This ball is pretty great, thank for the invite.

Rainbow: No problem at all, Gilda! Seeya!

Gilda heads back to her table, while the Wonderbolts who are there stay a little longer.

Twilight: Spitfire, I must say it’s great to hear how much you’ve been expanding the Wonderbolts lately.

Spitfire: Well, I wouldn’t be doing it without your inspiring actions the last few years on your own part, Princess. The School of Friendship made me realize that while we were certainly a nation full of friendship before. We could work harder to further diversify and strengthen Equestria’s future. 

It felt like a natural step to let the best non-pony fliers get a chance to make it into the Wonderbolts, and then Scootaloo proposed we also think beyond just flying for our teams. As we have an entire civilization that was underwater, and maybe potentially curious ponies who pursue a swimming career, whether they’re pegasi who can’t quite make the cut for the Wonderbolts, or even Earth Ponies and Unicorns.

Rainbow: Scootaloo still has a good part of her childhood to go and we don’t let anyone be recruits until they’re at least 16 and 18 is the youngest you can be to actually make it into a team. But I’m certain as soon as Scoots turns 16, she’ll be immediately accepted wherever we decide to put a Waterbolt HQ

Spitfire: We’re thinking Seaquestria’s probably going to be Waterbolt HQ, but we have other locations as a backup in case Queen Novo says no.

Twilight: Don’t see any reason why she wouldn’t let you do so.

Spitfire: *shrugs* Hey, you never know. Her name might not be Novo for nothing!

The entire group at the table giggles at Spitfire’s joke. Suddenly, a loud voice is heard calling for the Wonderbolt captain

???: SPPPPPPPIIIIIIIIIIITFIRE!

Spitfire: Wha? Who was tha-

Turns out it was Silverstream flying towards her for a hug.

Spitfire: Oh! Hey there Silverstream, I figure you’re still pumped being one of the first recruits of the Waterbolts?

Silverstream lets go of Spitfire

Silverstream: Of course! I admit I always dreamt myself flying well enough to make it into the Wonderbolts… but I’ll accept that I just spent too much of my life underwater to ever get to that level. Besides, being a Waterbolt could be just as cool!

Rainbow: Indeed, Silverstream! I can’t wait until you and Scootaloo are in a team together

Silverstream: ME TOOOOOOOOOO PROFESSOR DASH! AAAAAAAAAAA!

Twilight: I’m really happy for you, Silverstream! I’d certainly like to attend performances similar to how Celestia was attending events like the Best Young Flyer Competitions some day.

Silverstream: Yes! It’d be awesome seeing you Princip- well I guess Starlight is now Principal. So I mean Princess Twilight! If you’ll excuse me though, I’m going to back to my school friends!

Spitfire: I think we’re going to head back to our table, I think Soarin’s pie is finished

Soarin: About Time!

Rainbow: Alright, seeya team, seeya Silverstream!

The Wonderbolts and Silverstream each head back to their tables.

((Story continues after the break))

Rainbow: And that about settles what my invitees have been. Who’s next?

Rarity: I mainly got my family, my business partners, and Vinyl Scratch and Octavia. Though apparently my little sister Sweetie will be singing with Vinyl and Octavia with backing music.

Twilight: Whoa! That’s neat, Sweetie Belle potentially starting her music career in this Royal Ball.

Fluttershy: I’ve heard her sing with my very own ears! Granted, her energized singing kind of missed the point of what was supposed to be a lullaby…

Rarity: Ohohoho, energized singing is just Sweetie’s style!

Fluttershy: I guess so! She did sing really well I must admit, even if the tone didn’t quite fit the song

Rarity: I don’t quite know what songs Sweetie sang for Vinyl and Octavia at their house, but they were really impressed from what they told me. So it should be interesting to see what Sweetie showed them to the whole audience.

Twilight: I’m excited to hear how Sweetie’s singing talent has developed as well, while the CMC have a group talent when together in helping others with Cutie Mark. They also have individual talents that will certainly be impressive to see for the foreseeable future. Now Fluttershy, how was your time getting invitees?

Fluttershy: Well... I was actually generally in my home most of the time?

Twilight: Wait, really? Then how did you get your family and Tree Hugger here?

Fluttershy: Well first, I just want to say the day we started giving out the invites didn’t exactly start very well for me.. because one of my beloved mice… Mr. Mousey… passed away... *sniff*

The group goes silent for a moment and gives sympathetic faces for Fluttershy.

Twilight: We’re sorry to hear that Fluttershy, we know how you are whenever a pet you took good care of dies…

Rainbow: Are you alright Fluttershy? If you need comfort, we’re all here for you

Fluttershy: It’s ok… it’s always hard. But this is far from my first time, and it’s been some time. I’ll be fine, but during my funeral for Mr. Mousey. Discord popped by, and it was through him I got all my invitees. He just snapped them all to my house and put them back where they were when I said goodbye.

Twilight: Oh right, Discord’s here… I’m trying to be wary of him doing something… but looks like thus far he’s behaving. Hope it stays that way… now how was your time Pinkie… well, after I gave you a new pack after you used up your entire first pack looking for Maud…

Pinkie: Ok, so I went to see Maud and as Twilight said, she was with Mud Briar and Treelight. But something neat I learned about the tree spirit is that it can become sparkly versions of us Elements!

Twilight: Oh, I knew that too. I guess I just forgot to tell you girls. Though you should all see Treelight sometime yourselves, she’s pretty fascinating.

Pinkie: After that, I got the rest of my family at the Rock farm, Cheese Sandwich, and the Cake Family. Oh and of course before I wasted that first pack, I got Lyra & Bon Bon as well as Doodle & Matilda. Hm, I just realized that all my invitees were either a couple or a family for the exception of Cheese… I feel like this strange sense of meta is cluing me on to something… but I can’t quite put my hoof on it yet…

Twilight: …Wat

Pinkie: Don’t think about it too hard, Twilight. Now how about you and Spike tell how your invites went!

Spike: I went to the post office first to get Gabby. Then I got Thorax, Ocellus, and any other changelings who wanted a feast of love from this event and the wedding.

Rainbow: I have been kind of seeing the changelings buzzing around for all the love they can get here, heh.

Applejack: This ball preceding ah wedding ah’m certain is like an all-ya’ll-can-eat buffet fo’ them!

Spike: Then I went to the Dragonlands to get Smoulder and Ember. Along the way, I got to see former Dragon Lord Torch. And both him and Ember taught me a few things about dragon life. Most notably that Dragons don’t have weddings.

Rarity: What?! That’s insane, how can a civilization exist without matrimony?!

Twilight: Celestia’s mentioned something like that to me as well, they just have many mates over their long lives. Dragons still can love, and in fact do end up in couples of two dragons for a long period of time. But they live so much longer then average ponies that they just don’t often go for an entire lifetime with one mate.

Rarity: Wait, if you and Princess Celestia knew about this. How was this never public knowledge?!

Twilight: Iiiiii guess because since generally the policy before was to leave the dragon lands alone as much as possible, informing Equestrians about dragon life never came up as a priority. But now that Equestria is integrating non-ponies more often, stuff like this and other civilizations will be more public knowledge over the coming years. 

Plus, I kind of figured Spike was maybe a little too young to hear all this, heh. But Torch and Ember probably have no reservations about this kind of thing. Hope you’re not too upset that I never really told this to you either. Spike.

Spike: Nah it’s fine, mom. To be honest, it’s just mind blowing to the point I’d probably have to ask Torch and Ember if it were true anyway, even if you had told me first.

Rainbow lightly sneers at Spike before ribbing him a bit with a joke

Rainbow: Dang Spike, when you’re older you’ll have a metaphorical full license to be a ladies dragon, won’t ya?

Spike just roll his eyes

Spike: Yeah yeah, very funny Rainbow…

Twilight: I guess while we’re on the subject of dragons, I can get into some things that had happened and/or I learned while I was getting my invitees. I got my family, Starswirl, Tempest, and all my old Canterlot friends invited first. And went to see Princess Celestia and Luna to invite them as well, but while there Celestia told me a few things she waited until it was close to the time to succeed her to tell me at last. The first of which was where Spike’s egg was found

The rest of the elements of harmony at the table all gasp

Rarity: We absolutely must hear about this!

Rainbow: Yeah, I’ve always been curious about where Spike came from!

Pinkie: Yes yes! Please, tell us!

Twilight: First off, believe it or not. Spike’s egg was first found in the middle of the desert near where we are right now in Saddle Arabia

Rainbow: Whoa! No way! So Spike is technically native here?

Twilight: Probably more like this place just happened to be his mother’s last stop. Because another thing I was told was that Spike’s birth (or if you prefer. dragon) mother… passed shortly after laying Spike’s egg

Rarity: Oh nooooooo! Spike’s birth mother is dead?! Spikey-wikey, do you need comfort?

Spike: No, I’m alright Rarity. I never knew her, and the circumstances of her death eventually led to me being hatched and later adopted by Twilight.

Applejack: What circumstances are ya’ll talking about?

Twilight: Celestia was brought Spike’s egg by Malakhar, when he was a teenager

Rainbow: Malakhar was there too?

Twilight: Yeah, he was there with his grandfather who was still alive at the time. He didn’t tell me why he was there, but I imagine he and his grandfather were hoping Spike’s birth mother dropped a dragon tear. But looks like she didn’t, as otherwise genies would have returned to Saddle Arabia long before I was genified myself. But either way, after Celestia received the egg she brought it with her she had a very lucid dream where a voice spoke to her, Celestia thinks it may have actually been the spirit of Spike’s birth mother…

Applejack immediately interjects Twilight’s explanation of Celestia’s story

Applejack: Whoa whoa whoa, Princess Celestia thinks someone who died specifically told her something in ah dream? Are y’all sure she’s not pulling ya leg… because that feels too hard t’ believe… because if the dead could speak t’ the living through dreams, Ah would certainly think ah’d have seen my parents fo’ instance in ah dream. Ah mean, ah’ve dreamed about them before, but there was never any instance where it seemed like they were actually speaking t’ me from beyond the grave…

Twilight: Putting it like that yeah, it sounds weird. But there’s a few more details about this that may actually give credence to it. Even if we don’t understand yet how it’s possible. Because the voice told her to find the one who could hatch the egg. Whomever would hatch the egg would be able to fill Celestia’s desires of getting her sister freed, being her next protege, and her successor. Plus, they would also fulfill Spike’s birth mother wish for the perfect mother. 

And well, I guess all of that turned out to be me. This is a huge coincidence if the dream Celestia had didn’t actually speak with Spike’s birth mom. Because much of this explains a lot of how me and Spike’s lives became intertwined in the way it did.

Rainbow: If not for the other stuff I’d think you saying you ended up being the perfect mother, that you got an ego like Trixie… or me… on occasion… heh…

Rainbow dash sheepishly rubs the back of her head while moving her eyes side to side

Spike: Well in my opinion,at least, it’s not wrong. And if it was a true desire that was granted, then my opinion matters most.

Rainbow: I guess that’s true.

Twilight: You know me, I would never try to brag… but it’s not any less flattering that I seemed to have been cosmically picked to be Spike’s mother. And everything else that hatching Spike’s egg destined me for, from then on.

Applejack: Perhaps, Twi… but… this is still ah little hard t’ picture someone deceased was able t’ do this.. though ah guess if this is true ah’m just being sort of jealous o’ the princess that she spoke t’ someone deceased… and ah never could… because even fo’ just one moment… Ah’d like t’ see mah parents again…

Applejack suddenly feels a big, comforting hoof on her shoulder. It was Big Macintosh with Sugar Belle close behind.

Big Mac: Talking ‘bout Ma and Pa again, AJ? Do ya need the comfort o’ family?

Applejack: Oh uh, ah only brought them up due t’ something Twi was telling me. But it’s good t’ see ya, Big Mac. Ya’ll too, Sugar Belle.

Sugar Belle: This palace is so beautiful! And of course, the ball has been pretty good thus far. Trixie’s performance sure was fun, I wonder who’s next?

Applejack: Ah’m not sure, though ah think they’re about to announce the next one.

The same palace staffer that introduced Trixie comes on stage, the crowd quiets down to pay attention.

Palace Staffer: Thank you for being a patient and lively audience during the intermission. I can now announce the next performer: A kirin by the name of Autumn Blaze will be performing a hoof puppet play by the title of “Sounds of Silence… or how my village learned to stop worrying and love talking” . 

If you wish to have a better view of the puppets, you are free to crowd around the front of the stage. Otherwise, you will be able to hear Autumn perform her play thanks to a microphone that will put the audio through the whole room.

Applejack: …The Sultan actually agreed t’ let Autumn perform on stage?! Oh noooooooooooooo…

Applejack puts her hooves on the side of her head in sheer worry for what’s about to happen

Sugar Belle: Why do you seem worried?

Applejack: Autumn’s never actually performed fo’ any sort o’ audience, and every one she asked in her village t’ see her puppet shows were finding excuses not t’ see it… this could get cringeworthy and if Autumn doesn’t like the audience’s reaction… she could possibly get angry and rage in her nirik form!

Staffers bring out Autumn’s puppet stage. Some curious audience members do indeed walk closer to the front to see the show closer. Mostly children wanting to see the puppets up close and their parents coming with them. Once everything was set, Autumn walks from behind the curtain and happily waves to the audience.

Autumn: Before I begin the show, I just want to thank the Sultan for letting me perform for an audience for the first time ever! I’d also like to thank Applejack, the orange farmer pony with the big hat sitting at the center table for inviting me here in the first place!

Applejack sweats nervously and grins while lightly waving her hoof looking side-to-side at the audience. As she now realizes she’s probably going to get some of the flack if the audience doesn’t like what they see.

Autumn: It was a hard decision picking the play I wanted to show, but I thought it would be appropriate to go with a play I wrote based on the true story of how Applejack and Fluttershy came to the Kirin Village and helped the rest of the village get their voice back from the Stream of Silence! Hope you’re all ready, because here we go!

Autumn crouches down behind the stage so she can sit and pull out all the puppets she needs for her play. Starting with 2 hoof puppets that crudely resemble the tall Kirin leader Rain Shine and Cinder Glow, but also switching between many of the other Kirin puppets she has

Autumn: Our story begins with poor little old me, who had been exiled for refusing to re-enter something called the Stream of Silence. *Autumn raises her head above the stage* Just wait for the song for the exposition! *Autumn goes back down*

And that’s how things stood for a little while, until an orange farmer pony with a hat came by looking for a Kirin who can talk.

Autumn pulls out a hoof puppet that crudely resembles Applejack, though it only get more embarrassing as Autumn gets to voicing her.

Puppetjack: HOWDY THERE YA’LL! AH HEARD AH TALKING KIRIN WAS AHOOF HERE? ARE YA HER?

Applejack just hunkers down in embarrassment at the rather exaggerated imitation. While the rest of the crowd either starts chuckling, or in the case of AJ’s friends and family at the table, trying not to laugh too hard right next to her.

Puppet Blaze: ….

Puppetjack: GUESS YA’LL NOT THEN? MIND POINTING ELSEWHERE THEN?

Puppet Blaze: ….

Puppetjack: OH FO’ THE LOVE O’ CELESTIA! SAY SOMETHIN’ ALREADY YA VARMINT!

Autumn shakes the Applejack puppet wildly

Puppet Blaze: …..*reaches on over and touches Puppetjack’s snoot* BOOP! GOTCHA!

The crowd gets it’s first round of laughter, Applejack still thinking this is bit too ridiculous of a re-enactment just facehoofs. But she was at least sort of relieved the audience was finding it somewhat entertaining.

Puppet Blaze: Hi! I’m Autumn Blaze, so sorry for not speaking. It’s just been so long since I actually talked to someone! And pranked someone for that matter, I couldn’t help it! What brought you here?

Puppetjack: WELL, AH MAGIC MAP IN PONYVILLE MADE MAH BUTT GLOW!

Puppet Blaze: Oh really? That’s kinda weird, but ok

The crowd laughs again

Applejack: Oh c’mon… Did she really have t’ write it like that?!

Pinkie: *giggles* You do have to kinda admit our flanks glowing is a LITTLE silly, don’tcha think?

Puppet Blaze: Now follow me! I want to show you my forest home!

Autumn puts up scenery near the front of the stage of the area Autumn lived in while in exile

Puppetjack: WOW THIS PLACE IS BEAUTIFUL!

Puppet Blaze: It sure is!… Though admittedly I’d still rather have a boring home if it meant I could talk to my village again…

Puppetjack: MIND IF AH ASK WHY YA VILLAGE GAVE UP THEIR VOICES?

Puppet Blaze: It’s a long story…

Puppetjack: Y’ALL DON’T WANNA TALK ABOUT IT?

Puppet Blaze: No…

Puppetjack: I UNDERST-

Autumn Blaze: I’D RATHER… SIIIIIIIIIIIIING!

((A Kirin Tale))

Autumn Blaze suddenly jumps up from behind the stage and starts singing her song, bouncing across the stage on herself rather then performing the whole song on the puppet stage.

Autumn Blaze: La, la-la-la, la-la-la, la-la-la!

The Kirin used to speak and sing

We weren't always quiet!

We told stories and funny jokes

My stand-up was a riot!

But then one day, a fight broke out

And hurtful words were said

Flaring tempers were inflamed

Destruction quickly spread

And flaming bred from head to head

It even burnt our... bread

*Winks to the audience* I love rhyming!

My happy village lay in ruins

Relationships got worse

Spoiler alert: we quickly learned

That words could be a curse

*Autumn pulls out a hoof puppet of Rain Shine, the Kirin Leader while in front of the stage*

"No more talking," yelled our leader

The last thing said aloud

Into the Stream of Silence

We stepped as a crowd

The water cooled emotions

And peace was soon restored

But with no way to speak my thoughts

I got super... bored

Seriously, there’s only so long that Sudoku can keep you entertained!

'Cause rainbows won't light up the sky!

Unless you let it rain

And shiny apples sometimes come with worms!

No, you can't give up your laughter

'Cause you're scared of a little pain

It's a lesson that the Kirin never learned!

I was stuck in silent prison

With the voices in my head

'Til I tripped over my salvation

In a helpful flowerbed

I found a cure to clear my pipes

And I became quite chatty

With years and years of stored-up words

I drove my village, batty!

They didn't like my jokes and songs

And daily dose of news!

The plays I wrote, the speeches spoke

Variety revues!

Or the story about the Kirin who hid below an opera stage

And fell in love with this opera singer, and he wore a freaky half-mask thing, and he played the organ a lot and got all broody cause the singer was in love with another dude… so he took her away on this underground gondola.

I mean, who doesn't love musical theater?!

The village leader made it clear

I had to make my choice

I could stay and live with them

Or I could keep my voice

So I came here, but left the couch alone

They're hard to move

With just the view for company

Until ya heard me groove!

'Cause rainbows won't light up the sky!

Unless you let it rain

And candles just won't glow until they're burned!

No, you can't give up your laughter

'Cause you're scared of a little pain

It's a lesson that my village never learned!

No matter how hard I schooled them

Fear of hurt is still what ruled them

Sometimes you gotta let it raaaaaaaain!

Yeah, sometimes you've gotta let it rain…

Autumn heads back behind the puppet stage, and gives the crowd a moment to begin some applause and cheering after the song finished before continuing on. At this point, while Applejack still isn’t quite fond of Autumn’s exaggerated portrayal of her, her play’s not as bad as she thought. Though it probably helped that during the song, it was just Autumn showing her own singing talent.

Applejack: Heh, ok. Ah’m happy t’ be wrong here, Autumn’s shows ain’t actually too bad.

Fluttershy: I wonder why no one in her village wanted to see her shows then?

Applejack: *shrugs* Maybe because they get enough of Autumn from just her living there.

Puppetjack: AH CAN’T BELIEVE IT! NOPONY SHOULD HAVE THEIR RIGHTS T’ FEEL TAKEN AWAY BECAUSE YA’LL MIGHT HAVE T’ DEAL WITH ANGER!

Applejack: …Although ah’m still not quite fond o’ her portrayal o’ me

Pinkie: Maybe for future shows you should suggest she gets more actors! Maybe in another play you can join up with her and you can give your own Authentic-AJ performance!

Applejack: Perhaps! Ah’ll think it about it some other day.

Puppetjack: AH BET THIS IS WHAT ME AND FLUTTERSHY’S BUTTS WERE MADE TO GLOW FOR!

Puppet Blaze: Who’s Fluttershy?

Puppetjack: A YELLOW PONY WITH A REEEEEALLLLLLLYYYYY LONG PINK MANE AND TAIL! VERY QUIET, THOUGH STILL SPEAKS MORE THEN YOUR VILLAGE. AND HAS “BUTT”ERFLIES!

The crowd laughs again. Applejack look on over to Fluttershy on her feelings about this play, and she was actually sort of giggling herself a bit.

Applejack: Fluttershy, are ya sure ya’ll ok with Autumn talking ‘bout ya cutie mark like that?

Fluttershy: Applejack, I see Discord more then anypony else, I think I can handle a few jokes, besides I admit the pun’s kinda funny. *giggles*

Applejack: Well let’s see how you feel about her portrayal of you since that’s probably coming soon

Puppetjack: FLUTTERSHY? YA’LL HERE

Autumn pulls out a puppet resembling Fluttershy

Puppetshy: yes i’m here, aj

For Fluttershy’s portrayal, autumn whispers very closely to the mic because otherwise it’d probably be hard for the whole room to hear

Puppetjack: AH’VE FIGURED OUT THE FRIENDSHIP PROBLEM

Puppetshy: so have i

Puppetjack: WE GOTTA GET THEM T’ TALK AGAIN!

Puppetshy: i disagree

Puppetjack: WHAT THE HAY?!

Puppetshy: the nirik’s fire might destroy animal habitats nearby!

Puppetjack: BUT THERE’S GOTTA BE AH WAY T’ BOTH KEEP THE VILLAGE PEACEFUL AND ANIMALS SAFE WITHOUT TAKING THE KIRIN’S VOICES!

Puppetshy: it’s too risky

Puppetjack: BUT… SAY ARE THE VILLAGERS SURROUNDING US?!

Autumn lays down several cardboard Kirin stand ins and puts both the hoof puppets on top to indicate they’re being carried

Puppetshy: what are they doing?

Puppetjack: THEY’RE GOING T’ PUT US IN THE STREAM OF SILENCE JUST FO’ ARGUING ONCE!

Puppetshy: oh no i may be quiet, but i don’t want to not be able to speak to my animal friends!

Fluttershy: Honestly, I think Autumn kind of gets me just fine. *grins*

Applejack: *sigh* Guess ah’m the only one that feels too exaggerated. Ah’m not that loud, am I?

Pinkie: You aren’t really that loud, but sometimes comedy thrives on a little satire that’s clearly not realistic!

Twilight: And it still sort of narratively puts a big difference between you and Fluttershy in the story, showing a loud voice can be friends with a quieter voice just fine, and teaches the Kirins later that they don’t need to silence either one.

Applejack: Ah guess so…

Puppetjack: HEEEEEELLLLLLLPPPPPPPPP

Puppetshy: heeeeeellllllpppppppppp

Puppet Blaze: Put. Them. Down!

Autumn brings out wrapping paper made to look like blue fire that wraps around the Fluttershy and Applejack puppets

Puppetjack: AUTUMN! YA’LL SAVED US!

Puppetshy: wait, you have control of your nirik form?

Autumn: I guess I just had good anger management

The crowd laughs again. Autumn takes down the wrapping paper.

Puppet Blaze: Listen, Rain Shine. I know you used to love singing your beautiful harmonies and you probably miss it deep inside, I, Applejack, and Fluttershy plead for you to give the village’s voices another chance!

Puppetjack: YEAH, YA’LL CAN DISAGREE AND STILL BE FRIENDS!

Puppetshy: if you can control your anger like autumn can, you can talk and keep the village at peace and protect the animals!

Puppetjack: ME AND FLUTTERSHY HAVE ARGUED OUT OUR DIFFERENCES MANY AH TIME! BUT WE’RE STILL AS CLOSE AS EVER

Puppetshy: and if you find yourself getting angry, find an area where you can vent and cool off

Autumn pulls out the Rain Shine puppet once more and makes it nod

Puppet Blaze: *gasp* I think they want us to give the voices back! Though… I still don’t know where to find enough flowers to cure the village

Puppetshy: i’ve talked with the squirrels, they may know a thing or do about the flower you need!

Autumn picks her head above from the stage again to give the final narration

Autumn Blaze: And so me, Applejack, and Fluttershy followed the directions of squirrels to enough of the Have-not flowers to bring the voices back of all the Kirins in the village. I was welcomed back, Applejack and Fluttershy’s butts glowed again. I guess indicating that they had done their job.

Autumn looks side to side and just slightly snarks to the audience

Autumn: But between me and all of ya, that part’s still a little weird. *giggles*

This is the end of my story, thank you all for listening! *bows*

The audience gives a good applause for Autumn’s show, Applejack doubted it but Autumn actually did fairly well doing a song and dance along with a bit of a satire of the time she and Fluttershy helped the Kirins out. Applejack decides to wave over to Autumn and also signal her to come over. Autumn heads toward the table where the Elements, Spike, Big Mac, and Sugar Belle were.

Autumn: Hey Applejack! How’d you and the others like my show?

Applejack: Pretty good! Though uh… ah have to be honest in saying ah think you may have made me ah bit too loud…

Autumn: I can understand that feeling, part of this was satire though. It was kind of supposed to be a little ridiculous! It offers a contrast to the quiet Fluttershy too, and really sells the difference between you two to get the lesson the village learns later stronger!

Pinkie: See! Me and Twilight were right! *turns to Autumn* But yes that was an ABSOLUTELY fantastic show, Autumn! I can already tell that if we were around each other more often, we’d be the best of friends!

Rainbow whispers to Twilight

Rainbow: I’m not sure anypony could sit in on a conversation between those two without going insane at some point…

Twilight: *giggles*

Sugar Belle: That was certainly a fun show, Autumn! Loved the song, most of all!

Autumn Blaze: Thanks… uh, sorry I don’t think I’ve actually been told about any other ponies other then Applejack’s friends and some family.

Sugar Belle: My name’s Sugar Belle, technically I am part of Applejack’s family now since I married her older brother Big Macintosh.

Autumn Blaze: I imagine Big Macintosh is this big red feller’ right next to you?

Big Mac: Eyyyuuuuuupppp

Autumn Blaze: I suppose much belated congratulations to you, newlyweds!

Autumn turns around back to Applejack

Autumn Blaze: Anyway, AJ. Thanks for inviting me! My first audience for a show was a success and is making me consider perhaps traveling the world and showing my other shows! Maybe I can even hear all the stories about you and your friends adventures  to make more plays similar to the one I just showed!

Applejack: We can certainly do that, but on one condition…

Autumn: And that is…?

Applejack: Ya’ll allow us t’ play ourselves! Ya’ll can still write the script, but let us sort o’ give our own authentic, if ah little exaggerated portrayals of ourselves.

Autumn: Sure! I’d love to have more actors around

Twilight: And even if you can’t get some of us if we’re busy, you can also try finding some changelings who might be interested in acting. It’s going to be hard for me to find time to perform in puppet shows when I’m sole ruler in a year. So you may need a changeling to be me if you do more shows about our adventures.

Autumn: That’s a good point too! I think for now though, I’m gonna relax at my own table if that’s ok. Again, thank you for this oppurtunity!

Applejack: Seeya Autumn!

Autumn satisfied with both how she performed and the audience reacted, just happily heads off back to her table. And the ball entered another intermission prior to the next performance. The crowd enjoying having had something to get some good hearty laughs out. Continuing on to talk with friends, family, and enjoy some good food. And there was still quite some time left in the night.

UP NEXT: Chapter 15: The Royal Ball, Part 3 - A Canterlot Reunion

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IT’S A SUNDAY AFTERNOON in Tribeca, and I’m in Taylor Swift’s loft, inside a former printing house that she has restored and fortified into a sanctuary of brick, velvet, and mahogany. The space is warm and cozy and vaguely literary—later, when we pass through her bedroom en route to her garden, 10 percent of my brain will believe her wardrobe might open up to Narnia. Barefoot in a wine-colored floral top and matching flowy pants, Swift is typing passwords into a laptop to show me the video for “You Need to Calm Down,” eight days before she unleashes it on the world. I have a sliver of an idea what to expect. A few weeks earlier, I spent a day at the video shoot, in a dusty field-slash-junkyard north of Los Angeles. Swift had made it a sort of Big Gay Candy Mountain trailer park, a Technicolor happy place. The cast and crew wore heart-shaped sunglasses—living, breathing lovey-eyes emoji—and a mailbox warned, LOVE LETTERS ONLY. Swift and a stream of costars filmed six scenes over about a dozen hours. The singer-songwriter Hayley Kiyoko, known to her fans as “Lesbian Jesus,” shot arrows at a bull’s-eye. The YouTube comedian-chef Hannah Hart danced alongside Dexter Mayfield, the plus-size male model and self-described “big boy in heels.” The Olympic figure skater Adam Rippon served up icy red snow cones. Swift and her close friend Todrick Hall, of Kinky Boots and RuPaul’s Drag Race, sipped tea with the cast of Queer Eye. The mood was joyous and laid-back. But by the end of the day, I wasn’t sure what the vignettes would add up to. There were shoot days and cameos I wouldn’t observe. For security reasons, the song was never played aloud. (The cast wore ear buds.) Even the hero shot, in which Swift and Hall sauntered arm in arm through the dreamscape at golden hour, was filmed in near-total silence. For weeks afterward, I tried to sleuth out a theory. I started casually. There was a “5” on the bull’s-eye, so I did a quick search to figure out what that number might mean. Immediately I was in over my head. Swift has a thing for symbols. I knew she had been embedding secret messages in liner notes and deploying metaphors as refrains since her self-titled debut in 2006—long before her megafame made her into a symbol of pop supremacy. But I hadn’t understood how coded and byzantine her body of work has become; I hadn’t learned, as Swift’s fans have, to see hidden meanings everywhere. For instance: In the 2017 video for “Look What You Made Me Do,” a headstone in a graveyard scene reads NILS SJOBERG, the pseudonym Swift used as her writing credit on Rihanna’s hit “This Is What You Came For,” a Swedish-sounding nod to that country’s pop wizards. After an excessive amount of ad hoc scholarship—a friend joked that I could have learned Mandarin in the time I spent trying to unpack Swift’s oeuvre—I was no closer to a theory. Pop music has become so layered and meta, but the Taylor Swift Universe stands apart. Apprehending it is like grasping quantum physics. My first indication of what her new album, Lover, would be about came just after midnight on June 1, the beginning of Pride Month, when Swift introduced a petition in support of the federal Equality Act. This legislation would amend the Civil Rights Act to outlaw discrimination based on gender identity and sexual orientation. (It has passed the House, but prospects in Mitch McConnell’s Senate are unclear.) Swift also posted a letter to Senator Lamar Alexander, Republican of Tennessee, asking him to vote yes. The request, on her personal letterhead (born in 1989. LOVES CATS.), denounced President Trump for not supporting the Equality Act. “I personally reject the president’s stance,” Swift wrote. Back in the kitchen, Swift hits play. “The first verse is about trolls and cancel culture,” she says. “The second verse is about homophobes and the people picketing outside our concerts. The third verse is about successful women being pitted against each other.” The video is, for erudite Swifties, a rich text. I had followed enough clues to correctly guess some of the other cameos—Ellen DeGeneres, RuPaul, Katy Perry. I felt the satisfaction of a gamer who successfully levels up—achievement unlocked! The video’s final frame sends viewers to Swift’s change.org petition in support of the Equality Act, which has acquired more than 400,000 signatures—including those of Cory Booker, Elizabeth Warren, Beto O’Rourke, and Kirsten Gillibrand—or four times the number required to elicit an official response from the White House. “Maybe a year or two ago, Todrick and I are in the car, and he asked me, What would you do if your son was gay?” We are upstairs in Swift’s secret garden, comfortably ensconced in a human-scale basket that is sort of shaped like a cocoon. Swift has brought up an ornate charcuterie board and is happily slathering triple-cream Brie onto sea-salt crackers. “The fact that he had to ask me … shocked me and made me realize that I had not made my position clear enough or loud enough,” she says. “If my son was gay, he’d be gay. I don’t understand the question.” I have pressed Swift on this topic, and her answers have been direct, not performative or scripted. I do sense that she enjoys talking to me about as much as she’d enjoy a root canal—but she’s unfailingly polite, and when we turn to music, her face will light up and she will add little melodic phrases to her speech, clearly her preferred language. “If he was thinking that, I can’t imagine what my fans in the LGBTQ community might be thinking,” she goes on. “It was kind of devastating to realize that I hadn’t been publicly clear about that.” I understand why she was surprised; she has been sending pro-LGBTQ signals since at least 2011. Many have been subtle, but none insignificant—especially for a young country star coming out of Nashville. In the video for her single “Mean” (from 2010’s Speak Now), we see a boy in a school locker room wearing a lavender sweater and bow tie, surrounded by football players. In “Welcome to New York,” the first track on 1989, she sings, “And you can want who you want. Boys and boys and girls and girls.” Two years later, she donated to a fund for the newly created Stonewall National Monument and presented Ruby Rose with a GLAAD Media Award. Every night of last year’s Reputation tour, she dedicated the song “Dress” to Loie Fuller, the openly gay pioneer of modern dance and theatrical lighting who captured the imagination of fin-de-siècle Paris. Swift, who has been criticized for keeping her politics to herself, first took an explicit stance a month before the 2018 midterms. On Instagram, she endorsed Democrats for the Tennessee Legislature and called out the Republican running for Senate, Marsha Blackburn. “She believes businesses have a right to refuse service to gay couples,” Swift wrote. “She also believes they should not have the right to marry. These are not MY Tennessee values.” Swift says the post was partly to help young fans understand that if they wanted to vote, they had to register. To tell them, as she puts it, “Hey, just so you know, you can’t just roll up.” Some 65,000 new voters registered in the first 24 hours after her post, according to Vote.org. Trump came to Blackburn’s defense the following day. “She’s a tremendous woman,” he told reporters. “I’m sure Taylor Swift doesn’t know anything about her. Let’s say I like Taylor’s music about 25 percent less now, OK?” In April, spurred by a raft of anti-LGBTQ bills in Tennessee, Swift donated $113,000 to the Tennessee Equality Project, which advocates for LGBTQ rights. “Horrendous,” she says of the legislation. “They don’t call it ‘Slate of Hate’ for nothing.” Swift especially liked that the Tennessee Equality Project had organized a petition of faith leaders in opposition. “I loved how smart it was to come at it from a religious perspective.” Meanwhile, the “Calm Down” video provoked a Colorado pastor to call Swift “a sinner in desperate need of a savior” and warn that “God will cut her down.” It also revived heated debate within LGBTQ communities about the politics of allyship and corporatization of Pride. Some critics argued Swift’s pro-LGBTQ imagery and lyrics were overdue and out of the blue—a reaction the new Swift scholar in me found bewildering. Had they not been paying attention? Nor did it strike me as out of character for Swift to leverage her power for a cause. She pulled her catalog from Spotify in 2014 over questions of artist compensation. She stared down Apple in 2015, when the company said it would not pay artists during the launch of its music service. (Apple reversed itself immediately.) As a condition of her record deal with Universal Music Group last year, the company promised that it would distribute proceeds from any sale of its Spotify shares to all of its artists. And this summer, Swift furiously called out Scott Borchetta, founder of Big Machine Label Group, for selling her master recordings to the music manager Scooter Braun. (When I ask Swift if she tried to get her masters from Big Machine, her whole body slumps with a palpable heaviness. “It was either investing in my past or my and other artists’ future, and I chose the future,” she says of the deal she struck with Universal.) Swift’s blunt testimony during her 2017 sexual-assault case against a radio DJ—months before the #MeToo reckoning blew open—felt deeply political to me and, I imagine, many other women. Swift accused the DJ, David Mueller, of groping her under her skirt at a photo session in 2013. Her camp reported the incident to his employer, who fired him. Mueller denied the allegation, sued Swift for $3 million, and his case was thrown out. Swift countersued for a symbolic $1 and won. In a Colorado courtroom, Swift described the incident: “He stayed latched onto my bare ass cheek” as photos were being snapped. Asked why photos of the front of her skirt didn’t show this, she said, “Because my ass is located at the back of my body.” Asked if she felt bad about the DJ’s losing his job, she said, “I’m not going to let you or your client make me feel in any way that this is my fault. Here we are years later, and I’m being blamed for the unfortunate events of his life that are the product of his decisions—not mine.” When Time included Swift on the cover of its “Silence Breakers” issue that year, the magazine asked how she felt during the testimony. “I was angry,” she said. “In that moment, I decided to forgo any courtroom formalities and just answer the questions the way it happened…I’m told it was the most amount of times the word ass has ever been said in Colorado Federal Court.” Mueller has since paid Swift the dollar—with a Sacagawea coin. “He was trolling me, implying that I was self-righteous and hell-bent on angry, vengeful feminism. That’s what I’m inferring from him giving me a Sacagawea coin,” Swift says. “Hey, maybe he was trying to do it in honor of a powerful Native American woman. I didn’t ask.” Where is the coin now? “My lawyer has it.” I ask her, why get louder about LGBTQ rights now? “Rights are being stripped from basically everyone who isn’t a straight white cisgender male,” she says. “I didn’t realize until recently that I could advocate for a community that I’m not a part of. It’s hard to know how to do that without being so fearful of making a mistake that you just freeze. Because my mistakes are very loud. When I make a mistake, it echoes through the canyons of the world. It’s clickbait, and it’s a part of my life story, and it’s a part of my career arc.” I’d argue that no heterosexual woman can listen to “You Need to Calm Down” and hear only a gay anthem. “Calm down” is what controlling men tell women who are angry, contrary, or “hysterical,” or, let’s say, fearing for their physical safety. It is what Panic! at the Disco singer Brendon Urie says to Swift in the beginning of the “ME!” music video, prompting her to scream, “Je suis calme!” I cannot believe it is a coincidence that Swift, a numbers geek with an affinity for dates, dropped the single—whose slow, incessant bass is likely to be bumping in stadiums across the world in 2020 if she goes on tour—on June 14, a certain president’s birthday. It’s enlightening to read 13 years of Taylor Swift coverage—all the big reviews, all the big profiles—in one sitting. You notice things. How quickly Swift went from a “prodigy” (The New Yorker) and a “songwriting savant” (Rolling Stone) to a tabloid fixture, for instance. Or how suspect her ambition is made to seem once she acquires real power. Other plot points simply look different in the light of #MeToo. It is hard to imagine that Swift’s songs about her exes would be reviewed as sensationally today. I wonder if, in 2019, any man would dare grab the microphone out of a young woman’s hands at an awards show. I stared into space for a good long while when I was reminded that Pitchfork did not review Taylor Swift’s 1989 but did review Ryan Adams’s cover album of Taylor Swift’s 1989. I ask Swift if she had always been aware of sexism. “I think about this a lot,” she says. “When I was a teenager, I would hear people talk about sexism in the music industry, and I’d be like, I don’t see it. I don’t understand. Then I realized that was because I was a kid. Men in the industry saw me as a kid. I was a lanky, scrawny, overexcited young girl who reminded them more of their little niece or their daughter than a successful woman in business or a colleague. The second I became a woman, in people’s perception, was when I started seeing it. “It’s fine to infantilize a girl’s success and say, How cute that she’s having some hit songs,” she goes on. “How cute that she’s writing songs. But the second it becomes formidable? As soon as I started playing stadiums—when I started to look like a woman—that wasn’t as cool anymore. It was when I started to have songs from Red come out and cross over, like ‘I Knew You Were Trouble’ and ‘We Are Never Ever Getting Back Together.’ ” Those songs are also more assertive than the ones that came before, I say. “Yeah, the angle was different when I started saying, I knew you were trouble when you walked in. Basically, you emotionally manipulated me and I didn’t love it. That wasn’t fun for me.” I have to wonder if having her songwriting overlooked as her hits were picked apart and scrutinized wasn’t the biggest bummer of all. Swift: “I wanted to say to people, You realize writing songs is an art and a craft and not, like, an easy thing to do? Or to do well? People would act like it was a weapon I was using. Like a cheap dirty trick. Be careful, bro, she’ll write a song about you. Don’t stand near her. First of all, that’s not how it works. Second of all, find me a time when they say that about a male artist: Be careful, girl, he’ll use his experience with you to get—God forbid—inspiration to make art.” Without question the tenor of the Taylor Swift Narrative changed most dramatically in July 2016, when Kim Kardashian West called her a “snake” on Twitter, and released video clips of Swift and Kanye West discussing the lyrics to his song “Famous.” (No need to rehash the details here. Suffice it to say that Swift’s version of events hasn’t changed: She knew about some of the lyrics but not others; specifically, the words that bitch.) The posts sparked several hashtags, including #TaylorSwiftIsASnake and #TaylorSwiftIsCanceled, which quickly escalated into a months-long campaign to “cancel” Swift. To this day Swift doesn’t think people grasp the repercussions of that term. “A mass public shaming, with millions of people saying you are quote-unquote canceled, is a very isolating experience,” she says. “I don’t think there are that many people who can actually understand what it’s like to have millions of people hate you very loudly.” She adds: “When you say someone is canceled, it’s not a TV show. It’s a human being. You’re sending mass amounts of messaging to this person to either shut up, disappear, or it could also be perceived as, Kill yourself.” I get a sense of the whiplash Swift experienced when I notice that, a few months into this ordeal, while she was writing the songs that an interpolation of a ’90s camp classic, Right Said Fred’s “I’m Too Sexy.”) Nonetheless, most critics read it as a grenade lobbed in the general direction of Calabasas. One longtime Nashville critic, Brian Mansfield, had a more plausible take: She was writing sarcastically as the “Taylor Swift” portrayed in the media in a bid for privacy. “Yeah, this is the character you created for me, let me just hide behind it,” she says now of the persona she created. “I always used this metaphor when I was younger. I’d say that with every reinvention, I never wanted to tear down my house. ’Cause I built this house. This house being, metaphorically, my body of work, my songwriting, my music, my catalog, my library. I just wanted to redecorate. I think a lot of people, with Reputation, would have perceived that I had torn down the house. Actually, I just built a bunker around it.” In March, the snakes started to morph into butterflies, the vampire color palette into Easter pastels. When a superbloom of wildflowers lured a mesmerizing deluge of Painted Lady butterflies to Los Angeles, Swift marked it with an Instagram post. She attended the iHeartRadio Music Awards that night in a sequin romper and stilettos with shimmery wings attached. Swift announced the single “ME!” a month later, with a large butterfly mural in Nashville. In the music video for the (conspicuously) bubblegum song, a hissing pastel-pink snake explodes into a kaleidoscope of butterflies. One flutters by the window of an apartment, where Swift is arguing in French with Urie. A record player is playing in the background. “It’s an old-timey, 1940s-sounding instrumental version of ‘You Need to Calm Down,’ ’’ Swift says. Later, in the “Calm Down” video, Swift wears a (fake) back tattoo of a snake swarmed by butterflies. We are only two songs in, people. Lover, to be released on August 23, will have a total of 18 songs. “I was compiling ideas for a very long time,” Swift says. “When I started writing, I couldn’t stop.” (We can assume the British actor Joe Alwyn, with whom Swift has been in a relationship for nearly three years, provided some of the inspiration.) Swift thinks Lover might be her favorite album yet. “There are so many ways in which this album feels like a new beginning,” she says. “This album is really a love letter to love, in all of its maddening, passionate, exciting, enchanting, horrific, tragic, wonderful glory.” I have to ask Swift, given how genuinely at peace she seems, if part of her isn’t thankful, if not for the Great Cancellation of 2016, then for the person she now is—knowing who her friends are, knowing what’s what. “When you’re going through loss or embarrassment or shame, it’s a grieving process with so many micro emotions in a day. One of the reasons why I didn’t do interviews for Reputation was that I couldn’t figure out how I felt hour to hour. Sometimes I felt like: All these things taught me something that I never could have learned in a way that didn’t hurt as much. Five minutes later, I’d feel like: That was horrible. Why did that have to happen? What am I supposed to take from this other than mass amounts of humiliation? And then five minutes later I’d think: I think I might be happier than I’ve ever been.” She goes on: “It’s so strange trying to be self-aware when you’ve been cast as this always smiling, always happy ‘America’s sweetheart’ thing, and then having that taken away and realizing that it’s actually a great thing that it was taken away, because that’s extremely limiting.” Swift leans back in the cocoon and smiles: “We’re not going to go straight to gratitude with it. Ever. But we’re going to find positive aspects to it. We’re never going to write a thank-you note.” Though people will take the Perry-Swift burger-and-fries embrace in the “You Need to Calm Down” video as a press release that the two have mended fences, Swift says it’s actually a comment on how the media pits female pop stars against one another. After Perry sent Swift an (actual) olive branch last year, Swift asked her to be in the video: “She wrote back, This makes me so emotional. I’m so up for this. I want us to be that example. But let’s spend some time together. Because I want it to be real. So she came over and we talked for hours. “We decided the metaphor for what happens in the media,” Swift explains, “is they pick two people and it’s like they’re pouring gasoline all over the floor. All that needs to happen is one false move, one false word, one misunderstanding, and a match is lit and dropped. That’s what happened with us. It was: Who’s better? Katy or Taylor? Katy or Taylor? Katy or Taylor? Katy or Taylor? The tension is so high that it becomes impossible for you to not think that the other person has something against you.“ Meanwhile, the protesters in the video reference a real-life religious group that pickets outside Swift’s concerts, not the white working class in general, as some have assumed. “So many artists have them at their shows, and it’s such a confounding, confusing, infuriating thing to have outside of joyful concerts,” she tells me. “Obviously I don’t want to mention the actual entity, because they would get excited about that. Giving them press is not on my list of priorities.” At one point, Swift asks if I would like to hear two other songs off the new album. (Duh.) First she plays “Lover,” the title track, coproduced by Jack Antonoff. “This has one of my favorite bridges,” she says. “I love a bridge, and I was really able to go to Bridge City.” It’s a romantic, haunting, waltzy, singer-songwritery nugget: classic Swift. “My heart’s been borrowed and yours has been blue,” she sings. “All’s well that ends well to end up with you.” Next, Swift cues up a track that “plays with the idea of perception.” She has often wondered how she would be written and spoken about if she were a man, “so I wrote a song called ‘The Man.’ ” It’s a thought experiment of sorts: “If I had made all the same choices, all the same mistakes, all the same accomplishments, how would it read?” Seconds later, Swift’s earpods are pumping a synth-pop earworm into my head: “I’d be a fearless leader. I’d be an alpha type. When everyone believes ya: What’s that like?” Swift wrote the first two singles with Joel Little, best known as one of Lorde’s go-to producers. (“From a pop-songwriting point of view, she’s the pinnacle,” Little says of Swift.) The album is likely to include more marquee names. A portrait of the Dixie Chicks in the background of the “ME!” video almost certainly portends a collaboration. If fans are correctly reading a button affixed to her denim jacket in a recent magazine cover, we can expect one with Drake, too. Lover. “We met at one of her shows,” says McCartney, “and then we had a girls’ night and kind of jumped straight in. In London we’ll go on walks and talk about everything—life and love.” (Swift has no further fashion ambitions at the moment. “I really love my job right now,” she tells me. “My focus is on music.”) Oh, and that “5” on the bullseye? Track five is called “The Archer.” Yet something tells me the most illuminating clue for reading both Lover and Reputationmay be Loie Fuller, the dancer to whom Swift paid homage on tour. As Swift noted on a Jumbotron, Fuller “fought for artists to own their work.” Fuller also used swirling fabric and colored lights to metamorphose onstage, playing a “hide-and-seek illusionist game” with her audience, as one writer has put it. She became a muse to the Symbolists in Paris, where Jean Cocteau wrote that she created “the phantom of an era.” The effect, said the poet Stéphane Mallarmé, was a “dizziness of soul made visible by an artifice.” Fuller’s most famous piece was “Serpentine Dance.” Another was “Butterfly Dance.” Swift has had almost no downtime since late 2017, but what little she does have is divided among New York, Nashville, Los Angeles, and Rhode Island, where she keeps homes—plus London. In an essay earlier this year, she revealed that her mother, Andrea Swift, is fighting cancer for a second time. “There was a relapse that happened,” Swift says, declining to go into detail. “It’s something that my family is going through.” Later this year, she will star in a film adaptation of Andrew Lloyd Webber’s Cats as Bombalurina, the flirtatious red cat. “They made us the size of cats by making the furniture bigger,” she says. “You’d be standing there and you could barely reach the seat of a chair. It was phenomenal. It made you feel like a little kid.” But first, she will spend much of the summer holding “secret sessions��—a tradition wherein Swift invites hundreds of fans to her various homes to preview her new music. “They’ve never given me a reason to stop doing it,” she says. “Not a single one.” Speaking of: Inquiring fans will want to know if Swift dropped any more clues about how to decode Lover during this interview. For you I reviewed the audio again, and there were a few things that made my newly acquired Swifty sense tingle. At one point she compared superstardom in the digital age to life in a dollhouse, one where voyeurs “can ‘ship’ you with who they want to ‘ship’ you with, and they can ‘favorite’ friends that you have, and they can know where you are all the time.” The metaphor was precise and vivid and, well, a little too intricately rendered to be off the cuff. (Also, the “ME!” lyric: “Baby doll, when it comes to a lover. I promise that you’ll never find another like me.”) Then there was the balloon—a giant gold balloon in the shape of a numeral seven that happened to float by while we were on her roof, on this, the occasion of her seventh album. “Is it an L’?” I say. “No, because look, the string is hanging from the bottom,” she says. It might seem an obvious symbolic gesture, deployed for this interview, except for how impossible that seems. Swift let me control the timing of nearly everything. Moreover, the gold seven wasn’t floating up from the sidewalk below. It was already high in the sky, drifting slowly toward us from down the street. She would have had to control the wind, or at least to have studied it. Would Taylor Swift really go to such elaborate lengths for her fans? This much I know: Yes, she would.

[mmmmalo]

Any takes on the kids associated grist? I get Dave's thing with specimens preserved in amber, and you've already talked a lot about Jade and uranium. But I don't see the connection with John and oil. And Rose's chalk seems pretty vague too beyond chalk being "scholarly".

Can't say I've really thought about it... I'm looking at the part where WV introduces all of the kids' grists for clues now though. Let's meander.

...the combination of the oil being in a yellow container and that WV is inspired to pour it by an (unachievable; he's thirsty) urge to pee could suggest oil as a pee substitute? With all the associations with 'realness' that carries... Or maybe since WV uses it to fill in the blank spaces on a chessboard, the point is more that oil turns negative lack into a positive substance, same as tentacles associated with the thrust of the darkness. In which case attempts to remove oil becomes a Rogue of Void type action, removing the sense of emptiness Egbert lingers on at the empty mailbox? In which case the question would become, what was implicitly made manifest by that lack removal? Roxy? Who unexpectedly reappears when the planet is clear...

Then again, scattering oil across the story to 'signify his final mastery over his confining reality' doesn't seem very lack-like, does it. (Except to the degree that the marks impress a sense of knowledge-lack upon the wondering reader, whose ignorance is resolved with the same gesture as John's assertion of mastery?) But more generally, marking one's territory feels like a pee thing.

Pee aside: because Dave associates pee with apple juice (thanks to John), offering to pour a bottle out for the eviscerated Cal felt like Dave had displaced the urge to piss on Cal's corpse. Yet insofar as pee, like the apple, becomes a symbol of truth and realness (and 'piss-poor' a marker of fakeness), Dave's urge, though tinged with contempt, also seems vaguely restorative in that it would bestow 'realness' upon Cal? Which reminds me of Karkat's phrase: "MY HATE IS THE LIFE BLOOD WHICH COURSES THROUGH THE VEINS OF YOUR UNIVERSE." (Though blood and honey mingle here.) I'm guessing this has something to do with the association of Faygo and resuscitation, but idk what.

Chalk... is Light, isn't it? Comes in every color but black, which belongs to oil and void... Sensible substance for coating the Land of Light and Rain... and it would become ironic that the blind girl eats it. In particular, her red chalk becomes linked to the light of the red sun, an association drawn more circuitously through blood > lava, which tends to pool in imitation of the sun. And the red sun's association with the Law (an inescable red gaze) also lets us integrate Terezi drawing His Honorable Tyranny in red (and licking his chalk/light to commemorate a successful trial). Beyond that, I'm lost

[makistar2018]

Taylor Swift on Sexism, Scrutiny, and Standing Up for Herself

AUGUST 8, 2019 By ABBY AGUIRRE Photographed by INEZ AND VINOODH

Cover Look Taylor Swift wears a Louis Vuitton jumpsuit. Rings by Cartier and Bvlgari. To get this look, try: Dream Urban Cover in Classic Ivory, Fit Me Blush in Pink, Tattoostudio Sharpenable Gel Pencil Longwear Eyeliner Makeup in Deep Onyx, The Colossal Mascara, Brow Ultra Slim in Blonde, and Shine Compulsion by Color Sensational Lipstick in Undressed Pink. All by Maybelline New York. Hair, Christiaan; makeup, Fulvia Farolfi. Fashion Editor: Tonne Goodman

Photographed by Inez & Vinoodh, Vogue, September 2019

IT’S A SUNDAY AFTERNOON in Tribeca, and I’m in Taylor Swift’s loft, inside a former printing house that she has restored and fortified into a sanctuary of brick, velvet, and mahogany. The space is warm and cozy and vaguely literary—later, when we pass through her bedroom en route to her garden, 10 percent of my brain will believe her wardrobe might open up to Narnia. Barefoot in a wine-colored floral top and matching flowy pants, Swift is typing passwords into a laptop to show me the video for “You Need to Calm Down,” eight days before she unleashes it on the world.

I have a sliver of an idea what to expect. A few weeks earlier, I spent a day at the video shoot, in a dusty field-slash-junkyard north of Los Angeles. Swift had made it a sort of Big Gay Candy Mountain trailer park, a Technicolor happy place. The cast and crew wore heart-shaped sunglasses—living, breathing lovey-eyes emoji—and a mailbox warned, LOVE LETTERS ONLY.

Swift and a stream of costars filmed six scenes over about a dozen hours. The singer-songwriter Hayley Kiyoko, known to her fans as “Lesbian Jesus,” shot arrows at a bull’s-eye. The YouTube comedian-chef Hannah Hart danced alongside Dexter Mayfield, the plus-size male model and self-described “big boy in heels.” The Olympic figure skater Adam Rippon served up icy red snow cones. Swift and her close friend Todrick Hall, of Kinky Boots and RuPaul’s Drag Race, sipped tea with the cast of Queer Eye.

Speak Now “Rights are being stripped from basically everyone who isn’t a straight white cisgender male,” Swift says. Celine coat. Dior shoes. Fashion Editor: Tonne Goodman. Photographed by Inez & Vinoodh, Vogue, September 2019

The mood was joyous and laid-back. But by the end of the day, I wasn’t sure what the vignettes would add up to. There were shoot days and cameos I wouldn’t observe. For security reasons, the song was never played aloud. (The cast wore ear buds.) Even the hero shot, in which Swift and Hall sauntered arm in arm through the dreamscape at golden hour, was filmed in near-total silence.

For weeks afterward, I tried to sleuth out a theory. I started casually. There was a “5” on the bull’s-eye, so I did a quick search to figure out what that number might mean. Immediately I was in over my head.

Swift has a thing for symbols. I knew she had been embedding secret messages in liner notes and deploying metaphors as refrains since her self-titled debut in 2006—long before her megafame made her into a symbol of pop supremacy. But I hadn’t understood how coded and byzantine her body of work has become; I hadn’t learned, as Swift’s fans have, to see hidden meanings everywhere. For instance: In the 2017 video for “Look What You Made Me Do,” a headstone in a graveyard scene reads NILS SJOBERG, the pseudonym Swift used as her writing credit on Rihanna’s hit “This Is What You Came For,” a Swedish-sounding nod to that country’s pop wizards.

After an excessive amount of ad hoc scholarship—a friend joked that I could have learned Mandarin in the time I spent trying to unpack Swift’s oeuvre—I was no closer to a theory. Pop music has become so layered and meta, but the Taylor Swift Universe stands apart. Apprehending it is like grasping quantum physics.

My first indication of what her new album, Lover, would be about came just after midnight on June 1, the beginning of Pride Month, when Swift introduced a petition in support of the federal Equality Act. This legislation would amend the Civil Rights Act to outlaw discrimination based on gender identity and sexual orientation. (It has passed the House, but prospects in Mitch McConnell’s Senate are unclear.) Swift also posted a letter to Senator Lamar Alexander, Republican of Tennessee, asking him to vote yes. The request, on her personal letterhead (born in 1989. LOVES CATS.), denounced President Trump for not supporting the Equality Act. “I personally reject the president’s stance,” Swift wrote.

Back in the kitchen, Swift hits play. “The first verse is about trolls and cancel culture,” she says. “The second verse is about homophobes and the people picketing outside our concerts. The third verse is about successful women being pitted against each other.”

The video is, for erudite Swifties, a rich text. I had followed enough clues to correctly guess some of the other cameos—Ellen DeGeneres, RuPaul, Katy Perry. I felt the satisfaction of a gamer who successfully levels up—achievement unlocked!The video’s final frame sends viewers to Swift’s change.org petition in support of the Equality Act, which has acquired more than 400,000 signatures—including those of Cory Booker, Elizabeth Warren, Beto O’Rourke, and Kirsten Gillibrand—or four times the number required to elicit an official response from the White House.

“MAYBE A YEAR OR TWO AGO, Todrick and I are in the car, and he asked me, What would you do if your son was gay?”

We are upstairs in Swift’s secret garden, comfortably ensconced in a human-scale basket that is sort of shaped like a cocoon. Swift has brought up an ornate charcuterie board and is happily slathering triple-cream Brie onto sea-salt crackers. “The fact that he had to ask me . . . shocked me and made me realize that I had not made my position clear enough or loud enough,” she says. “If my son was gay, he’d be gay. I don’t understand the question.”

I have pressed Swift on this topic, and her answers have been direct, not performative or scripted. I do sense that she enjoys talking to me about as much as she’d enjoy a root canal—but she’s unfailingly polite, and when we turn to music, her face will light up and she will add little melodic phrases to her speech, clearly her preferred language.

Balancing Act Later this year, Swift will appear in the film adaptation of Cats—as the flirtatious Bombalurina. Givenchy dress. Bracelets by John Hardy, David Yurman, and Hoorsenbuhs. Photographed by Inez & Vinoodh, Vogue, September 2019

“If he was thinking that, I can’t imagine what my fans in the LGBTQ community might be thinking,” she goes on. “It was kind of devastating to realize that I hadn’t been publicly clear about that.”

I understand why she was surprised; she has been sending pro-LGBTQ signals since at least 2011. Many have been subtle, but none insignificant—especially for a young country star coming out of Nashville.

In the video for her single “Mean” (from 2010’s Speak Now), we see a boy in a school locker room wearing a lavender sweater and bow tie, surrounded by football players. In “Welcome to New York,” the first track on 1989, she sings, “And you can want who you want. Boys and boys and girls and girls.” Two years later, she donated to a fund for the newly created Stonewall National Monument and presented Ruby Rose with a GLAAD Media Award. Every night of last year’s Reputation tour, she dedicated the song “Dress” to Loie Fuller, the openly gay pioneer of modern dance and theatrical lighting who captured the imagination of fin-de-siècle Paris.

Swift, who has been criticized for keeping her politics to herself, first took an explicit stance a month before the 2018 midterms. On Instagram, she endorsed Democrats for the Tennessee Legislature and called out the Republican running for Senate, Marsha Blackburn. “She believes businesses have a right to refuse service to gay couples,” Swift wrote. “She also believes they should not have the right to marry. These are not MY Tennessee values.”

Swift says the post was partly to help young fans understand that if they wanted to vote, they had to register. To tell them, as she puts it, “Hey, just so you know, you can’t just roll up.” Some 65,000 new voters registered in the first 24 hours after her post, according to Vote.org.

Trump came to Blackburn’s defense the following day. “She’s a tremendous woman,” he told reporters. “I’m sure Taylor Swift doesn’t know anything about her. Let’s say I like Taylor’s music about 25 percent less now, OK?”

In April, spurred by a raft of anti-LGBTQ bills in Tennessee, Swift donated $113,000 to the Tennessee Equality Project, which advocates for LGBTQ rights. “Horrendous,” she says of the legislation. “They don’t call it ‘Slate of Hate’ for nothing.” Swift especially liked that the Tennessee Equality Project had organized a petition of faith leaders in opposition. “I loved how smart it was to come at it from a religious perspective.”

Meanwhile, the “Calm Down” video provoked a Colorado pastor to call Swift “a sinner in desperate need of a savior” and warn that “God will cut her down.” It also revived heated debate within LGBTQ communities about the politics of allyship and corporatization of Pride. Some critics argued Swift’s pro-LGBTQ imagery and lyrics were overdue and out of the blue—a reaction the new Swift scholar in me found bewildering. Had they not been paying attention?

Nor did it strike me as out of character for Swift to leverage her power for a cause. She pulled her catalog from Spotify in 2014 over questions of artist compensation. She stared down Apple in 2015, when the company said it would not pay artists during the launch of its music service. (Apple reversed itself immediately.) As a condition of her record deal with Universal Music Group last year, the company promised that it would distribute proceeds from any sale of its Spotify shares to all of its artists. And this summer, Swift furiously called out Scott Borchetta, founder of Big Machine Label Group, for selling her master recordings to the music manager Scooter Braun. (When I ask Swift if she tried to get her masters from Big Machine, her whole body slumps with a palpable heaviness. “It was either investing in my past or my and other artists’ future, and I chose the future,” she says of the deal she struck with Universal.)

Swift’s blunt testimony during her 2017 sexual-assault case against a radio DJ—months before the #MeToo reckoning blew open—felt deeply political to me and, I imagine, many other women. Swift accused the DJ, David Mueller, of groping her under her skirt at a photo session in 2013. Her camp reported the incident to his employer, who fired him. Mueller denied the allegation, sued Swift for $3 million, and his case was thrown out. Swift countersued for a symbolic $1 and won.

Watch Taylor Swift Take Over Go Ask Anna:

In a Colorado courtroom, Swift described the incident: “He stayed latched onto my bare ass cheek” as photos were being snapped. Asked why photos of the front of her skirt didn’t show this, she said, “Because my ass is located at the back of my body.” Asked if she felt bad about the DJ’s losing his job, she said, “I’m not going to let you or your client make me feel in any way that this is my fault. Here we are years later, and I’m being blamed for the unfortunate events of his life that are the product of his decisions—not mine.”

When Time included Swift on the cover of its “Silence Breakers” issue that year, the magazine asked how she felt during the testimony. “I was angry,” she said. “In that moment, I decided to forgo any courtroom formalities and just answer the questions the way it happened...I’m told it was the most amount of times the word ass has ever been said in Colorado Federal Court.”

Mueller has since paid Swift the dollar—with a Sacagawea coin. “He was trolling me, implying that I was self-righteous and hell-bent on angry, vengeful feminism. That’s what I’m inferring from him giving me a Sacagawea coin,” Swift says. “Hey, maybe he was trying to do it in honor of a powerful Native American woman. I didn’t ask.” Where is the coin now? “My lawyer has it.”

I ask her, why get louder about LGBTQ rights now? “Rights are being stripped from basically everyone who isn’t a straight white cisgender male,” she says. “I didn’t realize until recently that I could advocate for a community that I’m not a part of. It’s hard to know how to do that without being so fearful of making a mistake that you just freeze. Because my mistakes are very loud. When I make a mistake, it echoes through the canyons of the world. It’s clickbait, and it’s a part of my life story, and it’s a part of my career arc.”

I’d argue that no heterosexual woman can listen to “You Need to Calm Down” and hear only a gay anthem. “Calm down” is what controlling men tell women who are angry, contrary, or “hysterical,” or, let’s say, fearing for their physical safety. It is what Panic! at the Disco singer Brendon Urie says to Swift in the beginning of the “ME!” music video, prompting her to scream, “Je suis calme!”

I cannot believe it is a coincidence that Swift, a numbers geek with an affinity for dates, dropped the single—whose slow, incessant bass is likely to be bumping in stadiums across the world in 2020 if she goes on tour—on June 14, a certain president’s birthday.

IT'S ENLIGHTENING to read 13 years of Taylor Swift coverage—all the big reviews, all the big profiles—in one sitting. You notice things.

How quickly Swift went from a “prodigy” (The New Yorker) and a “songwriting savant” (Rolling Stone) to a tabloid fixture, for instance. Or how suspect her ambition is made to seem once she acquires real power.

Other plot points simply look different in the light of #MeToo. It is hard to imagine that Swift’s songs about her exes would be reviewed as sensationally today. I wonder if, in 2019, any man would dare grab the microphone out of a young woman’s hands at an awards show. I stared into space for a good long while when I was reminded that Pitchfork did not review Taylor Swift’s 1989 but did review Ryan Adams’s cover album of Taylor Swift’s 1989.

I ask Swift if she had always been aware of sexism. “I think about this a lot,” she says. “When I was a teenager, I would hear people talk about sexism in the music industry, and I’d be like, I don’t see it. I don’t understand. Then I realized that was because I was a kid. Men in the industry saw me as a kid. I was a lanky, scrawny, overexcited young girl who reminded them more of their little niece or their daughter than a successful woman in business or a colleague. The second I became a woman, in people’s perception, was when I started seeing it.

“It’s fine to infantilize a girl’s success and say, How cute that she’s having some hit songs,” she goes on. “How cute that she’s writing songs. But the second it becomes formidable? As soon as I started playing stadiums—when I started to look like a woman—that wasn’t as cool anymore. It was when I started to have songs from Red come out and cross over, like ‘I Knew You Were Trouble’ and ‘We Are Never Ever Getting Back Together.’ ”

Those songs are also more assertive than the ones that came before, I say. “Yeah, the angle was different when I started saying, I knew you were trouble when you walked in. Basically, you emotionally manipulated me and I didn’t love it. That wasn’t fun for me.”

I have to wonder if having her songwriting overlooked as her hits were picked apart and scrutinized wasn’t the biggest bummer of all. Swift: “I wanted to say to people, You realize writing songs is an art and a craft and not, like, an easy thing to do? Or to do well? People would act like it was a weapon I was using. Like a cheap dirty trick. Be careful, bro, she’ll write a song about you. Don’t stand near her. First of all, that’s not how it works. Second of all, find me a time when they say that about a male artist: Be careful, girl, he’ll use his experience with you to get—God forbid—inspiration to make art.”

Without question the tenor of the Taylor Swift Narrative changed most dramatically in July 2016, when Kim Kardashian West called her a “snake” on Twitter, and released video clips of Swift and Kanye West discussing the lyrics to his song “Famous.” (No need to rehash the details here. Suffice it to say that Swift’s version of events hasn’t changed: She knew about some of the lyrics but not others; specifically, the words that bitch.) The posts sparked several hashtags, including #TaylorSwiftIsASnake and #TaylorSwiftIsCanceled, which quickly escalated into a months-long campaign to “cancel” Swift.

To this day Swift doesn’t think people grasp the repercussions of that term. “A mass public shaming, with millions of people saying you are quote-unquote canceled, is a very isolating experience,” she says. “I don’t think there are that many people who can actually understand what it’s like to have millions of people hate you very loudly.” She adds: “When you say someone is canceled, it’s not a TV show. It’s a human being. You’re sending mass amounts of messaging to this person to either shut up, disappear, or it could also be perceived as, Kill yourself.”

An overhaul was in order. “I realized I needed to restructure my life because it felt completely out of control,” Swift says. “I knew immediately I needed to make music about it because I knew it was the only way I could survive it. It was the only way I could preserve my mental health and also tell the story of what it’s like to go through something so humiliating.”

State of Grace Dior bodysuit and skirt. Photographed by Inez & Vinoodh, Vogue, September 2019

I get a sense of the whiplash Swift experienced when I notice that, a few months into this ordeal, while she was writing the songs that would become her album Reputation—and fighting off Mueller’s lawsuit—a portion of the media and internet began demanding to know why she hadn’t un-canceled herself long enough to take a position in the presidential election.

On that: “Unfortunately in the 2016 election you had a political opponent who was weaponizing the idea of the celebrity endorsement. He was going around saying, I’m a man of the people. I’m for you. I care about you. I just knew I wasn’t going to help. Also, you know, the summer before that election, all people were saying was She’s calculated. She’s manipulative. She’s not what she seems. She’s a snake. She’s a liar. These are the same exact insults people were hurling at Hillary. Would I be an endorsement or would I be a liability? Look, snakes of a feather flock together. Look, the two lying women. The two nasty women. Literally millions of people were telling me to disappear. So I disappeared. In many senses.”

Swift previewed Reputation in August 2017 with “Look What You Made Me Do.” The single came with a lyric video whose central image was an ouroboros—a snake swallowing its own tail, an ancient symbol for continual renewal. Swift wiped her social-media feeds clean and began posting video snippets of a slithering snake. The song was pure bombast and high camp. (Lest there be any doubt, the chorus was an interpolation of a ’90s camp classic, Right Said Fred’s “I’m Too Sexy.”) Nonetheless, most critics read it as a grenade lobbed in the general direction of Calabasas.

One longtime Nashville critic, Brian Mansfield, had a more plausible take: She was writing sarcastically as the “Taylor Swift” portrayed in the media in a bid for privacy. “Yeah, this is the character you created for me, let me just hide behind it,” she says now of the persona she created. “I always used this metaphor when I was younger. I’d say that with every reinvention, I never wanted to tear down my house. ’Cause I built this house. This house being, metaphorically, my body of work, my songwriting, my music, my catalog, my library. I just wanted to redecorate. I think a lot of people, with Reputation, would have perceived that I had torn down the house. Actually, I just built a bunker around it.”

IN MARCH, the snakes started to morph into butterflies, the vampire color palette into Easter pastels. When a superbloom of wildflowers lured a mesmerizing deluge of Painted Lady butterflies to Los Angeles, Swift marked it with an Instagram post. She attended the iHeartRadio Music Awards that night in a sequin romper and stilettos with shimmery wings attached.

Swift announced the single “ME!” a month later, with a large butterfly mural in Nashville. In the music video for the (conspicuously) bubblegum song, a hissing pastel-pink snake explodes into a kaleidoscope of butterflies. One flutters by the window of an apartment, where Swift is arguing in French with Urie. A record player is playing in the background. “It’s an old-timey, 1940s-sounding instrumental version of ‘You Need to Calm Down,’ ’’ Swift says. Later, in the “Calm Down” video, Swift wears a (fake) back tattoo of a snake swarmed by butterflies.

We are only two songs in, people. Lover, to be released on August 23, will have a total of 18 songs. “I was compiling ideas for a very long time,” Swift says. “When I started writing, I couldn’t stop.” (We can assume the British actor Joe Alwyn, with whom Swift has been in a relationship for nearly three years, provided some of the inspiration.)

Swift thinks Lover might be her favorite album yet. “There are so many ways in which this album feels like a new beginning,” she says. “This album is really a love letter to love, in all of its maddening, passionate, exciting, enchanting, horrific, tragic, wonderful glory.”

In Focus Swift’s new 18-track album, Lover, will be released August 23. Hermès shirt. Chanel pants. Maximum Henry belt. Photographed by Inez & Vinoodh, Vogue, September 2019

I have to ask Swift, given how genuinely at peace she seems, if part of her isn’t thankful, if not for the Great Cancellation of 2016, then for the person she now is—knowing who her friends are, knowing what’s what. “When you’re going through loss or embarrassment or shame, it’s a grieving process with so many micro emotions in a day. One of the reasons why I didn’t do interviews for Reputationwas that I couldn’t figure out how I felt hour to hour. Sometimes I felt like: All these things taught me something that I never could have learned in a way that didn’t hurt as much. Five minutes later, I’d feel like: That was horrible. Why did that have to happen? What am I supposed to take from this other than mass amounts of humiliation? And then five minutes later I’d think: I think I might be happier than I’ve ever been.”

She goes on: “It’s so strange trying to be self-aware when you’ve been cast as this always smiling, always happy ‘America’s sweetheart’ thing, and then having that taken away and realizing that it’s actually a great thing that it was taken away, because that’s extremely limiting.” Swift leans back in the cocoon and smiles: “We’re not going to go straight to gratitude with it. Ever. But we’re going to find positive aspects to it. We’re never going to write a thank-you note.”

Though people will take the Perry-Swift burger-and-fries embrace in the “You Need to Calm Down” video as a press release that the two have mended fences, Swift says it’s actually a comment on how the media pits female pop stars against one another. After Perry sent Swift an (actual) olive branch last year, Swift asked her to be in the video: “She wrote back, This makes me so emotional. I’m so up for this. I want us to be that example. But let’s spend some time together. Because I want it to be real. So she came over and we talked for hours.

“We decided the metaphor for what happens in the media,” Swift explains, “is they pick two people and it’s like they’re pouring gasoline all over the floor. All that needs to happen is one false move, one false word, one misunderstanding, and a match is lit and dropped. That’s what happened with us. It was: Who’s better? Katy or Taylor? Katy or Taylor? Katy or Taylor? Katy or Taylor? The tension is so high that it becomes impossible for you to not think that the other person has something against you."

Meanwhile, the protesters in the video reference a real-life religious group that pickets outside Swift’s concerts, not the white working class in general, as some have assumed. “So many artists have them at their shows, and it’s such a confounding, confusing, infuriating thing to have outside of joyful concerts,” she tells me. “Obviously I don’t want to mention the actual entity, because they would get excited about that. Giving them press is not on my list of priorities.”

At one point, Swift asks if I would like to hear two other songs off the new album. (Duh.) First she plays “Lover,” the title track, coproduced by Jack Antonoff. “This has one of my favorite bridges,” she says. “I love a bridge, and I was really able to go to Bridge City.” It’s a romantic, haunting, waltzy, singer-songwritery nugget: classic Swift. “My heart’s been borrowed and yours has been blue,” she sings. “All’s well that ends well to end up with you.”

Next, Swift cues up a track that “plays with the idea of perception.” She has often wondered how she would be written and spoken about if she were a man, “so I wrote a song called ‘The Man.’ ” It’s a thought experiment of sorts: “If I had made all the same choices, all the same mistakes, all the same accomplishments, how would it read?” Seconds later, Swift’s earpods are pumping a synth-pop earworm into my head: “I’d be a fearless leader. I’d be an alpha type. When everyone believes ya: What’s that like?”

Swift wrote the first two singles with Joel Little, best known as one of Lorde’s go-to producers. (“From a pop-songwriting point of view, she’s the pinnacle,” Little says of Swift.) The album is likely to include more marquee names. A portrait of the Dixie Chicks in the background of the “ME!” video almost certainly portends a collaboration. If fans are correctly reading a button affixed to her denim jacket in a recent magazine cover, we can expect one with Drake, too.

Eyes On Her Designer Stella McCartney on her friendship with Swift: “In London we’ll go on walks and talk about everything—life and love.” Stella McCartney coat. In this story: hair, Christiaan; makeup, Fulvia Farolfi. Photographed by Inez & Vinoodh, Vogue, September 2019

She recently announced a fashion collection with Stella McCartney to coincide with Lover. “We met at one of her shows,” says McCartney, “and then we had a girls’ night and kind of jumped straight in. In London we’ll go on walks and talk about everything—life and love.” (Swift has no further fashion ambitions at the moment. “I really love my job right now,” she tells me. “My focus is on music.”) Oh, and that “5” on the bullseye? Track five is called “The Archer.”

Yet something tells me the most illuminating clue for reading both Lover and Reputation may be Loie Fuller, the dancer to whom Swift paid homage on tour. As Swift noted on a Jumbotron, Fuller “fought for artists to own their work.” Fuller also used swirling fabric and colored lights to metamorphose onstage, playing a “hide-and-seek illusionist game” with her audience, as one writer has put it. She became a muse to the Symbolists in Paris, where Jean Cocteau wrote that she created “the phantom of an era.” The effect, said the poet Stéphane Mallarmé, was a “dizziness of soul made visible by an artifice.” Fuller’s most famous piece was “Serpentine Dance.” Another was “Butterfly Dance.”

SWIFT HAS HAD almost no downtime since late 2017, but what little she does have is divided among New York, Nashville, Los Angeles, and Rhode Island, where she keeps homes—plus London. In an essay earlier this year, she revealed that her mother, Andrea Swift, is fighting cancer for a second time. “There was a relapse that happened,” Swift says, declining to go into detail. “It’s something that my family is going through.”

Later this year, she will star in a film adaptation of Andrew Lloyd Webber’s Catsas Bombalurina, the flirtatious red cat. “They made us the size of cats by making the furniture bigger,” she says. “You’d be standing there and you could barely reach the seat of a chair. It was phenomenal. It made you feel like a little kid.”

But first, she will spend much of the summer holding “secret sessions”—a tradition wherein Swift invites hundreds of fans to her various homes to preview her new music. “They’ve never given me a reason to stop doing it,” she says. “Not a single one.”

Speaking of: Inquiring fans will want to know if Swift dropped any more clues about how to decode Lover during this interview. For you I reviewed the audio again, and there were a few things that made my newly acquired Swifty sense tingle.

At one point she compared superstardom in the digital age to life in a dollhouse, one where voyeurs “can ‘ship’ you with who they want to ‘ship’ you with, and they can ‘favorite’ friends that you have, and they can know where you are all the time.” The metaphor was precise and vivid and, well, a little too intricately rendered to be off the cuff. (Also, the “ME!” lyric: “Baby doll, when it comes to a lover. I promise that you’ll never find another like me.”)

Then there was the balloon—a giant gold balloon in the shape of a numeral seven that happened to float by while we were on her roof, on this, the occasion of her seventh album. “Is it an L’?” I say. “No, because look, the string is hanging from the bottom,” she says.

It might seem an obvious symbolic gesture, deployed for this interview, except for how impossible that seems. Swift let me control the timing of nearly everything. Moreover, the gold seven wasn’t floating up from the sidewalk below. It was already high in the sky, drifting slowly toward us from down the street. She would have had to control the wind, or at least to have studied it. Would Taylor Swift really go to such elaborate lengths for her fans? This much I know: Yes, she would.

Taylor Swift Talks Googling Herself, Which Celebrity's Closet She'd Raid, and the Bravest Thing She's Ever Done:

Vogue

[hearyourheart]

Taylor Swift on Sexism, Scrutiny, and Standing Up for Herself

IT’S A SUNDAY AFTERNOON in Tribeca, and I’m in Taylor Swift’s loft, inside a former printing house that she has restored and fortified into a sanctuary of brick, velvet, and mahogany. The space is warm and cozy and vaguely literary—later, when we pass through her bedroom en route to her garden, 10 percent of my brain will believe her wardrobe might open up to Narnia. Barefoot in a wine-colored floral top and matching flowy pants, Swift is typing passwords into a laptop to show me the video for “You Need to Calm Down,” eight days before she unleashes it on the world.

I have a sliver of an idea what to expect. A few weeks earlier, I spent a day at the video shoot, in a dusty field-slash-junkyard north of Los Angeles. Swift had made it a sort of Big Gay Candy Mountain trailer park, a Technicolor happy place. The cast and crew wore heart-shaped sunglasses—living, breathing lovey-eyes emoji—and a mailbox warned, LOVE LETTERS ONLY.

Swift and a stream of costars filmed six scenes over about a dozen hours. The singer-songwriter Hayley Kiyoko, known to her fans as “Lesbian Jesus,” shot arrows at a bull’s-eye. The YouTube comedian-chef Hannah Hart danced alongside Dexter Mayfield, the plus-size male model and self-described “big boy in heels.” The Olympic figure skater Adam Rippon served up icy red snow cones. Swift and her close friend Todrick Hall, of Kinky Boots and RuPaul’s Drag Race, sipped tea with the cast of Queer Eye.

The mood was joyous and laid-back. But by the end of the day, I wasn’t sure what the vignettes would add up to. There were shoot days and cameos I wouldn’t observe. For security reasons, the song was never played aloud. (The cast wore ear buds.) Even the hero shot, in which Swift and Hall sauntered arm in arm through the dreamscape at golden hour, was filmed in near-total silence.

For weeks afterward, I tried to sleuth out a theory. I started casually. There was a “5” on the bull’s-eye, so I did a quick search to figure out what that number might mean. Immediately I was in over my head.

Swift has a thing for symbols. I knew she had been embedding secret messages in liner notes and deploying metaphors as refrains since her self-titled debut in 2006—long before her megafame made her into a symbol of pop supremacy. But I hadn’t understood how coded and byzantine her body of work has become; I hadn’t learned, as Swift’s fans have, to see hidden meanings everywhere. For instance: In the 2017 video for “Look What You Made Me Do,” a headstone in a graveyard scene reads NILS SJOBERG, the pseudonym Swift used as her writing credit on Rihanna’s hit “This Is What You Came For,” a Swedish-sounding nod to that country’s pop wizards.

After an excessive amount of ad hoc scholarship—a friend joked that I could have learned Mandarin in the time I spent trying to unpack Swift’s oeuvre—I was no closer to a theory. Pop music has become so layered and meta, but the Taylor Swift Universe stands apart. Apprehending it is like grasping quantum physics.

My first indication of what her new album, Lover, would be about came just after midnight on June 1, the beginning of Pride Month, when Swift introduced a petition in support of the federal Equality Act. This legislation would amend the Civil Rights Act to outlaw discrimination based on gender identity and sexual orientation. (It has passed the House, but prospects in Mitch McConnell’s Senate are unclear.) Swift also posted a letter to Senator Lamar Alexander, Republican of Tennessee, asking him to vote yes. The request, on her personal letterhead (born in 1989. LOVES CATS.), denounced President Trump for not supporting the Equality Act. “I personally reject the president’s stance,” Swift wrote.

Back in the kitchen, Swift hits play. “The first verse is about trolls and cancel culture,” she says. “The second verse is about homophobes and the people picketing outside our concerts. The third verse is about successful women being pitted against each other.”

The video is, for erudite Swifties, a rich text. I had followed enough clues to correctly guess some of the other cameos—Ellen DeGeneres, RuPaul, Katy Perry. I felt the satisfaction of a gamer who successfully levels up—achievement unlocked!The video’s final frame sends viewers to Swift’s change.org petition in support of the Equality Act, which has acquired more than 400,000 signatures—including those of Cory Booker, Elizabeth Warren, Beto O’Rourke, and Kirsten Gillibrand—or four times the number required to elicit an official response from the White House.

“Maybe a year or two ago, Todrick and I are in the car, and he asked me, What would you do if your son was gay?”

We are upstairs in Swift’s secret garden, comfortably ensconced in a human-scale basket that is sort of shaped like a cocoon. Swift has brought up an ornate charcuterie board and is happily slathering triple-cream Brie onto sea-salt crackers. “The fact that he had to ask me . . . shocked me and made me realize that I had not made my position clear enough or loud enough,” she says. “If my son was gay, he’d be gay. I don’t understand the question.”

I have pressed Swift on this topic, and her answers have been direct, not performative or scripted. I do sense that she enjoys talking to me about as much as she’d enjoy a root canal—but she’s unfailingly polite, and when we turn to music, her face will light up and she will add little melodic phrases to her speech, clearly her preferred language.

“If he was thinking that, I can’t imagine what my fans in the LGBTQ community might be thinking,” she goes on. “It was kind of devastating to realize that I hadn’t been publicly clear about that.”

I understand why she was surprised; she has been sending pro-LGBTQ signals since at least 2011. Many have been subtle, but none insignificant—especially for a young country star coming out of Nashville.

In the video for her single “Mean” (from 2010’s Speak Now), we see a boy in a school locker room wearing a lavender sweater and bow tie, surrounded by football players. In “Welcome to New York,” the first track on 1989, she sings, “And you can want who you want. Boys and boys and girls and girls.” Two years later, she donated to a fund for the newly created Stonewall National Monument and presented Ruby Rose with a GLAAD Media Award. Every night of last year’s Reputation tour, she dedicated the song “Dress” to Loie Fuller, the openly gay pioneer of modern dance and theatrical lighting who captured the imagination of fin-de-siècle Paris.

Swift, who has been criticized for keeping her politics to herself, first took an explicit stance a month before the 2018 midterms. On Instagram, she endorsed Democrats for the Tennessee Legislature and called out the Republican running for Senate, Marsha Blackburn. “She believes businesses have a right to refuse service to gay couples,” Swift wrote. “She also believes they should not have the right to marry. These are not MY Tennessee values.”

Swift says the post was partly to help young fans understand that if they wanted to vote, they had to register. To tell them, as she puts it, “Hey, just so you know, you can’t just roll up.” Some 65,000 new voters registered in the first 24 hours after her post, according to Vote.org.

Trump came to Blackburn’s defense the following day. “She’s a tremendous woman,” he told reporters. “I’m sure Taylor Swift doesn’t know anything about her. Let’s say I like Taylor’s music about 25 percent less now, OK?”

In April, spurred by a raft of anti-LGBTQ bills in Tennessee, Swift donated $113,000 to the Tennessee Equality Project, which advocates for LGBTQ rights. “Horrendous,” she says of the legislation. “They don’t call it ‘Slate of Hate’ for nothing.” Swift especially liked that the Tennessee Equality Project had organized a petition of faith leaders in opposition. “I loved how smart it was to come at it from a religious perspective.”

Meanwhile, the “Calm Down” video provoked a Colorado pastor to call Swift “a sinner in desperate need of a savior” and warn that “God will cut her down.” It also revived heated debate within LGBTQ communities about the politics of allyship and corporatization of Pride. Some critics argued Swift’s pro-LGBTQ imagery and lyrics were overdue and out of the blue—a reaction the new Swift scholar in me found bewildering. Had they not been paying attention?

Nor did it strike me as out of character for Swift to leverage her power for a cause. She pulled her catalog from Spotify in 2014 over questions of artist compensation. She stared down Apple in 2015, when the company said it would not pay artists during the launch of its music service. (Apple reversed itself immediately.) As a condition of her record deal with Universal Music Group last year, the company promised that it would distribute proceeds from any sale of its Spotify shares to all of its artists. And this summer, Swift furiously called out Scott Borchetta, founder of Big Machine Label Group, for selling her master recordings to the music manager Scooter Braun. (When I ask Swift if she tried to get her masters from Big Machine, her whole body slumps with a palpable heaviness. “It was either investing in my past or my and other artists’ future, and I chose the future,” she says of the deal she struck with Universal.)

Swift’s blunt testimony during her 2017 sexual-assault case against a radio DJ—months before the #MeToo reckoning blew open—felt deeply political to me and, I imagine, many other women. Swift accused the DJ, David Mueller, of groping her under her skirt at a photo session in 2013. Her camp reported the incident to his employer, who fired him. Mueller denied the allegation, sued Swift for $3 million, and his case was thrown out. Swift countersued for a symbolic $1 and won.

In a Colorado courtroom, Swift described the incident: “He stayed latched onto my bare ass cheek” as photos were being snapped. Asked why photos of the front of her skirt didn’t show this, she said, “Because my ass is located at the back of my body.” Asked if she felt bad about the DJ’s losing his job, she said, “I’m not going to let you or your client make me feel in any way that this is my fault. Here we are years later, and I’m being blamed for the unfortunate events of his life that are the product of his decisions—not mine.”

When Time included Swift on the cover of its “Silence Breakers” issue that year, the magazine asked how she felt during the testimony. “I was angry,” she said. “In that moment, I decided to forgo any courtroom formalities and just answer the questions the way it happened...I’m told it was the most amount of times the word ass has ever been said in Colorado Federal Court.”

Mueller has since paid Swift the dollar—with a Sacagawea coin. “He was trolling me, implying that I was self-righteous and hell-bent on angry, vengeful feminism. That’s what I’m inferring from him giving me a Sacagawea coin,” Swift says. “Hey, maybe he was trying to do it in honor of a powerful Native American woman. I didn’t ask.” Where is the coin now? “My lawyer has it.”

I ask her, why get louder about LGBTQ rights now? “Rights are being stripped from basically everyone who isn’t a straight white cisgender male,” she says. “I didn’t realize until recently that I could advocate for a community that I’m not a part of. It’s hard to know how to do that without being so fearful of making a mistake that you just freeze. Because my mistakes are very loud. When I make a mistake, it echoes through the canyons of the world. It’s clickbait, and it’s a part of my life story, and it’s a part of my career arc.”

I’d argue that no heterosexual woman can listen to “You Need to Calm Down” and hear only a gay anthem. “Calm down” is what controlling men tell women who are angry, contrary, or “hysterical,” or, let’s say, fearing for their physical safety. It is what Panic! at the Disco singer Brendon Urie says to Swift in the beginning of the “ME!” music video, prompting her to scream, “Je suis calme!”

I cannot believe it is a coincidence that Swift, a numbers geek with an affinity for dates, dropped the single—whose slow, incessant bass is likely to be bumping in stadiums across the world in 2020 if she goes on tour—on June 14, a certain president’s birthday.

It’s enlightening to read 13 years of Taylor Swift coverage—all the big reviews, all the big profiles—in one sitting. You notice things.

How quickly Swift went from a “prodigy” (The New Yorker) and a “songwriting savant” (Rolling Stone) to a tabloid fixture, for instance. Or how suspect her ambition is made to seem once she acquires real power.

Other plot points simply look different in the light of #MeToo. It is hard to imagine that Swift’s songs about her exes would be reviewed as sensationally today. I wonder if, in 2019, any man would dare grab the microphone out of a young woman’s hands at an awards show. I stared into space for a good long while when I was reminded that Pitchfork did not review Taylor Swift’s 1989 but did review Ryan Adams’s cover album of Taylor Swift’s 1989.

I ask Swift if she had always been aware of sexism. “I think about this a lot,” she says. “When I was a teenager, I would hear people talk about sexism in the music industry, and I’d be like, I don’t see it. I don’t understand. Then I realized that was because I was a kid. Men in the industry saw me as a kid. I was a lanky, scrawny, overexcited young girl who reminded them more of their little niece or their daughter than a successful woman in business or a colleague. The second I became a woman, in people’s perception, was when I started seeing it.

“It’s fine to infantilize a girl’s success and say, How cute that she’s having some hit songs,” she goes on. “How cute that she’s writing songs. But the second it becomes formidable? As soon as I started playing stadiums—when I started to look like a woman—that wasn’t as cool anymore. It was when I started to have songs from Red come out and cross over, like ‘I Knew You Were Trouble’ and ‘We Are Never Ever Getting Back Together.’ ”

Those songs are also more assertive than the ones that came before, I say. “Yeah, the angle was different when I started saying, I knew you were trouble when you walked in. Basically, you emotionally manipulated me and I didn’t love it. That wasn’t fun for me.”

I have to wonder if having her songwriting overlooked as her hits were picked apart and scrutinized wasn’t the biggest bummer of all. Swift: “I wanted to say to people, You realize writing songs is an art and a craft and not, like, an easy thing to do? Or to do well? People would act like it was a weapon I was using. Like a cheap dirty trick. Be careful, bro, she’ll write a song about you. Don’t stand near her. First of all, that’s not how it works. Second of all, find me a time when they say that about a male artist: Be careful, girl, he’ll use his experience with you to get—God forbid—inspiration to make art.”

Without question the tenor of the Taylor Swift Narrative changed most dramatically in July 2016, when Kim Kardashian West called her a “snake” on Twitter, and released video clips of Swift and Kanye West discussing the lyrics to his song “Famous.” (No need to rehash the details here. Suffice it to say that Swift’s version of events hasn’t changed: She knew about some of the lyrics but not others; specifically, the words that bitch.) The posts sparked several hashtags, including #TaylorSwiftIsASnake and #TaylorSwiftIsCanceled, which quickly escalated into a months-long campaign to “cancel” Swift.

To this day Swift doesn’t think people grasp the repercussions of that term. “A mass public shaming, with millions of people saying you are quote-unquote canceled, is a very isolating experience,” she says. “I don’t think there are that many people who can actually understand what it’s like to have millions of people hate you very loudly.” She adds: “When you say someone is canceled, it’s not a TV show. It’s a human being. You’re sending mass amounts of messaging to this person to either shut up, disappear, or it could also be perceived as, Kill yourself.”

An overhaul was in order. “I realized I needed to restructure my life because it felt completely out of control,” Swift says. “I knew immediately I needed to make music about it because I knew it was the only way I could survive it. It was the only way I could preserve my mental health and also tell the story of what it’s like to go through something so humiliating.”

I get a sense of the whiplash Swift experienced when I notice that, a few months into this ordeal, while she was writing the songs that an interpolation of a ’90s camp classic, Right Said Fred’s “I’m Too Sexy.”) Nonetheless, most critics read it as a grenade lobbed in the general direction of Calabasas.

One longtime Nashville critic, Brian Mansfield, had a more plausible take: She was writing sarcastically as the “Taylor Swift” portrayed in the media in a bid for privacy. “Yeah, this is the character you created for me, let me just hide behind it,” she says now of the persona she created. “I always used this metaphor when I was younger. I’d say that with every reinvention, I never wanted to tear down my house. ’Cause I built this house. This house being, metaphorically, my body of work, my songwriting, my music, my catalog, my library. I just wanted to redecorate. I think a lot of people, with Reputation, would have perceived that I had torn down the house. Actually, I just built a bunker around it.”

In March, the snakes started to morph into butterflies, the vampire color palette into Easter pastels. When a superbloom of wildflowers lured a mesmerizing deluge of Painted Lady butterflies to Los Angeles, Swift marked it with an Instagram post. She attended the iHeartRadio Music Awards that night in a sequin romper and stilettos with shimmery wings attached.

Swift announced the single “ME!” a month later, with a large butterfly mural in Nashville. In the music video for the (conspicuously) bubblegum song, a hissing pastel-pink snake explodes into a kaleidoscope of butterflies. One flutters by the window of an apartment, where Swift is arguing in French with Urie. A record player is playing in the background. “It’s an old-timey, 1940s-sounding instrumental version of ‘You Need to Calm Down,’ ’’ Swift says. Later, in the “Calm Down” video, Swift wears a (fake) back tattoo of a snake swarmed by butterflies.

We are only two songs in, people. Lover, to be released on August 23, will have a total of 18 songs. “I was compiling ideas for a very long time,” Swift says. “When I started writing, I couldn’t stop.” (We can assume the British actor Joe Alwyn, with whom Swift has been in a relationship for nearly three years, provided some of the inspiration.)

Swift thinks Lover might be her favorite album yet. “There are so many ways in which this album feels like a new beginning,” she says. “This album is really a love letter to love, in all of its maddening, passionate, exciting, enchanting, horrific, tragic, wonderful glory.”

Swift’s new 18-track album, Lover, will be released August 23.

I have to ask Swift, given how genuinely at peace she seems, if part of her isn’t thankful, if not for the Great Cancellation of 2016, then for the person she now is—knowing who her friends are, knowing what’s what. “When you’re going through loss or embarrassment or shame, it’s a grieving process with so many micro emotions in a day. One of the reasons why I didn’t do interviews for Reputationwas that I couldn’t figure out how I felt hour to hour. Sometimes I felt like: All these things taught me something that I never could have learned in a way that didn’t hurt as much. Five minutes later, I’d feel like: That was horrible. Why did that have to happen? What am I supposed to take from this other than mass amounts of humiliation? And then five minutes later I’d think: I think I might be happier than I’ve ever been.”

She goes on: “It’s so strange trying to be self-aware when you’ve been cast as this always smiling, always happy ‘America’s sweetheart’ thing, and then having that taken away and realizing that it’s actually a great thing that it was taken away, because that’s extremely limiting.” Swift leans back in the cocoon and smiles: “We’re not going to go straight to gratitude with it. Ever. But we’re going to find positive aspects to it. We’re never going to write a thank-you note.”

Though people will take the Perry-Swift burger-and-fries embrace in the “You Need to Calm Down” video as a press release that the two have mended fences, Swift says it’s actually a comment on how the media pits female pop stars against one another. After Perry sent Swift an (actual) olive branch last year, Swift asked her to be in the video: “She wrote back, This makes me so emotional. I’m so up for this. I want us to be that example. But let’s spend some time together. Because I want it to be real. So she came over and we talked for hours.

“We decided the metaphor for what happens in the media,” Swift explains, “is they pick two people and it’s like they’re pouring gasoline all over the floor. All that needs to happen is one false move, one false word, one misunderstanding, and a match is lit and dropped. That’s what happened with us. It was: Who’s better? Katy or Taylor? Katy or Taylor? Katy or Taylor? Katy or Taylor? The tension is so high that it becomes impossible for you to not think that the other person has something against you."

Meanwhile, the protesters in the video reference a real-life religious group that pickets outside Swift’s concerts, not the white working class in general, as some have assumed. “So many artists have them at their shows, and it’s such a confounding, confusing, infuriating thing to have outside of joyful concerts,” she tells me. “Obviously I don’t want to mention the actual entity, because they would get excited about that. Giving them press is not on my list of priorities.”

At one point, Swift asks if I would like to hear two other songs off the new album. (Duh.) First she plays “Lover,” the title track, coproduced by Jack Antonoff. “This has one of my favorite bridges,” she says. “I love a bridge, and I was really able to go to Bridge City.” It’s a romantic, haunting, waltzy, singer-songwritery nugget: classic Swift. “My heart’s been borrowed and yours has been blue,” she sings. “All’s well that ends well to end up with you.”

Next, Swift cues up a track that “plays with the idea of perception.” She has often wondered how she would be written and spoken about if she were a man, “so I wrote a song called ‘The Man.’ ” It’s a thought experiment of sorts: “If I had made all the same choices, all the same mistakes, all the same accomplishments, how would it read?” Seconds later, Swift’s earpods are pumping a synth-pop earworm into my head: “I’d be a fearless leader. I’d be an alpha type. When everyone believes ya: What’s that like?”

Swift wrote the first two singles with Joel Little, best known as one of Lorde’s go-to producers. (“From a pop-songwriting point of view, she’s the pinnacle,” Little says of Swift.) The album is likely to include more marquee names. A portrait of the Dixie Chicks in the background of the “ME!” video almost certainly portends a collaboration. If fans are correctly reading a button affixed to her denim jacket in a recent magazine cover, we can expect one with Drake, too.

She recently announced a fashion collection with Stella McCartney to coincide with Lover. “We met at one of her shows,” says McCartney, “and then we had a girls’ night and kind of jumped straight in. In London we’ll go on walks and talk about everything—life and love.” (Swift has no further fashion ambitions at the moment. “I really love my job right now,” she tells me. “My focus is on music.”) Oh, and that “5” on the bullseye? Track five is called “The Archer.”

Yet something tells me the most illuminating clue for reading both Lover and Reputation may be Loie Fuller, the dancer to whom Swift paid homage on tour. As Swift noted on a Jumbotron, Fuller “fought for artists to own their work.” Fuller also used swirling fabric and colored lights to metamorphose onstage, playing a “hide-and-seek illusionist game” with her audience, as one writer has put it. She became a muse to the Symbolists in Paris, where Jean Cocteau wrote that she created “the phantom of an era.” The effect, said the poet Stéphane Mallarmé, was a “dizziness of soul made visible by an artifice.” Fuller’s most famous piece was “Serpentine Dance.” Another was “Butterfly Dance.”

Swift has had almost no downtime since late 2017, but what little she does have is divided among New York, Nashville, Los Angeles, and Rhode Island, where she keeps homes—plus London. In an essay earlier this year, she revealed that her mother, Andrea Swift, is fighting cancer for a second time. “There was a relapse that happened,” Swift says, declining to go into detail. “It’s something that my family is going through.”

Later this year, she will star in a film adaptation of Andrew Lloyd Webber’s Catsas Bombalurina, the flirtatious red cat. “They made us the size of cats by making the furniture bigger,” she says. “You’d be standing there and you could barely reach the seat of a chair. It was phenomenal. It made you feel like a little kid.”

But first, she will spend much of the summer holding “secret sessions”—a tradition wherein Swift invites hundreds of fans to her various homes to preview her new music. “They’ve never given me a reason to stop doing it,” she says. “Not a single one.”

Speaking of: Inquiring fans will want to know if Swift dropped any more clues about how to decode Lover during this interview. For you I reviewed the audio again, and there were a few things that made my newly acquired Swifty sense tingle.

At one point she compared superstardom in the digital age to life in a dollhouse, one where voyeurs “can ‘ship’ you with who they want to ‘ship’ you with, and they can ‘favorite’ friends that you have, and they can know where you are all the time.” The metaphor was precise and vivid and, well, a little too intricately rendered to be off the cuff. (Also, the “ME!” lyric: “Baby doll, when it comes to a lover. I promise that you’ll never find another like me.”)

Then there was the balloon—a giant gold balloon in the shape of a numeral seven that happened to float by while we were on her roof, on this, the occasion of her seventh album. “Is it an L’?” I say. “No, because look, the string is hanging from the bottom,” she says.

It might seem an obvious symbolic gesture, deployed for this interview, except for how impossible that seems. Swift let me control the timing of nearly everything. Moreover, the gold seven wasn’t floating up from the sidewalk below. It was already high in the sky, drifting slowly toward us from down the street. She would have had to control the wind, or at least to have studied it. Would Taylor Swift really go to such elaborate lengths for her fans? This much I know: Yes, she would.

[transamor-blog]

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