#swiftie history

[hope-ur-ok]

Lol is the flavor grape bc thats the color on your blog?

no it was a reference to a now deleted kaylor blog who claimed a whole bunch lgbtq folks were homophobic for calling her out, she was straight for the record. I found a reddit post that mostly explains it, there was definitely more to it than just this but I just remember the lgbtq flavor joke going around for awhile

[letsgethaunted]

Episode 180: The Most Haunted Taylor Swift Conspiracies

Welcome to Episode 80: The Most Haunted Taylor Swift Conspiracies! In 2006, Taylor burst onto the music scene as a teenage country pop sensation and has been smashing records ever since. But 2023 may have been Taylor's best year yet as she was crowned Time Magazine Person of the Year and became a newly minted billionaire. Taylor Swift is one of the most popular artists to ever walk the earth and we are undoubtedly witnessing a pop star in her prime...but is she haunted? In addition to being plagued by "champagne problems", Taylor has also been victim to witchcraft allegations, cloning conspiracies, rumors of political influence, and accusations of "social programming". Baby, let the games begin!

TIME STAMPS:

00:00:00 - Intro/Personal Hauntings

00:07:28 - Story Begins

00:15:18 - Apostrophe Ad

00:17:25 - The High Priestess of Satan

00:35:15 - Fum Ad

00:37:15 - Illuminati Clone

00:43:17 - Snakegate

01:04:00 - BIG REPUTATION - The New Taylor

01:10:37 - Witchcraft

01:25:32 - Superbowl & Election Influence

01:44:15 - Matty Healy + Ice Spice = Karma

01:49:17 - 13

01:55:00 -Theories

02:13:00 - Donor Shoutouts

**as a note from the resident Swiftie - Nat presents this information in a respectful way and does not at all dog on Taylor. In Nat's own words, "As a Swiftie myself, who attended the Eras Tour in 2023, is a self proclaimed folkmore stan, follows r/taylorswift on Reddit, has had reels shared by Taylor Nation on instagram, and used lyrics from folklore ("the lakes") and evermore ("ivy") as inspo for my wedding design, I can say with confidence that I am the perfect person to write and deliver this episode. Rest assured Swifties, I am one of you. I have ridden the highs and lows of the last year with you all. I've had people I love and respect make fun of my Taylor appreciation with sarcastic comments like "kArMa Is A cAt iS tHe GrEaTeSt LyRiC oF aLl TiMe", knowing in my heart that if they heard the bittersweet existential dread of "seven" or the heartbreak wrought by senseless violence in "epiphany" or even the foolish optimism of "Paper Rings", they still wouldn't get it. And yes, I did have to sit there and let it sink in as Taylor told us all who "the 1" was about. And I mourned it with her through THE TORTURED POETS DEPARTMENT. I've put my clown mask on every time Taylor Nation has uploaded a cryptic post this year. I am one of you! And I know that defending our favorite anti-hero gets exhausting, which is why I am proposing that this episode, we don't defend Taylor. Instead, we allow the pain to get out so we can be free of it."

[cowboylikedean]

Wait how did she change TOMG I’m confused? If you don’t mind explaining!

The original lyrics of the second verse released in 2006 read:

Drew talks to me, I laugh cause it's so damn funny And I can't even see Anyone when he's with me

When the song was released as a single, there was a "clean" radio version that changed "it's so damn funny" to "it's just so funny."

When debut was rereleased in the deluxe edition (the one that brought us IOMWIWY, Invisible, and A Perfectly Good Heart) in 2007, the radio edit became the version on the actual album and the original lyrics with "so damn funny" were removed.

Big Machine stopped printing the standard edition shortly after that so the only version you could buy (and the only version on streaming) is the edited version. Picture to Burn had the same fate, and in my opinion... Picture to Burn is WHY Big Machine stopped printing the standard edition. Such a shame too cause the "damn" really hits

[tswiftupdatess]

Taylor Swift announces in recent letter that she bought back the master recordings to her first six albums from Shamrock Capital 🥳:

''Hi.

I'm trying to gather my thoughts into something coherent, but right now my mind is just a slideshow. A flashback sequence of all the times I daydreamed about, wished for, and pined away for a chance to get to tell you this news. All the times I was thiiiiiiiiiiis close, reaching out for it, only for it to fall through. I almost stopped thinking it could ever happen, after 20 years of having the carrot dangled and then yanked away. But that's all in the past now. I've been bursting into tears of joy at random intervals ever since I found out that this is really happening. I really get to say these words:

All of the music I've ever made.. now belongs… to me.

And all my music videos. All the concert films. The album art and photography. The unreleased songs. The memories. The magic. The madnes.. Every single era. My entire life's work.

To say this is my greatest dream come true is actually being pretty redeserved about it. To my fans, you know how important this has been to me- so much so that I'm meticulously re-recorded and released 4 of my albums, calling them Taylor's Version. The passionate support you showed those albums and the success story you turned The Eras Tour into is why I was able to buy back my music. I can't thank you enough for helping to reunite me with this art that I have dedicated my life to, but have never owned until now.

All I've ever wanted was the ooportunity to work hard enough to be able to one day purchase my music outright with no strings attached, no partnership, with full autonomy. I will be forever grateful to everyone at Shamrock Capital for being the first people to ever offer this to me. Theway they've handled every interaction we've had has been honest, fair, and respectful. This was a business deal to them, but I really felt like they saw it for what it was to me: My memories and my sweat and my handwriting and my decades of dreams. I am endlessly thankful. My first tattoo might just be a huge shamrock in the middle of my forehead.

I know, I know. What about Rep TV? Full transparency: I haven't even re-recorded a guarter of it. The Reputation album was so specific to that time in my life, and I kept hitting a stopping point when I tried to remake it. All that defiance, that longing to be understood while feeling porposely misunderstood, that desperate hope, that shame-born snarl and mischief. To be perfectly honest, it's the one album in those first 6 that I thought couldn't be improved upon by redoing it. Not the music, or photos, or videos. So I kept putting it off. There will be a time (if you're into the idea) for the unreleased Vault Tracks from that album to hatch. I've already completely re-recorded my entire debut album, and I really love how it sounds now. Those 2 albums can still have their moments to re-emerge when the time is right, if that would be something you guys would be excited about. But if it happens, it won't be from a place of sadness and longing for what I wish I could have. It will just be a celebration now.

I'm extremely heartened by the conversations this saga has reignited within my industry among artists and fans. Every time a new artist tells me they negotiated to own their master recordings in their record contract because of this fight, I'm reminded of how important it was for all of this to happen. Thank you for being curious about something that used to be thought of as too industry-centric for broard discussion. You'll never know how much it means to me that you cared. Every single bit of it counted, and ended us up here.

Thanks to you and your goodwill, teamwork, and encouragement, the best things that have ever been mine… Finally actually are.

Elated and amazed, Taylor''

(On May 30, 2025)

[crumblinggothicarchitecture]

Taylor Swift is a Female Rage icon? Get a Grip.

I’ve just received word that Taylor Swift is calling her show “Female Rage: The Musical.” Here is my very much pissed off response to that nonsense:  

The phrase, Female Rage has an intimately rich history:  

Some of the first accounts of female rage dates to the Italian renaissance. To be clear, women in those days were not allowed to become painters- the arts were seen as the domain of men. They did not believe that women have rich inner lives capable of delivering the type of artistic innovation with which renaissance men were obsessed.  

However, rebels abounded, through the might of their fucking rage. Several women created some of the most compellingly emotional paintings I’ve ever fucking seen. They did it without permission, without financial support, and often under the threat of punishment. They did it as a protest. In paintings like “Timoclea Killing Her Rapist” by Elisabetta Sirani (1659), and another by Artemisia Gentileschi “Slaying of Holofernes” (1612) as it depicts the bravery of Judith as she slayed a traveling warlord out to rape Judith and enslave her city. The painting often is referred to as a way Artemisia was envisioning herself as slaying her rapist. These paintings were used against these women as proof that they were unfeminine- and far too angry.  Both these women suffered immensely for their audacity to call attention to the violation men perpetrated on them. Female Rage bleeds off these paintings- bleeds right through to the bone-deep acknowledgement of the injustice women faced being barred from the arts and having their humanity violated in such a sick way. Both women were hated- and considered far too angry.

In philosophy, also as early as the 15th century, an example of female rage is a philosophical text, often hailed as one of the first feminists works in the western world, written by Christine de Pizan titled The City of Ladies (1405). She wrote in protest on the state of women- writing that “men who have slandered the opposite sex out of envy have usually know women who were cleverer and more virtuous than they are” (“The City of Ladies”). People mocked her all her life- but she stood fast to her convictions. She was widowed at a young age with children to feed and the men wouldn’t let women have jobs! She wrote this book and sold it so that she could feed her family- and to protest the treatment of women as lesser than men. Her work was called aggressive and unkempt- they said she was far too angry. 

In the 18th century, a young Mary Wollstonecraft wrote, A Vindication of the Right of Women ( 1792) upon learning that the civil rights won in the French Revolution did not extend to women! She wrote in protest of the unjust ways other philosophers (like Rousseau) spoke about the state of women- as if they were lesser. She wrote to advocate for women’s right to education, which they did not yet have the right to! She wrote to advocate for the advancement of women’s ability to have their own property and their own lives! The reception of this text, by the general public, lead to a campaign against Wollstonecraft- calling her “aggressive” and far too angry.  

Moving into modernity, the 1960’s, and into literary examples, Maya Angelou publishes I know why the caged Bird Sings (1969) in which she discusses the fraught youth of a girl unprotected in the world. It beautifully, and heart-wrenchingly, described growing up in the American South during the 1930’s as it subjected her to the intersection of racism and sexism. The story is an autobiographical account of her own childhood, which explains how patriarchal social standards nearly destroyed her life. Upon the reception of her book, men mostly called it “overly emotional” and far too angry. Maya Angelou persisted. She did not back down from the honesty with which she shared her life- the raw, painful truth. With Literature, she regained a voice in the world.  

Interwoven into each of the examples I have pulled out here, is the underlying rage of women who want to be seen as human beings, with souls, dreams and hopes, yet are not seen as full members of society at the behest of men. They take all that rage, building up in their souls, and shift it to create something beautiful: positive change. Each of these cases, I have outlined above, made remarkable strides for the women as a whole- we still feel the impact of their work today. They were so god-damn passionate, so full of righteous anger, it burst out into heart-stopping, culture-shifting art. Feminine rage is therefore grounded in experiences of injustice and abuse- yet marked too by its ability to advocate for women's rights. It cannot be historically transmogrified away from these issues- though Taylor Swift is doing her best to assert female rage as pitifully dull, full of self-deprecation, and sadness over simply being single or losing money. She trivializes the seriousness with which women have pled their cases of real, painful injustice and suffering to the masses time and time again. The examples above deal with subjects of rape, governmental tyranny, and issues of patriarchally inspired social conditioning to accept women as less human than men. It is a deadly serious topic, one in which women have raised their goddamn voices for centuries to decry- and say instead, “I am human, I matter, and men have no right to violate my mind, body, or soul.”  

The depictions of female rage over the last few centuries, crossing through many cultures, is an array of outright anger, fearsome rage, and into utter despair. The one unyielding, solid underpinning, however, is that the texts are depicting the complete agency of the women in question. The one uniting aspect of female rage is that it must be a reaction to injustice; instead of how male depictions of female rage function, (think Ophelia), the women are the agents of their art with female made- female rage. They push forth the meaning through their own will- not as subjects of male desires or abuses, but as their own selves. That is what makes the phrase so empowering. They are showing their souls as a form of protest to the men who treat women like we have no soul to speak of.  

Taylor Swift’s so-called female rage is a farce in comparison. Let’s look at an example: “Mad Woman” (2020). I pull this example, and not something from her TTPD set, because this is one of the earliest examples of her using the phrase female rage to describe her dumb music. (Taylor Swift talking about "mad woman" | folklore : the long pond studio sessions (youtube.com)  

The lyrics from “Mad Woman” read “Every time you call me crazy, I get more crazy/... And when you say I seem angry, I get more angry”  

How exactly is agreeing with someone that you are “crazy” a type of female rage in which she’s protesting the patriarchy. The patriarchy has a long history of calling women “insane” if they do not behave according to the will of men. So, how is her agreeing with the people calling her crazy- at all subversive in the way that artworks, typically associated with concept of female rage, are subversive. What is she protesting? NOTHING.  

Then later, she agrees, again, that she's “angry.” The issue I draw here is that she’s not actually explicating anything within the music itself that she’s angry about- she just keeps saying she's angry over and over, thus the line falls flat. The only thing this anger connects to is the idea of someone calling her angry- which then makes her agree that she is... angry. So, despite it being convoluted, it’s also just not actually making any kind of identifiable point about society or the patriarchy- so again, I beg, what on Earth makes this count as Female Rage?  

In essence, she is doing the opposite of what the examples above showcase. In letting an outside, presumably male, figure tell Taylor Swift what she is feeling, and her explicit acceptance of feeling “crazy” and “angry,” she is ultimately corroborating the patriarchy not protesting it. Her center of agency comes from assignment of feelings outside of herself and her intrinsic agreement with that assignment; whereas female rage is truly contingent on the internal state, required as within our own selves, of female agency. As I stated above, the women making female rage art must have an explicit agency throughout the work. Taylor Swift’s song simply does not measure up to this standard.  

Her finishing remarks corroborates the fact that she's agreeing with this patriarchal standard of a "mad" or crazy woman:

"No one likes a mad woman/ You made her like that"

Again, this line outsources agency through saying "you made her like that" thus removing any possibility of this song being legitimate female rage. There is simply no agency assigned to the woman in the song- nor does the song ever explicitly comment on a social issue or protestation of some grievous injury to women's personhood.

She honestly not even being clever- she's just rhyming the word “crazy” with “crazy.” Then later rhyming “angry” with “angry.” Groundbreaking stuff here.  

Perhaps Taylor Swift is angry, in “Mad Woman,” but it is not the same type of rage established in the philosophical concept of female rage of which art historians, philosophers, and literary critics speak. Instead, it is the rage of a businesswoman that got a bad deal- but it is not Female Rage as scholars would identify it. In “Mad Woman” I fear her anger is shallow, and only centered on material loss- through damaging business deals or bad business partners. She is not, however, discussing what someone like Christine de Pizan was discussing by making a case for the concept that woman also have souls like men do. In her book, she had to argue that women have souls, because men were unconvinced of that. Do you see the difference? I am saying that Swift’s concerns are purely monetary and material, whereas true examples of female rage center on injustice done against their personhood- as affront to human rights. Clearly, both things can make someone mad- but I’d argue the violation of human rights is more serious- thus more deserving of the title “Female Rage.”  

Simply put, Taylor Swift is not talking about anything serious, or specific, enough to launch her into the halls of fame for "Female Rage" art. She's mad, sure, but she's mad the way a CEO gets mad about losing a million dollars. She's not mad about women's position in society- or even just in the music industry.

She does this a lot. The album of “Reputation” was described as female rage. Songs in “Folklore” were described as female rage. Now, she’s using the term to describe TTPD, which is the most self-centered, ego-driven music I’ve heard in a long time.

Comparing the injustice, and complete subjugation, of women’s lives- to being dumped by a man or getting a bad deal- wherein she is still one of the most powerful women of the planet- is not only laughable, but offensive. 

[tiktaalic]

Girls will be like yeah so basically Taylor swift has eradicated all attempts at creativity in favor of seamlessly merging her IDENTITY to PRODUCT and I will give accolades where accolades are due. She has been very successful at this probably the most successful person on earth at this and all it cost her is her soul. And it DID cost a soul. You could make a graph between amount of streams and quality of work and see so clearly the inverse relationship materialize before your eyes. She was not born a hack but embraced the life of a hack when she realized she would be more popular with platitudes and dialing back on oversharing and being less messy. If you replace personhood with producthood you lose your humanity but your album sales go fuuuucking crazy. I can make overtures at understanding this by reminding myself she was crucified for being a person for years and years and she has been very vocal about it doing a heavy number on her psyche. Maybe when that happens to you as a teenager the trade off seems less revolting. Getting rid of something you’re mocked for having anyway and in return you are richer and more famous than anyone has any right to be. But then I scratch my head. And go but surely you see that this is a deal with the devil. Surely with the contract laid out in front of you. You gnaw your lip. You hesitate. You follow the letter of the law but skirt the spirit of it for brief shining moments. And when she’s so publicly had misogynistic vitriol levied at her. So often for so long. IS it misogynistic for your criticisms to boil down to “she’s not likable enough for me”? At what dollar amount does a millionaire going on billionaire become a public object rather than a person? Does the fact that she’s slowly revoked access to herself change this? Is it more or less human to orchestrate your life so that paparazzi only sees you on planned outings where you look impeccable and have a message to send and you are Taylor Swift The Brand after you’ve been scarred by years of being Taylor swift the young woman in the tail end of the aughts and the 2010s ripped to shreds scrutinized for every choice and smile and dress and man? Is there a passable essay in the title Taylor Swift Doesn’t Owe You Authenticity. Maybe! but doesn’t she as an artist work at a job where she’s supposed to produce. Art? It sounds like I’m asking for ballads but I’m really not I’m asking for a song that is good. Im asking for a cruel summer which is irreplicable but surely the minds behind it can produce something more than snow on the fucking beach? Or am I overestimating the continued talent of a woman who is the platonic ideal of a target shopper? Is it misogynistic to believe the platonic ideal of a target shopper can’t create with a soul? How to talk about the fall off of Taylor swift in a woman honoring way?

five minutes later. You can’t spell awesome without ME!

[yail13]

Never ask me again what happened on Nov 26.

History was made. History

Did you hear about the the girls who lives in delusions? — Thats me 🤡

Somtings giving up is the strong thing—🤡

Today is going to go down in Swift history one way or the other.

Either this will be the first time the fandom has been collectively right

Or

It will be the largest shared delusion between humans (or in the fandom) in history

This will top the five holes in the fence clowning

I swear if she does nothing and sings Foolish Ones I will definitely jump off some very tall somethings

(I am clowning so hard)

[debut-era]

All of the music I've ever made... now belongs... to me.

[everytaylorswiftsongisaboutcats]

I said remember this feeling, I passed the pictures around.

When they gave us our trophies, and we held them up for our town.

[lightscamerabitchsmileee]

[ryan-vs-the-ghosts]

what abt fnaf watcher, what abt fnaf😞

[taylor-on-your-dash]

Sparks Fly is officially 18 years old: history of a song that was almost lost & how fans saved it from being left in the vault

The night of Halloween 2006, a 16-year-old girl named Taylor Swift had just released her first album. To promote her music, she'd go wherever venues would call her to perform. On October 31st, it was Portland, Oregon's turn, where Taylor opened for Jake Owen in a bar called Duke's. Owen, a country singer who also debuted in 2006, was 25 at the time.

We can safely assume that Taylor was happy to meet Jake, as she wrote this on MySpace right after:

"Happy Halloween :-) Current mood: happy Happy Halloween! I’m sitting at the airport in Portland, Oregon.. About to get on a red-eye flight (Oh yes, I just said red-eye. Meaning, all night. This should be interesting…) to Toronto, Canada for another weekend of Rascal Flatts shows. Tonight was awesome. It was a show in Portland at a bar called Duke’s, I opened up for Jake Owen. And a little back-story, I’ve had his album on repeat for the past couple of months.. It’s an amazing album and I literally cannot stop listening to it. I’ve got every line memorized, and if you see me on a plane.. Chances are, I’m listening to some song off that album, at a volume level that’s probably going to cause long-term hearing damage someday. ANYWAY. I got to walk in on his sound check and meet him. Turns out he’s extremely cool, and had bought my album on iTunes. :-) And since I had to leave after one song of his set, he played my favorite song “8 Second Ride” first. Which is another reason why he’s awesome. And just to let everyone know, YES, I did dress up for Halloween. Yes, I stood onstage in an angel costume with huge wings (that really conflicted with my guitar playing). And I convinced my two guitar players Todd and Kevin to put on those little headbands with the devil ears attached. Haha. Oh yeah, it was great. It’s so awesome playing to a crowd and seeing some people who know the words to EVERY SONG! I love that the album is out, and I love that y'all are listening to it. You guys are so awesome, and I really appreciate all of your comments. I love you all so much. Thanks for everything."

The day Speak Now was announced, a known fan at the time revealed said that the song was written on November 2, 2006, so a couple of day after the Portland show.

The most incredible news is that "Sparks Fly" is going to be put on the album. That song is so incredible. Taylor wrote it on November 2, 2006, performed it live in Oroville on May 30, 2007, and now it is finally being released on October 25, 2010. Definitely a dream come true for Taylor fans worldwide! (X)

So on November 2, 2006 Taylor finished the first of the three known versions of a song called Sparks Fly. The first handwritten draft was showcased in a museum:

On April 6, 2007, Taylor premiered the song in her native Reading, Pennsylvania, and then sang it again on May 30th in Sacramento, CA. This version was recorded by the same fan that revelead the writing date and uploaded online, gaining traction among the fanbase.

This live features a very prominent banjo and different lyrics:

“You stand there in front of me” -> “you stood there in front of me”

“Get me with those brown eyes, baby” -> “get me with those green eyes, baby”

“Take your open hand and take me out” -> “reach out open-handed and lead me out”

“Dim the paper lanterns” -> “don’t need more paper lanterns”

“This night is the 31st” -> “my heart is beating fast”

“So let’s make it count now, baby” -> “I could wait patiently”

“I’ll run my fingers” -> “I run my fingers”

“And make no borderlines” -> “gonna strike this match tonight”

“Forgive me when I can’t take in everything you are” -> “and lead me up the staircase”

“You kissed me like you meant it, I swear I saw sparks” -> “I’d love to hate it, but you make it like a firework show”

There was also an additional section: We stood at the gate (and you kiss me) / With the moon on your face / And you’ll kiss me

In December 2007, People Magazine releases a special photoshoot for Taylor's 18th birthday, which features photos of her bedroom, including the infamous Mirror Tracklist, a very early tracklist for her then-unnamed sophomore album. The tracklist inlcudes Sparks Fly as the 6th track.

As we know, Sparks Fly ended up being dropped from Fearless and shelved. We actually don't know whether the song was recorded or not, although some sources say that it was, but ended up being excluded in favour of The Way I Loved You.

Throughout the Fearless era, the fans didn't forget about the live version of Sparks Fly. On June 13th, after Taylor premiered the song Mine, Taylor hosted a 13-hour meet & greet, where one of the most asked questions was what happened to Sparks Fly:

“'Sparks Fly' is a song I wrote a few years ago and played in concert. You guys have learned it and I think like it, which makes me really happy. When we did the 13-hour Meet and Greet at the CMA Fest, there was a comment I got over and over again. You guys were saying, 'So what about 'Sparks Fly?' Is it going to be on the next record? [...] I played that song at maybe one or two shows, and you guys just jumped on it and really made it something that I had to put on the album because you really showed interest in it.”

That week Taylor finished Speak Now, completing the last song (The Story Of Us) on the 16th, but taking into consideration what the fans had asked her, she went back to Sparks Fly, changing the lyrics one last time, especially the second verse:

First verse: You say my name for the first time, baby, and I fall in love in an empty bar -> You’re the kind of reckless that should send me runnin’, but I kinda know that I won’t get far.

Second verse: So reach out open-handed and lead me out to that floor / I don’t need more paper lanterns / Take me down, baby / Bring on the movie score / ‘Cause my heart is beating fast and you are beautiful / And I could wait patiently, but I really wish you would... -> My mind forgets to remind me you’re a bad idea / You touch me once and it’s really somethin’ / You find I’m even better than you imagined I would be / I’m on my guard for the rest of the world / But with you, I know it’s no good / And I could wait patiently, but I really wish you would…

Bridge: Just keep your beautiful eyes on me / Gonna strike this match tonight / And lead me up the staircase / Won't you whisper soft and slow / I’d love to hate it, but you make it like a firework show -> Just keep on keepin’ your eyes on me, it’s just wrong enough to make it feel right / And lead me up the staircase / Won't you whisper soft and slow / I'm captivated by you, baby I’m captivated by you baby, like a fireworks show.

I think that the line "I'm on my guard from the rest of the world" from Sparks Fly being written after "And you figure out why I'm guarded" from Mine is very telling of what Taylor was going through in her personal life.

Once the album was out, the secret code hidden in the song lyrics spelled: “Portland, OR”. The secret message seemed to confirm the theories that had followed the song all summer.

In July 2023, Jake Owen commented on being the ispiration behind the song: “It’s a great song and the speculation has always been funny to me. I’m sure Taylor probably laughs at it all too, but I’m happy to even have my name in the discussion around it. She’s an amazing girl and an amazing artist. It’s been incredible to see how she’s grown as a musician and what a global phenomenon she’s become.”

To me, Sparks Fly is a signature song of hers. Classic Swift story telling, sprinkled with teenage dreams in an euphoric rock production. It's really cool to see how fans played a fundamental role to save this song from oblivion. Can you imagine our reaction if we had got this song in the Fearless Vault or the Speak Now Vault?

[im-getting-help]

I'm honestly terrified of the swifties, like, the BTS army felt less threatening than the swifties. i can't believe y'all are beefing with a fictional character

[a-polaroid-of-us-jpg]

Happy Women’s history month. Shout out to this ray of sunshine, boss lady & absolute icon. Don’t know where I’d be today without her. 🫶

@taylorswift @taylornation