allegrao-swiftie - Tumblr blog

[allegrao-swiftie]

[allegrao-swiftie]

happy high infidelity day to those who celebrate

[allegrao-swiftie]

what are you current top 5 songs from ttpd?

[allegrao-swiftie]

When absolutely 0 of Biden’s accomplishments have made any kind of news, and we’ve been fed a steady diet of fear and panic for 3 years, no one gets to be shocked when he loses the next election to Donald 2.0.

Posting anything positive about the president here will get you called a capitalist bootlicker.

What do we expect to happen?

Anger sells better. Anger feels better, it feels righteous.

It’s easier to protest against a president you don’t like then to actually remain in charge and keep pushing ahead, even if small, consistent accomplishments are all you receive.

[allegrao-swiftie]

Song of the Day 4/28/24

Today, I heard an acoustic cover of Fortnight on Mix 104.1’s Acoustic Sunrise, and Fortnight again on Fun 107.1 on my way to PetSmart, but did t hear any of @taylorswift’s music in the store 🥲 @taylornation

[allegrao-swiftie]

the ‘who uses typewriters anyway’ lyric is so funny to me because taylor swift is the exact kind of person you’d expect to have a typewriter

[allegrao-swiftie]

"dont you think i was too young to be messed with" and "he said that if the sex was half as good as the conversation was, soon they'd be pushing strollers but soon it was over" makes me FERAL i want that man's head on a stake.

[allegrao-swiftie]

Taylor haters are always embarrassing themselves. I’ve seen someone complain that they wished she would have written about how her fame has affected her instead of “just about breakups” on an album with Who’s Afraid of Little Old Me, I Can Do It With A Broken Heart, Clara Bow, etc. I’ve seen someone complain that everything she releases is fake and control group screened to be as palatable, as marketable as possible, about the album she just released detailing a mental health crisis. Like these people clearly aren’t listening to her music they’re just saying whatever they think will score them counter-culture points.

[allegrao-swiftie]

anyway one cool production thing i’m loving about so long london is that during “you swore that you loved me, but where were the clues i died on the altar waiting for the proof you sacrificed us to the gods of your bluest days” the background loses the beat and is not there but then during “and im just getting color back to my face” it picks back up sorta like a heart coming back and beating again

[allegrao-swiftie]

i really do think its strange that no matter where you sit on the "is taylor swift into women" conversation, the only two reactions people seem to have is "she didnt sing about women this time so she's obviously straight stop being so weird and creepy" or "she is singing about men in a queer way so obviously she is a secret lesbian stuck in wilder and wilder bearding conspiracy theories" like you guys do realize that bisexuality doesnt go away based on the partners you date right???? it all feels extremely biphobic to me im sorry.

[allegrao-swiftie]

Hey 👋

Favourite swift songs are..

I only just figured out how to check my ask box so this is a year old 😅😅😅 but now I have 31 more songs to choose from for this!

In release order because ranking songs stresses me out, a few of my all-time favorites are: I Knew You Were Trouble; All Too Well TMV; Would’ve, Could’ve, Should’ve; Who’s Afraid Of Little Old Me?; and I Can Do It With A Broken Heart

[allegrao-swiftie]

I HATE IT HERE SO I WILL GO TO SECRET GARDENS IN MY MIND

[allegrao-swiftie]

were you sent by someone who wanted me dead? did you sleep with a gun underneath our bed? were you writing a book? were you a sleeper-cell spy? in fifty years will all this be declassified? and you'll confess why you did it… and i'll say good riddance ’cause it wasn't sexy once it wasn't forbidden…. I WOULD’VE DIED FOR YOUR SINS INSTEAD I JUST DIED INSIDE!!!!!!!!! AND YOU DESERVE PRISON BUT YOU WON’T GET TIME!!!!!!!!!!!!!!! YOU’LL SLIDE INTO INBOXES AND SLIP THROUGH THE BARS YOU CRASHED MY PARTY IN YOUR RENTAL CAR!!!!!!!!!!!!!!!!!!!! YOU SAID NORMAL GIRLS WERE BORING BUT YOU WERE GONE BY THE MORNING!!!!!!!!!!!! YOU KICKED OUT THE STAGE LIGHTS BUT YOU’RE STILL PERFORMING!!!!!!!!!!!!!!!!!!!…………. and in the plain sight you hid……. and you are what you did…… and i’ll forget you but i’ll never forgive…. the smallest man who ever lived.

[allegrao-swiftie]

Ed Kelce commented on this post, i’m cracking tf up 😭

https://www.instagram.com/p/C5qgNNySuB9/?utm_source=ig_web_button_share_sheet

LMFAO

[allegrao-swiftie]

religion is one of the most prominent recurring themes on the album, and it has been present in some capacity for quite a few records now. taylor previously compared love to religion: her saving grace, her belief system, and a fated divine intervention (false god, cornelia street, and cruel summer are the best examples of this). ‘sacred new beginnings that became my religion’ and ‘we’d still worship this love even if it’s a false god’ are two of the defining statements about her philosophy on the lover album.

taylor doesn’t want to leave all of that behind on ttpd, at least not at the beginning. the first supernatural force she mentions is the spaceship on down bad, which she compares to a skylight of freedom in the epilogue. *something* has finally come to save her from her life of suffering. she doesn’t care if it’s a force of good at first; if anything, she’s just fine being taken away by aliens. she views this man as her destiny. it isn’t until guilty as sin? that taylor starts to ponder the moral implications of what she’s doing. is she guilty as sin for wanting to leave her previous religion and relationship behind? she comes to the conclusion that, even if she rolls the stone away and gets resurrected/redeemed, she cannot avoid the fallout. she is okay with the thought of having to wait, as long as both lovers vow to be together forever, just as she once did with someone else in false god. ‘I choose you and me religiously’ finishes the bridge of the song in a direct callback to cornelia street.

the next mention of religion has murkier imagery. she claims that she does not need the Lord’s help to save this man. she sees the halo that he has, and she can fix him herself. now that she feels free of her prior cage, she isn’t looking for divine intervention anymore. she wants control. she is their route to salvation.

when the relationship falls apart, she retreats back into the position of a believer rather than a divine figure. she compares him to a Holy Ghost who promised to save her and take her to heaven. instead, she is in hell in every sense of the word: she’s down bad and feels guilty for digging up the grave. he was a jehovah’s witness who promised that she could break free of the cage imposed by love without changing her religion altogether; she would’ve just had to switch denominations. she could still have a marriage and kids! she could still have a blue tortured poet! the man was different, but not the dreams they had together. the story of the first part of the album ends here. her faith has been broken, and she has only found any semblance of sanity by refusing to mention these belief systems altogether.

side b/the anthology blends the christian imagery of side a with goddesses, sorcerers, and prophecies. she bargains with these powers to let her have the future she wants (the prophecy). she doesn’t sound like someone believing in salvation. if anything, she feels cursed. she decides that the concept of divinely ordained timing will never work in certain relationships (‘the goddess of timing once found us beguiling / she said she was trying / peter, was she lying?’). this disdain extends onto her perception of other people’s faith (‘bet they never spared a prayer for my soul’). she does position herself as a prophet in cassandra, but even then, she admits that the role has hurt her. perhaps the pain in thank you aimee was meant to be, or perhaps she was just strong enough to build a legacy in spite of it, boulder by boulder. is she a martyr? does she want to be? or did she save herself?

the only real love song on this half of the album makes no mention of fate or any divine forces. it wasn’t meant to be. it’s not a supernatural invisible string or lightning in a bottle. she is just in love.

the album ends with the manuscript, which revisits an old story of a defining, formative heartbreak. as she sings ‘at last, she knew what the agony had been for’ while describing the legacy of her writing, she seems to revert to thinking about the purpose of trauma. the only exception is that, in this case, she is the one who found meaning in her pain by turning it into a manuscript. writing is her belief system now, and she proselytizes by telling her stories and thus giving up the manuscript.

ultimately, her belief in destiny has chewed her up and spat her out. she so desperately clung to her existing belief systems that she was fooled by a conman, which left her feeling cursed. religion is supposed to be with someone even in their darkest moments, but the album explains that taylor often felt abandoned. the only constant in her life was, well, herself. she’ll be okay, but her pen will be her saving grace.

[allegrao-swiftie]

The FBI agent assigned to me when I go from listening to Post Malone to Taylor Swift to Panic! At The Disco in less than an hour

[allegrao-swiftie]

oh my god you hate TTPD? it killed your love of taylor? oh my god. i’m so sorry. here let me take your eras tickets off of your hands i’m so sorry-