#I sold it cause I wanted a scooter

[oddtripps]

Ducc demanding to be TheDad is probably the funniest thing from the show

to me anyway

[strawbubbysugar]

I might be a little late but here’s my Atomata citizen!

Their name is Echo, they were supposed to have legs so that when on land they could swap the tail out for feet. Due to lacking supplies however they only have their tail. They get around fine on land because they have a little scooter thing they use. It’s like a skirt mold thing with wheels. Idk how to explain it but it looks like this:

Their tail is a bit longer I drew it shorter than it actually is.

Echo works as a shop owner in Atomata and usually makes some of the jewelry and candles sold there.

Features : completely water proof (or just really good quality water proof)

Claws

Night vision

Voice recognition and copy

Sound board

Really good hearing sensors

And good optics

Echo’s personality: despite looking kinda scary echo is actually friendly, they are kind and sweet but don’t really like humans due to the wars and what not. They don’t hate the Pry/ness but they wonder if one bad move from the Prince will cause a war. They are also a little air headed easily getting caught up in their own little world and not focusing on what they should be doing. Also don’t touch their things! They get mad if touch something that they value highly if you don’t ask first.

Typically their hair is down or in a ponytail or a bun.

Idk I just wanted my character to be a merperson.

Also the people of Atomata don’t think much of Echo, like they’re not weirded out but they question how they get around on land very well.

Echo actually lives at a house in Atomata surprisingly, and in a little part in the ocean near it.

Aah!! SO cute omg, hello Echo!! Welcome to Atomata! <3<3<3

[spade-riddles]

I saw an interview of Taylor where she said she and her team had million conversations with S*ott B about Sc**ter B and her masters..( i guess its about not him selling masters to him ) and it made me think if that theory about her coming out with Lover era (supposedly with KK) has anything to do with that she had all these convos about Sc**ter because he had KK under contract? And S*ott did exactly that to Taylor to keep her closeted? Tay and KK maybe wanted to come out but her masters being sold to SB ruined that because he had KK under contract? And to prevent them from doing that is the reason masters were sold to him? It seems like a deal between SB,SB and JK?

I have always felt that JK was involved in the masters. If, as I strongly believe, Taylor was going to come out in June during Lover era ... she was going to do it on her own. Karlie was still under contract with Jerk. But, obviously Taylor coming out would cause people to look deeper into Kaylor.

I think both Scooter (on behalf of Jerk) and Scott wanted to keep Taylor closeted. Scott more out of spite that she did not re-sign with him, and the fact that people would look at him for closeting her as a 16 year old. Scooter also thought this was an opportunity to gain some control/leverage over Taylor (likely with the help of Jerk). It backfired tremendously on Scott and Scooter ... and, hopefully soon, on Jerk.

[tired-even-for-a-phoenix]

I love them playing the “peace” opening chords at the beginning.

Aaron Dessner said his reaction when he got the text from Taylor was, “I don’t know if this is a real text.” 

“I promise I know what I’m doing” - Taylor feeling like she has to prove herself even though SHE HAS. EIGHT ALBUMS. TEN GRAMMYS. SOLD-OUT TOURS. But it is so much the female experience feeling like you still prove yourself again and again.

“Making stuff in the worst time” and “Everybody needed a good cry as well as us” - Taylor

“This is a real damn blast” - T

Jack Antonoff playing those tiny drums on “The Last Great American Dynasty”

THE BON IVER SONG

when she says William Bowery [insert drumroll ish pause] “is Joe” like we already knew that but for her to just say it!!!! What!!!!! Also when Jack is like “I was doing a bit”

Joe wrote the piano line. Joe wrote it. It’s amazing and it’s nominated for a GRAMMY.

“Why you crowned it a Track 5” love this

“My Tears Ricochet” was the first song for the album!!! She wrote it alone!!!

“And if I’m dead to you why are you at the wake” her glare my gosh

This BRIDGE “i n  y o u r  b o n e s”

She looks so SAD and angry. The comparison to a divorce is so good.

mirrorball: *”We have people in our society who just hang there and every time they break, it entertains us” and “a metaphor for celebrity”

seven: “there’s something lost there too” like yes we can’t throw tantrums but remember when we stood up for what we wanted? When we were apologetically loud? When we unapologetically took up space and time and energy? When we fought for things? When we played without purpose? “Before I learned civility, I used to scream f e r o c i o u s l y any time I wanted”

“It’s a weird experience to write with you” Taylor cheers-es Jack with her wine glass. Jack talks about bridges for lots of minutes.

Whoa whoa whoa “In my head Betty and James ended up together”

Whoa whoa whoa cardigan is from Betty’s perspective TWENTY OR THIRTY YEARS LATER???

“I just heard Joe singing the entire fully formed chorus of Betty from another room”

“Hi I do this professionally” - Jack

“I’ve written so many songs of a female wanting an apology” and this song is from the perspective of a man’s apology VINDICATION BETTYYYYYYYY

“slipped away LIKE A BOTTLE OF WINE” still the most relatable line of all of quarantine

Jack playing guitar during August, stop hahaha. I have never seen anyone so into something. 

this is me trying: the idea that someone is trying really hard to get to a place people still think is ‘shitty,’ to paraphrase Jack Antonoff, is so true and so real. If you’re one of those trying people, I hope you feel seen. And I’m glad you’re trying.

“This is the first album that I’ve let go of that need to be strictly autobiographical” LOVE

Illicit Affairs is just. She is Queen of Bridges. Ugh. Love.

“Time, mystical time, cutting me open and healing me fine” still KILLS ME

“These ominous strings under it and I though ‘oh this is female rage’” YES. And “When we respond it’s treated like the response is what’s out of line” YES.

Again “‘cause you took everything from me” like fuck scooter for taking TAYLOR’S LIFE’S WORK FOR SPITE and also FUCK SCOTT FOR SELLING IT

“‘I could never give you peace’ over the most peaceful sounding instrumental track”

“Is the stuff I can control enough to block out the stuff that I can’t” and talking about how emotional hearing this song makes her

Aaron D talking about depression and how he feels that way with how depression makes it hard to be in a relationship with him at times. There are things he can’t control or do.

Taylor saying she likes that “hoax” has an “x” in it haha. The aesthetic. Love it.

“Who would you be sad with?” and “No other sadness in the world would do...”

Still can’t get over “my kingdom come undone” in Hoax. Like from “Long Live” to this.

THE LAKES!

“You’ve been writing about getting out forever” and Taylor saying she’s been writing since she was 20 about getting away to a cottage and “The Lucky One" and oh man my emotions

Jack talking about removing the things that don’t work from your life, especially during Quarantine

“That oughta do it. Whiskey?”

“directed by Taylor Swift” we love to see it!!

KITTY COMMITTEE STUDIOS

“My favorite recording experience”

[softxhariana]

34+35 live stream

description: ariana’s live stream before debut of 34+35 remix music video.

word count: 2.22k

A/N: little piece based off this live stream that ariana did in the countdown to her releasing the 34+35 remix music video with doja and megan. obvs not included every question but just a few fun bits and harry mentions for you x

also disclaimer, this is NOT real, if u don't wanna read about these two then don't, i’m not tryna act like they’re together it is fiction.

❤ anywayz hope u enjoy luvs xox

❖   "HELLO EVERYONE! thank u for coming to this premier,” ariana smiled sweetly at the camera, as the video cut to a shot of her for the beginning of the countdown.

“we had so much fun making this 34+35 remix video for you, and uhh, we hope you love it.” she continued, playing with her hair. no matter how long she did this for she swore she would never cease to get slightly nervous in these situations. where it was her alone, in front of a camera. but her fans made her feel at ease, and she felt she owed them something, as she hadn’t done many quarantine interviews like other celebs have.

“i thought i would come celebrate and join the countdown with you guys. which is something that I've never done before, but i’m very happy to be here and i was very excited to get some questions from you all...” she held up the sheets of twitter questions she had received, “um that i’m gonna be answering while i’m here so, i cant wait to celebrate this together and countdown and answer some of your questions!” she finished with a smile.

and it was genuine. a real smile that her fans were thrilled to see.

ariana was genuinely so happy and content with her life right now. with her family, her music, her friends, harry. harry her FIANCE!! might she add.

everything just felt perfect, and after all the shit the last couple years had thrown her way, she appreciated the break.

 she got her love back, she was making music that she fully loved, and put her whole soul into, and she had fans who had stuck with her and supported her through some of the darkest times in her life, that were now able to experience her happiness and personal growth with her. so truly, little things like this, felt like the least she could do for them.

“ohh this is a good one because its 34 35 related” she tucked her hair behind her ears, “@noirgrande said ‘ummm its just i wanna the end of 34+35 is it awww shit or nooo shit, i just wanna sing the song right”

“umm it is indeed no shit” she confirmed, smiling matter of factly at the camera before reciting the closing line of the song.

~~~~~~~~~~~

“@arianalocks1223 said ‘will we get to see the track list before the songs release?’” she paused for a second to process - which turned into a few more seconds, she was a bit slow today. she had told harry with full sincerity that she thought it was because she was getting old but he had just cracked up at her absurd statement, and told her that if that was the case he’d still think she was a milf

“you will!” she nodded with certainty, “indeed. ummm... i can tell you them now” she blurted, oops.

“i suppose thats not like... is that against the rules? can i do that?” she turned, to question scooter who was supervising off camera, not wanting to get her label mad at her for releasing too much information, something she has a tendency to do. 

after getting the nod of reassurance from him she turned back to the camera, “so out of ‘POV’, you go into, um, an interlude called ‘someone like u’. after that is a song called ‘test drive’, after that is the 34/35 remix with doja and meg” she smiles lightly, “and after that is a song called ‘worst behaviour’, and after worst behaviour is... a song called ‘main thing’...” she finishes, a shy smirk forming on her face, dimples appearing, “so that’s the tracks.” 

continuing with the countdown, ariana felt her heart warm at the love her fans were giving her and this album. she loved interacting with them and making them happy and proud of her so knowing she had done just that, was an amazing feeling.

“umm hesbloodsline... @hesbloodsline ... i’m really fond of this question because its really to the point, ‘where's the pig and where the fuck is harry?’” she smiled, holding in a laugh.

“piggy’s here, she's great, she's really doing so well and life is really good for her right now, she's really thriving and doing her thing” she ranted, a hint of sarcasm in her voice, “um, i make her big salads everyday that she likes, she's doing really great. she asked me to stop posting her as much because she's actually really offended by a lot of your jokes that you make on twitter, she asked me to have a word with you guys” she continued to joke, well aware that she probably found herself more funny than anyone else did right now.

“she doesn't like the jokes about being eaten, they really hurt her, umm yeh, and she asked me to convey that... no she’s great...” she finally decided to answer, “and harry, is on set today, so um, yeh thats where he is... but don't worry i will tell him to keep you in the loop, i’ve got you” 

ariana unconsciously let a small smile take over her glossed lips when talking about harry. he had been so excited about this new project and seeing him passionate and happy about anything he’s doing, always made her happiest.

~~~~~~~~~~~

“nicole! @nastyctrl. nicole said ‘who helped come up with the concept for the positions music video, love u sm ari’ love you so much to, i love you so much more” she paused, she loved this story,

“um this is actually a really funny story, dave and i had been going back and forth on several different concepts, and i couldn't, like... marry one... i couldn't really, like, really commit to one, i wasn't 100% sold. and it was missing a certain element of empowerment. and i kept, you know, trying to think of things that would make it more impactful cause i wasn't loving what we had...”

“anddd then me and harry were on this huge hike, and he just turned to me and was like, ‘what if you were the president?’ which was like, not at all fitting cause i was dying and complaining the whole time. but i was like,” she tried to imitate a shocked face through her smile and laughed 

“and when i called dave he was like ‘oh... kay, ill call you guys back’ and had the whole production team redo everything, and i had mimi pull completely different outfits and we completely started over cause that idea was what i was, craving and missing. and i was like, wow, thats so perfect” she smiled, shrugging her shoulders, “so yeh, honorary directing credit to harry styles, if you liked that”

~~~~~~~~~~~~

“this is from @borderlinevinyl, who said ‘how much of the album was recorded at your little home studio?’ ummm..” she sang, looking off camera in thought, everything in quarantine had honestly just blurred into one so she was struggling to remember what exactly she recorded where,

“um... a lot of it was... i think i did parts of everything here and parts of things at tommy's i know i did, um, the final chorus ad-libs for positions at home” she began listing in her head, “i know i did all of off the table at home... i know i did the final chorus of my hair at home because we- i-” oops. she had to control the laugh threatening to leave her lips at the lack of subtlety in her correction

“-i got out of the shower and he was like ‘oh your whistles are really here right now’, and i was like y’know what... yeahh they are aren’t they” she laughed as she squinted her eyes and recited that part of the conversation, even trying to imitate his deeper accent.

she had been singing in the shower - as she always did - and harry joining her never seemed to stop her from belting out any whitney or old one direction classic she wanted to. he would even join in sometimes and they'd end up with their own mini concert, dancing around naked, shampoo and conditioner bottles in hand singing their hearts out to everything from high school musical to nicki minaj to fleetwood mac.

while it felt like too bold of statement to make as she truly revelled in and enjoyed everything they did together, showering with him was truly one of her favourite’s. whether it was steamy shower sex that had all glass surfaces in the room fogging up or letting loose and dancing and singing under the pouring water, every moment felt so intimate and sacred. it truly made her feel like they were they only people in the world. 

of course he would claim she was out singing him every time she whistled and would jokingly try to replicate the note but he was truly just in awe off the sounds that came from her mouth (in all senses of the word;)

"-and so i opened ‘my hair’ and just randomly did that” she continued, “um what else did i do here, i did the a lot of the backgrounds and ad-libs for 34+35 here, um, obvious was done at home, a lot of six-thirty was done at home”

caught in her own thoughts she only realised she had probably been droning on for too long when she caught scooters eye across the room and with a blush she shook her head as if to clear it, “this is an annoying answer, everything was kind of all over the place but i did a lot, a lot, a lot of the vocals for the album at the house" she finally finished the long answer, moving on quickly as she realised she didn't have long until the premiere and she wanted to answer as many of the questions as possible.

“ok, second last question from hannah, ever- @everdxystxless, im sorry i don't know how to pronounce that” she laughs looking up at the camera with wide eyes, not sure how exactly how she was supposed to go about pronouncing the username, 

“im sorry, um, but anyway she say’s ‘ari baby, how do you feel about harry getting to do a movie with florence pugh, we know your a big fan of hers, ps. i love you so much!’ well hannah, i love you too” she replies, as she thinks back to when harry first introduced the two, after she had gotten over the initial fangirling, the pair became amazing friends. florence struck ariana as such a genuine, loving person and they shared the same dry sense of humour. plus ariana might of been just a little obsessed with her accent - not that she would ever admit that and scare the girl off.

“and... um, yeah, it literally, made me beyond happy, i was fully like, fangirling when i met her the first time” she laughs as she plays with her hair, “she honestly, probably was like, ‘who the fuck is this girl? what is she doing?’”ariana imitated, a faux scared/weirded out look on her face, playing the part of a mildly pissed off florence - which she luckily had never been on the receiving end of, “im sure i was being the opposite of subtle about it but, no, she really truly is the sweetest, kindest, most beautiful, talented human being” she emphasises, the thought of any news outlets of fan’s trying to spin a ‘jealousy’ story about this making her internally role her eyes,

“midsommar is, like, one of my all time favourite movies, and she's amazing in it, and harry’s like so fucking lucky its crazy. so yeah, thats insane”

~~~~~~~~~

"...so yeah... thank you so much! this was so much fun!” ariana exclaimed as she wrapped up the Q&A, smiling wide at the camera, she knew her fans were going to love the music video and she couldn't wait for them to watch it, plus interacting with them in this way always made her happy.

“i love you guys, i miss you” she reminded, “i am so appreciative of everything you've done for this album, for these singles, for this music. i hope that, um, that this makes you super happy, i hope it makes you smile...we had so much fun shooting it and um, the girls are so fantastic, so i hope you love this and i hope you love the deluxe!” 

ariana didn't know how many more ways she could say thank you and express her gratitude but she still had over a minute and a half so she’d have to come up with something, even if it meant she’d sound like a broken record

“i am so thankful for everything and for the love that you've shown this music i cant even begin to articulate it properly so, thank you! i appreciate it so much” she breathed out all in one, “but anyway, the video should be starting soon, so... i hope you like it, don't refresh! it’ll be here soon... i promise... just don't refresh” she urged dramatically, she was really dragging this out, “but yeh” she got out through laughs “the video should be starting anytime now, i love you guys” she blew a kiss to the camera before moving as close to the lens as possible “byee”.

🖤 there u go!! i hope you liked it, and any feedback would always always be welcomed and so so appreciated pls and thanku x 

[neo-ct23]

Taeyong and Kun for the fluff alphabet? ♥️

Pls only ask for one at a time but since I already did Kun I’m gonna do Taeyong now 🥰

Taeyong x Fluff Alphabet

Affection: Their love language & how affectionate they are.

Very affectionate. Probably less so in front of other members cause he’s a little embarrassed.

Behavior: How their behavior is when it’s just the two of you vs with their other members around.

Acts more true to himself when he’s around you. Sort of the way we see him during his live streams. Gets pouty sometimes and maybe even does a bit of aegyo when he’s feeling it but not often.

Cuddles: HC about cuddling with them.

Loves it when your spoon cuddling and then you turn over and face him. Could stare into your eyes forever and just does a soft smile while he lays next to you.

Dates: First date & their favorite thing to do on dates as well.

First date was probably like a book shop or something? Idk some kind of shopping where you and he could bond over whatever is being sold. Favorite types of dates would be the staying at home kind. He cooks for you, a movie night, etc.

Effort: The ways they put effort into their relationships. How they to the extra mile.

Buys you stuff but stuff that makes you think of him when he’s gone or busy. Things like clothes and plushies. Maybe jewelry every now and then.

Future: How often they think of the future, their plans, etc.

Thinks about the future a lot, but doesn’t necessarily have plans. Is more of goal setter and doesn’t really care how his life ends up as long and he’s with you and you’re both ok.

Gifts: What they like to both give and get for gifts.

Honestly you could give him a banana peel from the garbage can and he would love it. His favorite thing to receive would be animals, like more fish to grow his aquarium or maybe a mouse. Gives you anything really soft. Plushies, a soft hoodie or sweatshirt, etc.

Habits: Any habits, good or bad, that they may have.

I can’t think of any bad habits. Might be the type to tap his fingers on his desk which might drive someone crazy.

Insecurity: Their main insecurity and how to comfort them about it.

Insecure about his relationships. Not entirely sure how to describe it but he’s scared something will happen to mess it up or he’ll do something to hurt you.

Junior: What they were probably like as a kid.

Simply the cutest 😭 idk it you guys have seen that picture of him on the scooter, it’s adorable. Probably really goofy.

Kisses: Your first kiss story and their favorite type of kiss

First kiss would be on the second date. He chickened out after the first one so he builds up the courage during the second one and kisses you at the end when he drops you off home.

Liquor: How well they handle it/how much they can handle.

We’ve seen him drunk. Sleepy mess. Affectionate and slightly more talkative.

Mature: How mature or immature they are and the ways they show it.

Normally mature, sometimes (rarely tho) his childish side comes out when he’s with younger members.

No: A dealbreaker for them. Something they couldn’t deal with in a relationship.

Someone who’s not around. That’s not to say he wouldn’t do long distance, I just mean someone who’s busy 24/7. Wouldnt be able to do long distance for a long time though.

Online: How public your relationship would be. Whether or not they’d post about you online.

Probably posts about you every now and then but feels guilty when he does because he knows how the fans can be.

Protective: How protective and jealous they get.

Protective but not jealous. Very trusting in his s/o unless you give him reason not to trust you.

Quarrel: What fights would be like with them, what they’d be about, etc. Might get a lil angsty.

Maybe this is just because he’s a cancer but I can see him getting really sensitive during fights. You’d have to go easy on him or he might get really sad. Wants you to be upfront with him about things so when you’re not it makes him upset.

Room: What their room is like, living habits, etc.

We know he loves his candles and loves his room smelling nice. The type of guy to Google what scents make people feel flirty and use one of those before you come over. Clean room.

Social: Their favorite way to communicate with their s/o when they’re not around, how social they are, etc.

Probably sends a lot of texts. He’ll say things like “I love you” but with each word in a separate message. Your phone would be blowing up. Uses LOTS of emojis, especially these ones: 🥺🥰✨💖🖤⭐️🤍💫😍😘🌟

Travel: Where they want to go & what they want to do.

Wants to go all over the world. Probably wants to visit American cities but I have a weird feeling he wants to go to South America a lot as well. I feel like he’d enjoy a vacation in Brazil or Argentina.

Unwind: What helps them relax after a long day.

YouTube, but this isn’t really anything new. We’ve seen him watching nct videos in his free time, but I’m guessing he watches other videos as well. Probably a lot of cute animal compilations.

Vulnerable: What makes them vulnerable & why.

What makes him vulnerable is probably missing his loved ones. This goes for him missing his family, as well as you. His other members probably have to pat him on the back and tell him he’ll see you soon.

Wedding: whether or not they want to get married, if/how they would want to do it, etc.

Would like to get married. If you really didn’t want to, he’s fine not to. I do think he likes setting goals and marriage is one of them. If you don’t want to get married he would try to persuade you to do it. Probably wants something very small for the wedding.

X: an AU that comes to mind.

I could see boba barista!Taeyong very well. He’d be working one day and his heart would stop when you walked in. He’d ask his coworker to serve you cause he’d be too shy to talk to you. He’d be the one to make your drink tho and write his name & number on the cup.

You: Their absolute favorite thing about you & why.

Loves your eyes. They’re definitely his favorite feature on a person. Doesn’t care the color, your eyes are beautiful and he could get lost in them for hours.

Zzz: Cute sleeping HC.

Does a really soft snore. Has to be holding something. His favorite thing to hold while asleep is your hand.

[tayliviaspeace]

Day 5 of Analysing Taylor in Quarantine

Day 5: my tears ricochet

1 sentence summary: This is about Scott and Scooter.

We gather here, we line up, weepin' in a sunlit room And if I'm on fire, you'll be made of ashes, too Even on my worst day, did I deserve, babe All the hell you gave me? 'Cause I loved you, I swear I loved you 'Til my dying day

The first line could reference a funeral, which in turn could reference the death of Taylor's reputation and hard work. It could reference Scott and Big Machine who sold Taylor's masters. Since she was their most profitable investment, without her they were nothing. When she left, Big Machine had nothing. The ash is something thats completely destroyed, which is what BM now is, where as Taylor could create something bigger than she ever did with BM, which is what she did, with her most recent 4 albums (lover, folklore, evermore, fearless tv). When you love someone, you tend to trust them, and she trusted Scott, but he let her down so much, had he not done that Taylor would still trust him till her dying day. It could reference LWYMMD too.

I didn't have it in myself to go with grace And you're the hero flying around, saving face And if I'm dead to you, why are you at the wake? Cursing my name, wishing I stayed Look at how my tears ricochet

Taylor didn't keep quiet when people were unjust to her, and she always has an open line of communication with her fans. Some people, mainly the people she's against, would say that she's a drama queen and going with grace, to me, means going quietly, which she didn't do, and I admire that!! She went in 2019 and told her fans what happened with her masters. Scott and Scooter may have tried to keep her quiet but they couldn't. The hero is probably Scott, but instead of being her friend, he does what would benefit him. In the Folklore Long Pond Studio Sessions, Taylor says that the hero's greatest nemesis were once best friends, which can be applied here, because Taylor said that when her master's were sold to Scooter, she couldn't believe it because she used to talk to Scott about how much he's messed with her. If Taylor doesn't matter to Scott anymore, now that he made money off of her, why does he still care about her? Scott doesn't care in the traditional sense of caring, but why did they get so mad at her for telling the world what was happening to her music and why did they wish that she signed at BM? Ricochet is rebounding and Taylor's tears, which were over Scooter are now over both of them. Ricochet is also a battle metaphor, which is used through out the song.

We gather stones, never knowing what they'll mean Some to throw, some to make a diamond ring You know I didn't want to have to haunt you But what a ghostly scene You wear the same jewels that I gave you As you bury me

The stones can be used for whatever Taylor wants, but if she throws them she is aware that there will be repercussions that she'd face, not just from paparazzi but also the people she threw them at. Perhaps, she didn't want the world what happened to her, because she hoped it was a dream. She also knew that her fanbase has increased a lot and re-recording would profit her and BM would not gain anything. This was probably like a last chance kind of thing to Scott. It could also refer to the breakup songs she writes. Scott tried to bury Taylor's reputation, but he couldn't. Scott and Scooter are profiting off of Taylor's jewels, which they won't be able to do once all her albums have been re-recorded.

I didn't have it in myself to go with grace 'Cause when I'd fight, you used to tell me I was brave And if I'm dead to you, why are you at the wake? Cursing my name, wishing I stayed Look at how my tears ricochet

When Taylor stood up to just Scooter, before her master's were sold, Scott told her she was brave, he'd encourage and comfort her. However, the second she went against him too, he started being rude to her, and blaming her.

And I can go anywhere I want Anywhere I want, just not home And you can aim for my heart, go for blood But you would still miss me in your bones And I still talk to you (When I'm screaming at the sky) And when you can't sleep at night (You hear my stolen lullabies)

Taylor saying she can go wherever she wants is referring to her re-records, since not many artists have done it before, if any. She's saying that she can go into uncharted territory since her new label lets her be more free. The only place she can't go is BM, which she may consider her music home, since many of her masters are there and she got her start with BM. Scott and Scooter can hurt her as much as they want, in her heart or blood (not selling Taylor her masters and trying to defame her), but they still miss Taylor since they don't get business anymore, and Taylor was BMs best. When Taylor gets mad, she'd do what anyone would and scream. There's no one she can really blame besides Scott and I don't think she wants to talk to him to yell at him, so instead she screams at the sky, maybe at God if she believes in it. Her stolen lullabies is the music she wasn't allowed to own, and Scott and Scooter stole it from her, and when they feel guilty about that, all they hear is the music they stole from Taylor.

I didn't have it in myself to go with grace And so the battleships will sink beneath the waves You had to kill me, but it killed you just the same Cursing my name, wishing I stayed You turned into your worst fears And you're tossing out blame, drunk on this pain Crossing out the good years And you're cursing my name, wishing I stayed Look at how my tears ricochet

The battleships refers to the masters controversy, and how one day this entire thing would have be over, which will probably be when she owns it all. But there'd also be people eager to know what happened as with any mystery or fallout. BM wanted to hurt Taylor and not give her the chance to own her music, but with that they ended up hurting themselves, since no one would sign with a label that sold the work of their most famous artist. Scooter and Scott kept trying to defame her, put the blame on her, but at the end Scott wanted her to sign back at BM. He maybe feared turning into Scooter and hurting Taylor, but Scott did that when he sold Scooter her music. But refusing to accept that it's his fault, Scott and Scooter try to blame Taylor, and this entire masters controversy ended the good times that Taylor had with Scott. It was the end of their friendship. The tears she spent on that helped her become better.

[whatiwillsay]

Re the karlie betrayal/ im not that anon but i loved your post. I really believe karlie kinda told scooter about her plans to come out cause in 2018 taylor wasn't friends w karlie but she didn't hate her either and also i know you don't believe they were together but i do kinda think they had something going on around 2013 or 14, karlie is the only one who fits the daisy thing (she tagged her) and also while maybe taylor didn't write you are in love about her she kinda gifted it to her, maybe it was taylor who was more in love and karlie is just one of those girls who kisses her friends and stuff (whatever not really into kaylor).

But hear me out, i really believe taylor told her exes she was planning on coming out. Julianne literally came out of nowhere, she was in a pr marriage (her husband has gay rumours and he kinda said he wanted to explore his sexuality but that's a dif topic). Dianna probably didn't care cause she wasn't very public while she was w winston and no one is really gonna point at her cause they were very private. And maybe karlie didn't want her to come out, even if they weren't together, if taylor comes out everyone is gonna believe kaylor was real because a lot of people already do, so she probably told her.

The other theory doesn't really make sense for me cause 1. I don't believe taylor was given the opportunity to purchase them 2. It was a big amount of money for sure but taylor probably has a lot of money and she could've found an investment group or something if she knew the masters would be sold to scooter. Rerecording all her albums is not cheap either.

Idk let me know what you think if you want :). If not that's fine i know this was a long post but i love theories

this is a really fair theory! i think it's entirely possible tho it's hard to know for sure! karlie's betrayal in the master's heist remains a mystery but this is a good theory!

[tswiftdaily]

In the 2010s, she went from country superstar to pop titan and broke records with chart-topping albums and blockbuster tours. Now Swift is using her industry clout to fight for artists’ rights and foster the musical community she wished she had coming up.

One evening in late-October, before she performed at a benefit concert at the Hollywood Bowl in Los Angeles, Taylor Swift’s dressing room became -- as it often does -- an impromptu summit of music’s biggest names. Swift was there to take part in the American Cancer Society’s annual We Can Survive concert alongside Billie Eilish, Lizzo, Camila Cabello and others, and a few of the artists on the lineup came by to visit.

Eilish, along with her mother and her brother/collaborator, Finneas O’Connell, popped in to say hello -- the first time she and Swift had met. Later, Swift joined the exclusive club of people who have seen Marshmello without his signature helmet when the EDM star and his manager stopped by.

“Two dudes walked in -- I didn’t know which one was him,” recalls Swift a few weeks later, sitting on a lounge chair in the backyard of a private Beverly Hills residence following a photo shoot. Her momentary confusion turned into a pang of envy. “It’s really smart! Because he’s got a life, and he can get a house that doesn’t have to have a paparazzi-proof entrance.” She stops to adjust her gray sweatshirt dress and lets out a clipped laugh.

Swift, who will celebrate her 30th birthday on Dec. 13, has been impossibly famous for nearly half of her lifetime. She was 16 when she released her self-titled debut album in 2006, and 20 when her second album, Fearless, won the Grammy Award for album of the year in 2010, making her the youngest artist to ever receive the honor. As the decade comes to a close, Swift is one of the most accomplished musical acts of all time: 37.3 million albums sold, according to Nielsen Music; 95 entries on the Billboard Hot 100 (including five No. 1s); 23 Billboard Music Awards; 12 Country Music Association Awards; 10 Grammys; and five world tours.

She also finishes the decade in a totally different realm of the music world from where she started. Swift’s crossover from country to pop -- hinted at on 2012’s Red and fully embraced on 2014’s 1989 -- reflected a mainstream era in which genres were blended with little abandon, where artists with roots in country, folk and trap music could join forces without anyone raising eyebrows. (See: Swift’s top 20 hit “End Game,” from 2017’s reputation, which featured Ed Sheeran and Future.)

Swift’s new album, Lover, released in August, is both a warm break from the darkness of reputation -- which was created during a wave of negative press generated by Swift’s public clash with Kanye West and Kim Kardashian-West -- as well as an amalgam of all her stylistic explorations through the years, from dreamy synth-pop to hushed country. “The skies were opening up in my life,” says Swift of the album, which garnered three Grammy nominations, including song of the year for the title track.

She recorded Lover after the Reputation Stadium Tour broke the record for the highest-grossing U.S. tour late last year. In 2020, Swift will embark on Lover Fest, a run of stadium dates that will feature a hand-picked lineup of artists (as yet unannounced) and allow Swift more time off from the road. “This is a year where I have to be there for my family -- there’s a lot of question marks throughout the next year, so I wanted to make sure that I could go home,” says Swift, likely referencing her mother’s cancer diagnosis, which inspired the Lover heart-wrencher “Soon You’ll Get Better.”

Now, however, Swift finds herself in a different highly publicized dispute. This time it’s with Scott Borchetta, the head of her former label, Big Machine Records, and Scooter Braun, the manager-mogul whose Ithaca Holdings acquired Big Machine Label Group and its master recordings, which include Swift’s six pre-Lover albums, in June. Upon news of the sale, Swift wrote in a Tumblr post that it was her “worst case scenario,” accusing Braun of “bullying” her throughout her career due to his connections with West. She maintains today that she was never given the opportunity to buy her masters outright. (On Tumblr, she wrote that she was offered the chance to “earn” back the masters to one of her albums for each new album she turned in if she re-signed with Big Machine; Borchetta disputed this characterization, saying she had the opportunity to acquire her masters in exchange for re-signing with the label for a “length of time” -- 10 more years, according to screenshots of legal documents posted on the Big Machine website.)

Swift has said that she intends to rerecord her first six albums next year -- starting next November, when she says she’s contractually able to -- in order to regain control of her recordings. But the back-and-forth appears to be nowhere near over: Last month, Swift alleged that Borchetta and Braun were blocking her from performing her past hits at the American Music Awards or using them in an upcoming Netflix documentary -- claims Big Machine characterized as “false information” in a response that did not get into specifics. (Swift ultimately performed the medley she had planned.) In the weeks following this interview, Braun said he was open to “all possibilities” in finding a “resolution,” and Billboard sources say that includes negotiating a sale. Swift remains interested in buying her masters, though the price could be a sticking point, given her rerecording plans, the control she has over the licensing of her music for film and TV, and the market growth since Braun’s acquisition.

However it plays out, the battle over her masters is the latest in a series of moves that has turned Swift into something of an advocate for artists’ rights -- and made her a cause that everyone from Halsey to Elizabeth Warren has rallied behind. From 2014 to 2017, Swift withheld her catalog from Spotify to protest the streaming company’s compensation rates, saying in a 2014 interview, “There should be an inherent value placed on art. I didn’t see that happening, perception-wise, when I put my music on Spotify.” In 2015, ahead of the launch of Apple Music, Swift wrote an open letter criticizing Apple for its plan to not pay royalties during the three-month free trial it was set to offer listeners; the company announced a new policy within 24 hours. Most recently, when she signed a new global deal with Universal Music Group in 2018, Swift (who is now on Republic Records) said one of the conditions of her contract was that UMG share proceeds from any sale of its Spotify equity with its roster of artists -- and make them nonrecoupable against those artists’ earnings.

During a wide-ranging conversation, Billboard’s Woman of the Decade expresses hope that she can help make the lives of creators a little easier in the years to come -- and a belief that her behind-the-scenes strides will be as integral to her legacy as her biggest singles. “New artists and producers and writers need work, and they need to be likable and get booked in sessions, and they can’t make noise -- but if I can, then I’m going to,” promises Swift. This is where being impossibly famous can be a very good thing. “I know that it seems like I’m very loud about this,” she says, “but it’s because someone has to be.”

While watching some of your performances this year -- like Saturday Night Live and NPR’s Tiny Desk Concert -- I was struck by how focused you seemed, like there were no distractions getting in the way of what you were trying to say.

That’s a really wonderful way of looking at this phase of my life and my music. I’ve spent a lot of time recalibrating my life to make it feel manageable. Because there were some years there where I felt like I didn’t quite know what exactly to give people and what to hold back, what to share and what to protect. I think a lot of people go through that, especially in the last decade. I broke through pre-social media, and then there was this phase where social media felt fun and casual and quirky and safe. And then it got to the point where everyone has to evaluate their relationship with social media. So I decided that the best thing I have to offer people is my music. I’m not really here to influence their fashion or their social lives. That has bled through into the live part of what I do.

Meanwhile, you’ve found a way to interact with your fans in this very pure way -- on your Tumblr page.

Tumblr is the last place on the internet where I feel like I can still make a joke because it feels small, like a neighborhood rather than an entire continent. We can kid around -- they literally drag me. It’s fun. That’s a real comfort zone for me. And just like anything else, I need breaks from it sometimes. But when I do participate in that space, it’s always in a very inside-joke, friend vibe. Sometimes, when I open Twitter, I get so overwhelmed that I just immediately close it. I haven’t had Twitter on my phone in a while because I don’t like to have too much news. Like, I follow politics, and that’s it. But I don’t like to follow who has broken up with who, or who wore an interesting pair of shoes. There’s only so much bandwidth my brain can really have.

You’ve spoken in recent interviews about the general expectations you’ve faced, using phrases like “They’ve wanted to see this” and “They hated me for this.” Who is “they”? Is it social media or disparaging think pieces or --

It’s sort of an amalgamation of all of it. People who aren’t active fans of your music, who like one song but love to hear who has been canceled on Twitter. I’ve had several upheavals of somehow not being what I should be. And this happens to women in music way more than men. That’s why I get so many phone calls from new artists out of the blue -- like, “Hey, I’m getting my first wave of bad press, I’m freaking out, can I talk to you?” And the answer is always yes! I’m talking about more than 20 people who have randomly reached out to me. I take it as a compliment because it means that they see what has happened over the course of my career, over and over again.

Did you have someone like that to reach out to?

Not really, because my career has existed in lots of different neighborhoods of music. I had so many mentors in country music. Faith Hill was wonderful. She would reach out to me and invite me over and take me on tour, and I knew that I could talk to her. Crossing over to pop is a completely different world. Country music is a real community, and in pop I didn’t see that community as much. Now there is a bit of one between the girls in pop -- we all have each other’s numbers and text each other -- but when I first started out in pop it was very much you versus you versus you. We didn’t have a network, which is weird because we can help each other through these moments when you just feel completely isolated.

Do you feel like those barriers are actively being broken down now?

God, I hope so. I also hope people can call it out, [like] if you see a Grammy prediction article, and it’s just two women’s faces next to each other and feels a bit gratuitous. No one’s going to start out being perfectly educated on the intricacies of gender politics. The key is that people are trying to learn, and that’s great. No one’s going to get it perfect, but, God, please try.

At this point, who is your sounding board, creatively and professionally?

From a creative standpoint, I’ve been writing alone a lot more. I’m good with being alone, with thinking alone. When I come up with a marketing idea for the Lover tour, the album launch, the merch, I’ll go right to my management company that I’ve put together. I think a team is the best way to be managed. Just from my experience, I don’t think that this overarching, one-person-handles-my-career thing was ever going to work for me. Because that person ends up kind of being me who comes up with most of the ideas, and then I have an amazing team that facilitates those ideas.

The behind-the-scenes work is different for every phase of my career that I’m in. Putting together the festival shows that we’re doing for Lover is completely different than putting together the Reputation Stadium Tour. Putting together the reputation launch was so different than putting together the 1989 launch. So we really do attack things case by case, where the creative first informs everything else.

You’ve spoken before about how meaningful the reputation tour’s success was. What did it represent?

That tour was something that I wanted to immortalize in the Netflix special that we did because the album was a story, but it almost was like a story that wasn’t fully realized until you saw it live. It was so cool to hear people leaving the show being like, “I understand it now. I fully get it now.” There are a lot of red herrings and bait-and-switches in the choices that I’ll make with albums, because I want people to go and explore the body of work. You can never express how you feel over the course of an album in a single, so why try?

That seems especially true of your last three albums or so.

“Shake It Off” is nothing like the rest of 1989. It’s almost like I feel so much pressure with a first single that I don’t want the first single to be something that makes you feel like you’ve figured out what I’ve made on the rest of the project. I still truly believe in albums, whatever form you consume them in -- if you want to stream them or buy them or listen to them on vinyl. And I don’t think that makes me a staunch purist. I think that that is a strong feeling throughout the music industry. We’re running really fast toward a singles industry, but you got to believe in something. I still believe that albums are important.

The music industry has become increasingly global during the past decade. Is reaching new markets something you think about?

Yeah, and I’m always trying to learn. I’m learning from everyone. I’m learning when I go see Bruce Springsteen or Madonna do a theater show. And I’m learning from new artists who are coming out right now, just seeing what they’re doing and thinking, “That’s really cool.” You need to keep your influences broad and wide-ranging, and my favorite people who make music have always done that. I got to work with Andrew Lloyd Webber on the Cats movie, and Andrew will walk through the door and be like, “I’ve just seen this amazing thing on TikTok!” And I’m like, “You are it! You are it!” Because you cannot look at what quote-unquote “the kids are doing” and roll your eyes. You have to learn.

Have you explored TikTok at all?

I only see them when they’re posted to Tumblr, but I love them! I think that they’re hilarious and amazing. Andrew says that they’ve made musicals cool again, because there’s a huge musical facet to TikTok. [He’s] like, “Any way we can do that is good.”

How do you see your involvement in the business side of your career progressing in the next decade? You seem like someone who could eventually start a label or be more hands-on with signing artists.

I do think about it every once in a while, but if I was going to do it, I would need to do it with all of my energy. I know how important that is, when you’ve got someone else’s career in your hands, and I know how it feels when someone isn’t generous.

You’ve served as an ambassador of sorts for artists, especially recently -- staring down streaming services over payouts, increasing public awareness about the terms of record deals.

We have a long way to go. I think that we’re working off of an antiquated contractual system. We’re galloping toward a new industry but not thinking about recalibrating financial structures and compensation rates, taking care of producers and writers.

We need to think about how we handle master recordings, because this isn’t it. When I stood up and talked about this, I saw a lot of fans saying, “Wait, the creators of this work do not own their work, ever?” I spent 10 years of my life trying rigorously to purchase my masters outright and was then denied that opportunity, and I just don’t want that to happen to another artist if I can help it. I want to at least raise my hand and say, “This is something that an artist should be able to earn back over the course of their deal -- not as a renegotiation ploy -- and something that artists should maybe have the first right of refusal to buy.” God, I would have paid so much for them! Anything to own my work that was an actual sale option, but it wasn’t given to me.

Thankfully, there’s power in writing your music. Every week, we get a dozen synch requests to use “Shake It Off” in some advertisement or “Blank Space” in some movie trailer, and we say no to every single one of them. And the reason I’m rerecording my music next year is because I do want my music to live on. I do want it to be in movies, I do want it to be in commercials. But I only want that if I own it.

Do you know how long that rerecording process will take?

I don’t know! But it’s going to be fun, because it’ll feel like regaining a freedom and taking back what’s mine. When I created [these songs], I didn’t know what they would grow up to be. Going back in and knowing that it meant something to people is actually a really beautiful way to celebrate what the fans have done for my music.

Ten years ago, on the brink of the 2010s, you were about to turn 20. What advice would you give yourself if you could go back in time?

Oh, God -- I wouldn’t give myself any advice. I would have done everything exactly the same way. Because even the really tough things I’ve gone through taught me things that I never would have learned any other way. I really appreciate my experience, the ups and downs. And maybe that seems ridiculously Zen, but … I’ve got my friends, who like me for the right reasons. I’ve got my family. I’ve got my boyfriend. I’ve got my fans. I’ve got my cats.

[helly-watermelonsmellinfellon]

Who’s [or What’s, I suppose?] Big Machine? :0c

Big Machine Records is the former record label of Taylor Swift. 

The drama is that she helped the owner Scott start his business as she was his first ever signed-on artist back in 2004/5. She and her family helped build that business from the ground up.

He promised her that when it came time, he would let her buy her Master Recordings.

Master Recording: The very 1st, original version of a song, that all copies are then made from.

Taylor owns Publishing Rights since she writes ALL of her songs, meaning she owns the lyrics. Not the original recordings though.

If a TV Show, like Killing Eve, wants to use her song Look What You Made Me Do, they have to approach Big Machine for a licence for the original recording and whatever part they want to play in the episode. However, Taylor’s been vocal about not wanting to give her old label more money, so Killing Eve approached Taylor for permission to use the lyrics. Taylor got her brother Austin, and her friend Jack who she made Look What You made Me Do with, and they re-recorded a cover in a new style with Austin singing it.

Per an old contract, Taylor cannot legally sing a cover of any songs from her first 6 albums under Big Machine, otherwise they can sue her and she can’t re-record her music in November of 2020. She can only re-record because she own Publishing Rights as the writer and she can only do it in Nov 2020 and onward.

Now, Scott apparently didn’t realize that Taylor would become so famous. She’s the highest earning female pop star in the world, I believe, and her entire catalog was worth like $360 Million in 2018. She could afford that. She wanted to buy all of it. Suddenly comes along Scooter offering to buy out Big Machine entirely and bragging about ‘buying Taylor Swift’.

Taylor was the money-maker even with all the other signed artists. She raked in 40% of their revenue alone, out of over 50 signed-on acts. Letting her go and buy her Masters now would render the company financially unfortunate and lessen its worth. So Scott, without telling her, sold to Scooter for over $400 Million. She had to find out at like 2 AM one morning, what had happened. No one even called her to tell her that her life’s work was now owned by one of her abusers.

Scott broke his promise and he did so to a horrible person. Scooter manages Kanye West and is the one who set up the whole call business and edited videos to ruin Taylor’s career. He’s a piece of shit who has allied himself with the warmongers causing the genocide of Yemen. Specifically, be borrowed money from them to pay Scott, and now a portion of the sales from Taylor’s first 6 albums are going to fund the genocide of Yemen against her wishes.

Ever since Scooter bought Big Machine, he’s been doing shady shit. Doubling the songs from her first 6 albums on her Spotify page so they come up in rotation more than any of her new songs. Re-releasing older recordings of hers to milk cash out of her fans. Suddenly posting songs that have been uploaded for some time, but now with ‘pride month’ banners. All without telling Taylor.

Hell, they released an old live recording album from 2008, but tried to market it as a 2017 recording to trick swifties into buying it, and Taylor went on her Instagram to tell us she did not give the okay for it and that she wasn’t informed ahead of time, and asked us not to buy it so Big Machine won’t get any money, thereby losing some money herself. Taylor, who usually can get an album to sell over 1 Million in release week, sold only 42 copies of that album, meanwhile, her newest, non-Big Machine album Lover, sold over 75K copies that same week to spite Big Machine.

Every few weeks, Big Machine does something. Either it’s changing how Taylor formatted the title of a song so it’s removed from people’s iTunes and they have to re-purchase it, or releasing something old without permission. But they’re trying really hard to milk swifties of their money and sales have been going down because we’re waiting for Taylor to release her re-recorded albums after November 2020.

Basically, asshole men being asshole men.

[ts1989fanatic]

You Belong With Me: How Taylor Swift Could Still Get Her Masters Back

While Taylor Swift made headlines Monday with news that Scooter Braun’s Ithaca Holdings had potentially doubled its investment in her early catalog with a reported $300 million sale to investment firm Shamrock Capital, the superstar’s strategy to regain control over those recordings is still unchanged: If she can’t own them, she'll copy them. Since June 2019, Swift has been saying she’ll re-record her first six albums, which were released between 2006 and 2017 by Big Machine Label Group, and the process is apparently already underway. "I can't wait for you to hear what I've been dreaming up," she told her fans in a lengthy Twitter note on Monday.

By re-recording and re-releasing these albums, Swift intent is to undercut Shamrock’s investment (and Ithaca’s before that) and reduce the value of those old masters, while creating more value for herself. The simplest way to do this is to deny uses of those old recordings and only approve uses of her new recordings once those are ready. Swift can do this because she controls her publishing, through Universal Music Publishing Group, and has the right to veto any (potentially quite lucrative) uses in movies, TV shows, commercials and video games. She could even prevent use of her original masters on newer streaming services like Twitch, which currently has no label licensing deals and must take down any copyrighted content at a rights holder's request, or the next generation of platforms like Peloton or TikTok, which all require licensing deals as well.

Per her original Big Machine contract, Swift can re-record all her old masters as of early this month. Promising "plenty of surprises in store," Swift says she recently began this process. But, assuming she follows through, what can we expect? Never mind that the 30-year-old megastar will no longer sound like the hungry and empathetic teenager she was when she first sang "15." (Although today's Taylor Swift may do a better job of imitating, say, 1989-era Taylor Swift.) How will she drive listeners to stream the new versions of her songs when classics like 2014's "Blank Space" have drawn nearly 2.7 billion YouTube views and more than 436 million Spotify plays? While her passionate fans have pledged to support her here (“We all will be deleting all of her old music from our playlists and apps and will only be streaming Taylor's art owned by Taylor,” tweeted one fan earlier this month), the answer, as always, really comes down to money.

Swift will need her powerful label, Universal Music Group-owned Republic Records, to aggressively market her new recordings through advertising, social media and search-engine optimization. When a Spotify user, or even one of Spotify's own curators, adds a Swift hit to a playlist, she'll want them to choose the new recording, not one owned by Shamrock; when a music fan googles "Fearless," she'll want the new recording to lead the results, not the 12-year-old original; when somebody asks Alexa to play "Speak Now," she'll want the new version to come up, not the 2010 original.

he people at Republic are skilled at doing all these things. But there's a catch. A different Universal division continues to distribute Big Machine's recordings, even under the new Shamrock ownership, and those include Swift's early catalog. That creates competition within the same company: One side potentially working to ensure the 2010 "Speak Now" is Alexa's choice and another trying to change the default to the new re-recording. Who will win? The short answer: Universal. The label will continue to profit from just about everything involving Taylor Swift, including publishing. The more nuanced answer is that Republic's CEO, Monte Lipman, and his boss, UMG's CEO Lucian Grainge, are likely to go along with anything their biggest-selling star wants to do.

Still, if all this comes to pass, the result will be... confusing. Artists including Def Leppard, Squeeze, Blue Oyster Cult and JoJo have re-recorded their originals over the years, and while some of JoJo's newer material has generated big streaming numbers, none of these re-recordings are major hits. Then again, none of these acts are the world's biggest pop stars, and they haven't come close to matching Swift's ability to generate sales, streams and attention.

The new owners of Swift's master recordings seem unfazed by the singer's long-stated goal to undercut her early catalog with new material they don't own. They know she despises the guy who continues to have some kind of stake in them: Braun, who manages Justin Bieber and Ariana Grande and once represented her nemesis, Kanye West. Braun's company bought Swift's first label, Big Machine, in June last year and took over ownership of those early recordings. This week, Braun sold them to Shamrock, which offered Swift a partnership. But because "under their terms [Braun] will continue to profit off my old musical catalog for many years," the idea was a "non-starter," she tweeted.

"While we hoped to formally partner," Shamrock said in a statement, "we also knew this was a possible outcome that we considered."

In the end, Shamrock is betting Swift's original recordings will always be more valuable than any re-recordings. They may be right. No matter how formidable 2020 Taylor Swift and her team may be, no matter how righteous her cause, no matter how lovingly and authentically she recreates her original songs in the studio, it'll be hard to overcome the power of clicking on the original "You Belong With Me" by 2008 Taylor Swift. But then again, if Swift can cause a big enough headache or drive down the value of those early masters enough, she could wind up in a better position to make the kind of deal she’s been looking for all along.

ts1989fanatic this is pretty much bullshit look at the highlighted section above, saying that @taylorswift will need the full might and resources of her label too promote and new album is already disproven.

Her label knew next to nothing about folklore until the day it was released and it has been one of the most successful Taylor albums to date.

[path-of-my-childhood]

Billboard Woman of the Decade Taylor Swift: 'I Do Want My Music to Live On'

By: Jason Lipshutz for Billboard Magazine Date: December 14th issue

In the 2010s, she went from country superstar to pop titan and broke records with chart-topping albums and blockbuster tours. Now Swift is using her industry clout to fight for artists’ rights and foster the musical community she wished she had coming up.

One evening in late October, before she performed at a benefit concert at the Hollywood Bowl in Los Angeles, Taylor Swift’s dressing room became - as it often does - an impromptu summit of music’s biggest names. Swift was there to take part in the American Cancer Society’s annual We Can Survive concert alongside Billie Eilish, Lizzo, Camila Cabello and others, and a few of the artists on the lineup came by to visit.

Eilish, along with her mother and her brother/collaborator, Finneas O’Connell, popped in to say hello - the first time she and Swift had met. Later, Swift joined the exclusive club of people who have seen Marshmello without his signature helmet when the EDM star and his manager stopped by.

“Two dudes walked in - I didn’t know which one was him,” recalls Swift a few weeks later, sitting on a lounge chair in the backyard of a private Beverly Hills residence following a photo shoot. Her momentary confusion turned into a pang of envy. “It’s really smart! Because he’s got a life, and he can get a house that doesn’t have to have a paparazzi-proof entrance.” She stops to adjust her gray sweatshirt dress and lets out a clipped laugh.

Swift, who will celebrate her 30th birthday on Dec. 13, has been impossibly famous for nearly half of her lifetime. She was 16 when she released her self-titled debut album in 2006, and 20 when her second album, Fearless, won the Grammy Award for album of the year in 2010, making her the youngest artist to ever receive the honor. As the decade comes to a close, Swift is one of the most accomplished musical acts of all time: 37.3 million albums sold, according to Nielsen Music; 95 entries on the Billboard Hot 100 (including five No. 1s); 23 Billboard Music Awards; 12 Country Music Association Awards; 10 Grammys; and five world tours.

She also finishes the decade in a totally different realm of the music world from where she started. Swift’s crossover from country to pop - hinted at on 2012’s Red and fully embraced on 2014’s 1989 - reflected a mainstream era in which genres were blended with little abandon, where artists with roots in country, folk and trap music could join forces without anyone raising eyebrows. (See: Swift’s top 20 hit “End Game,” from 2017’s reputation, which featured Ed Sheeran and Future.)

Swift’s new album, Lover, released in August, is both a warm break from the darkness of reputation - which was created during a wave of negative press generated by Swift’s public clash with Kanye West and Kim Kardashian-West - as well as an amalgam of all her stylistic explorations through the years, from dreamy synth-pop to hushed country. “The skies were opening up in my life,” says Swift of the album, which garnered three Grammy nominations, including song of the year for the title track.

She recorded Lover after the Reputation Stadium Tour broke the record for the highest-grossing U.S. tour late last year. In 2020, Swift will embark on Lover Fest, a run of stadium dates that will feature a hand-picked lineup of artists (as yet unannounced) and allow Swift more time off from the road. “This is a year where I have to be there for my family - there’s a lot of question marks throughout the next year, so I wanted to make sure that I could go home,” says Swift, likely referencing her mother’s cancer diagnosis, which inspired the Lover heart-wrencher “Soon You’ll Get Better.”

Now, however, Swift finds herself in a different highly publicized dispute. This time it’s with Scott Borchetta, the head of her former label, Big Machine Records, and Scooter Braun, the manager-mogul whose Ithaca Holdings acquired Big Machine Label Group and its master recordings, which include Swift’s six pre-Lover albums, in June. Upon news of the sale, Swift wrote in a Tumblr post that it was her “worst case scenario,” accusing Braun of “bullying” her throughout her career due to his connections with West. She maintains today that she was never given the opportunity to buy her masters outright. (On Tumblr, she wrote that she was offered the chance to “earn” back the masters to one of her albums for each new album she turned in if she re-signed with Big Machine; Borchetta disputed this characterization, saying she had the opportunity to acquire her masters in exchange for re-signing with the label for a “length of time” - 10 more years, according to screenshots of legal documents posted on the Big Machine website.)

Swift has said that she intends to rerecord her first six albums next year, starting next November, when she says she’s contractually able to - in order to regain control of her recordings. But the back-and-forth appears to be nowhere near over: Last month, Swift alleged that Borchetta and Braun were blocking her from performing her past hits at the American Music Awards or using them in an upcoming Netflix documentary - claims Big Machine characterized as “false information” in a response that did not get into specifics. (Swift ultimately performed the medley she had planned.) In the weeks following this interview, Braun said he was open to “all possibilities” in finding a “resolution,” and Billboard sources say that includes negotiating a sale. Swift remains interested in buying her masters, though the price could be a sticking point, given her rerecording plans, the control she has over the licensing of her music for film and TV, and the market growth since Braun’s acquisition.

However it plays out, the battle over her masters is the latest in a series of moves that has turned Swift into something of an advocate for artists’ rights, and made her a cause that everyone from Halsey to Elizabeth Warren has rallied behind. From 2014 to 2017, Swift withheld her catalog from Spotify to protest the streaming company’s compensation rates, saying in a 2014 interview, “There should be an inherent value placed on art. I didn’t see that happening, perception-wise, when I put my music on Spotify.” In 2015, ahead of the launch of Apple Music, Swift wrote an open letter criticizing Apple for its plan to not pay royalties during the three-month free trial it was set to offer listeners; the company announced a new policy within 24 hours. Most recently, when she signed a new global deal with Universal Music Group in 2018, Swift (who is now on Republic Records) said one of the conditions of her contract was that UMG share proceeds from any sale of its Spotify equity with its roster of artists - and make them non-recoupable against those artists’ earnings.

During a wide-ranging conversation, Billboard’s Woman of the Decade expresses hope that she can help make the lives of creators a little easier in the years to come - and a belief that her behind-the-scenes strides will be as integral to her legacy as her biggest singles. “New artists and producers and writers need work, and they need to be likable and get booked in sessions, and they can’t make noise - but if I can, then I’m going to,” promises Swift. This is where being impossibly famous can be a very good thing. “I know that it seems like I’m very loud about this,” she says, “but it’s because someone has to be.”

While watching some of your performances this year - like SNL and NPR’s Tiny Desk Concert - I was struck by how focused you seemed, like there were no distractions getting in the way of what you were trying to say. That’s a really wonderful way of looking at this phase of my life and my music. I’ve spent a lot of time re-calibrating my life to make it feel manageable. Because there were some years there where I felt like I didn’t quite know what exactly to give people and what to hold back, what to share and what to protect. I think a lot of people go through that, especially in the last decade. I broke through pre-social media, and then there was this phase where social media felt fun and casual and quirky and safe. And then it got to the point where everyone has to evaluate their relationship with social media. So I decided that the best thing I have to offer people is my music. I’m not really here to influence their fashion or their social lives. That has bled through into the live part of what I do.

Meanwhile, you’ve found a way to interact with your fans in this very pure way - on your Tumblr page. Tumblr is the last place on the internet where I feel like I can still make a joke because it feels small, like a neighborhood rather than an entire continent. We can kid around - they literally drag me. It’s fun. That’s a real comfort zone for me. And just like anything else, I need breaks from it sometimes. But when I do participate in that space, it’s always in a very inside-joke, friend vibe. Sometimes, when I open Twitter, I get so overwhelmed that I just immediately close it. I haven’t had Twitter on my phone in a while because I don’t like to have too much news. Like, I follow politics, and that’s it. But I don’t like to follow who has broken up with who, or who wore an interesting pair of shoes. There’s only so much bandwidth my brain can really have.

You’ve spoken in recent interviews about the general expectations you’ve faced, using phrases like “They’ve wanted to see this” and “They hated me for this.” Who is “they”? Is it social media or disparaging think pieces or... It’s sort of an amalgamation of all of it. People who aren’t active fans of your music, who like one song but love to hear who has been canceled on Twitter. I’ve had several upheavals of somehow not being what I should be. And this happens to women in music way more than men. That’s why I get so many phone calls from new artists out of the blue - like, “Hey, I’m getting my first wave of bad press, I’m freaking out, can I talk to you?” And the answer is always yes! I’m talking about more than 20 people who have randomly reached out to me. I take it as a compliment because it means that they see what has happened over the course of my career, over and over again.

Did you have someone like that to reach out to? Not really, because my career has existed in lots of different neighborhoods of music. I had so many mentors in country music. Faith Hill was wonderful. She would reach out to me and invite me over and take me on tour, and I knew that I could talk to her. Crossing over to pop is a completely different world. Country music is a real community, and in pop I didn’t see that community as much. Now there is a bit of one between the girls in pop - we all have each other’s numbers and text each other - but when I first started out in pop it was very much you versus you versus you. We didn’t have a network, which is weird because we can help each other through these moments when you just feel completely isolated.

Do you feel like those barriers are actively being broken down now? God, I hope so. I also hope people can call it out, [like] if you see a Grammy prediction article, and it’s just two women’s faces next to each other and feels a bit gratuitous. No one’s going to start out being perfectly educated on the intricacies of gender politics. The key is that people are trying to learn, and that’s great. No one’s going to get it perfect, but, God, please try.

At this point, who is your sounding board, creatively and professionally From a creative standpoint, I’ve been writing alone a lot more. I’m good with being alone, with thinking alone. When I come up with a marketing idea for the Lover tour, the album launch, the merch, I’ll go right to my management company that I’ve put together. I think a team is the best way to be managed. Just from my experience, I don’t think that this overarching, one-person-handles-my-career thing was ever going to work for me. Because that person ends up kind of being me who comes up with most of the ideas, and then I have an amazing team that facilitates those ideas. The behind-the-scenes work is different for every phase of my career that I’m in. Putting together the festival shows that we’re doing for Lover is completely different than putting together the Reputation Stadium Tour. Putting together the reputation launch was so different than putting together the 1989 launch. So we really do attack things case by case, where the creative first informs everything else.

You’ve spoken before about how meaningful the reputation tour’s success was. What did it represent? That tour was something that I wanted to immortalize in the Netflix special that we did because the album was a story, but it almost was like a story that wasn’t fully realized until you saw it live. It was so cool to hear people leaving the show being like, “I understand it now. I fully get it now.” There are a lot of red herrings and bait-and-switches in the choices that I’ll make with albums, because I want people to go and explore the body of work. You can never express how you feel over the course of an album in a single, so why try?

That seems especially true of your last three albums or so. “Shake It Off” is nothing like the rest of 1989. It’s almost like I feel so much pressure with a first single that I don’t want the first single to be something that makes you feel like you’ve figured out what I’ve made on the rest of the project. I still truly believe in albums, whatever form you consume them in - if you want to stream them or buy them or listen to them on vinyl. And I don’t think that makes me a staunch purist. I think that that is a strong feeling throughout the music industry. We’re running really fast toward a singles industry, but you got to believe in something. I still believe that albums are important.

The music industry has become increasingly global during the past decade. Is reaching new markets something you think about? Yeah, and I’m always trying to learn. I’m learning from everyone. I’m learning when I go see Bruce Springsteen or Madonna do a theater show. And I’m learning from new artists who are coming out right now, just seeing what they’re doing and thinking, “That’s really cool.” You need to keep your influences broad and wide-ranging, and my favorite people who make music have always done that. I got to work with Andrew Lloyd Webber on the Cats movie, and Andrew will walk through the door and be like, “I’ve just seen this amazing thing on TikTok!” And I’m like, “You are it! You are it!” Because you cannot look at what quote-unquote “the kids are doing” and roll your eyes. You have to learn.

Have you explored TikTok at all? I only see them when they’re posted to Tumblr, but I love them! I think that they’re hilarious and amazing. Andrew says that they’ve made musicals cool again, because there’s a huge musical facet to TikTok. [He’s] like, “Any way we can do that is good.”

How do you see your involvement in the business side of your career progressing in the next decade? You seem like someone who could eventually start a label or be more hands-on with signing artists. I do think about it every once in a while, but if I was going to do it, I would need to do it with all of my energy. I know how important that is, when you’ve got someone else’s career in your hands, and I know how it feels when someone isn’t generous.

You’ve served as an ambassador of sorts for artists, especially recently - staring down streaming services over payouts, increasing public awareness about the terms of record deals. We have a long way to go. I think that we’re working off of an antiquated contractual system. We’re galloping toward a new industry but not thinking about re-calibrating financial structures and compensation rates, taking care of producers and writers. We need to think about how we handle master recordings, because this isn’t it. When I stood up and talked about this, I saw a lot of fans saying, “Wait, the creators of this work do not own their work, ever?” I spent 10 years of my life trying rigorously to purchase my masters outright and was then denied that opportunity, and I just don’t want that to happen to another artist if I can help it. I want to at least raise my hand and say, “This is something that an artist should be able to earn back over the course of their deal - not as a renegotiation ploy - and something that artists should maybe have the first right of refusal to buy.” God, I would have paid so much for them! Anything to own my work that was an actual sale option, but it wasn’t given to me. Thankfully, there’s power in writing your music. Every week, we get a dozen synch requests to use “Shake It Off” in some advertisement or “Blank Space” in some movie trailer, and we say no to every single one of them. And the reason I’m rerecording my music next year is because I do want my music to live on. I do want it to be in movies, I do want it to be in commercials. But I only want that if I own it.

Do you know how long that rerecording process will take? I don’t know! But it’s going to be fun, because it’ll feel like regaining a freedom and taking back what’s mine. When I created [these songs], I didn’t know what they would grow up to be. Going back in and knowing that it meant something to people is actually a really beautiful way to celebrate what the fans have done for my music.

Ten years ago, on the brink of the 2010s, you were about to turn 20. What advice would you give yourself if you could go back in time? Oh, God - I wouldn’t give myself any advice. I would have done everything exactly the same way. Because even the really tough things I’ve gone through taught me things that I never would have learned any other way. I really appreciate my experience, the ups and downs. And maybe that seems ridiculously Zen, but... I’ve got my friends, who like me for the right reasons. I’ve got my family. I’ve got my boyfriend. I’ve got my fans. I’ve got my cats.

Taylor Swift Discusses 'The Man' & 'It's Nice To Have a Friend' In Cover Story Outtakes

Billboard // by Jason Lipshutz // December 12th 2019

During her cover story interview for Billboard’s Women In Music issue, Taylor Swift discussed several aspects of her mega-selling seventh studio album Lover, including its creation after a personal “recalibrating” period, her stripped-down performances of its songs and her plans to showcase the full-length live with her Lover Fest shows next year. In two moments from the extended conversation that did not make the print story, Billboard’s Woman of the Decade also touched upon two of the album’s highlights, which double as a pair of the more interesting songs in her discography: “The Man” and “It’s Nice To Have A Friend.” 

“The Man” imagines how Swift’s experience as a person, artist and figure within the music industry would have been different had she been a man, highlighting how much harder women have to work in order to succeed (“I’m so sick of running as fast as I can / Wondering if I’d get there quicker if I was a man,” she sings in the chorus). The song has become a fan favorite since the release of Lover, and Swift recently opened a career-spanning medley with the song at the 2019 American Music Awards.

When asked about “The Man,” Swift pointed out specific double standards that exist in everyday life and explained why she wanted to turn that frustration into a pop single. Read Swift’s full thoughts on “The Man” below:

“It was a song that I wrote from my personal experience, but also from a general experience that I’ve heard from women in all parts of our industry. And I think that, the more we can talk about it in a song like that, the better off we’ll be in a place to call it out when it’s happening. So many of these things are ingrained in even women, these perceptions, and it’s really about re-training your own brain to be less critical of women when we are not criticizing men for the same things. So many things that men do, you know, can be phoned-in that cannot be phoned-in for us. We have to really — God, we have to curate and cater everything, but we have to make it look like an accident. Because if we make a mistake, that’s our fault, but if we strategize so that we won’t make a mistake, we’re calculating.

“There is a bit of a damned-if-we-do, damned-if-we-don’t thing happening in music, and that’s why when I can, like, sit and talk and be like ‘Yeah, this sucks for me too,’ that feels good. When I go online and hear the stories of my fans talking about their experience in the working world, or even at school — the more we talk about it, the better off we’ll be. And I wanted to make it catchy for a reason — so that it would get stuck in people’s heads, [so] they would end up with a song about gender inequality stuck in their heads. And for me, that’s a good day.”

Meanwhile, the penultimate song on Lover, “It’s Nice To Have A Friend,” sounds unlike anything in Swift’s catalog thanks to its elliptical structure, lullaby-like tone and incorporation of steel drums and brass. When asked about the song, Swift talked about experimenting with her songwriting, as well as capturing a different angle of the emotional themes at the heart of Lover. Read Swift’s full thoughts on “It’s Nice To Have A Friend” below:

“It was fun to write a song that was just verses, because my whole body and soul wants to make a chorus — every time I sit down to write a song, I’m like, ‘Okay, chorus time, let’s get the chorus done.’ But with that song, it was more of like a poem, and a story and a vibe and a feeling of... I love metaphors that kind of have more than one meaning, and I think I loved the idea that, on an album called Lover, we all want love, we all want to find somebody to see our sights with and hear things with and experience things with.

“But at the end of the day we’ve been searching for that since we were kids! When you had a friend when you were nine years old, and that friend was all you talked about, and you wanted to have sleepovers and you wanted to walk down the street together and sit there drawing pictures together or be silent together, or be talking all night. We’re just looking for that, but endless sparks, as adults.”

Read the full Taylor Swift cover story here, and click here for more info on Billboard’s 2019 Women In Music event, during which Swift will be presented with the first-ever Woman of the Decade award.

[link to this tweet]

Was there ever a part of you that was like, “Oh shit, I like this darker vibe, let’s go even further down that path?” I really Loved Reputation because it felt like a rock opera, or a musical, doing it live. Doing that stadium show was so fun because it was so theatrical and so exciting to perform that, because it’s really cathartic! But I have to follow whatever direction my life is going in emotionally... The skies were opening up in my life. That’s what happened. But in a way that felt like a pink sky, a pink and purple sky, after a storm, and now it looks even more beautiful because it looked so stormy before. And that’s just like, I couldn't stop writing. I’ve never had an album with 18 songs on it before, and a lot of what I do is based on intuition. So, you know, I try not to overthink it. Who knows, there may be another dark album. I plan on doing lots of experimentation over the course of my career. Who knows? But it was a blast, I really loved it.

I mean, look, a Taylor Swift screamo album? I’ll be first in line. I’m so happy to hear that, because I think you might be the only one. Ha! I have a terrible scream. It’s obnoxious.

Why Taylor Swift's Lover Fest Will Be Her Next Big Step

Billboard // by Jason Lipshutz // December 11th 2019 - [Excerpt]

On why she chose to put together Lover fest: “I haven’t really done festivals in years - not since I was a teenager. That’s something that [the fans] don’t expect from me, so that’s why I wanted to do it. I want to challenge myself with new things and at the same time keep giving my fans something to connect to.”

[realityhasnoplaceinourlives]

alternative lyrics to better than revenge?

Better than revenge

Now go stand in the corner and think about what you did

Ha, time for a little revenge

The story starts when i was young and i was writing songs,

And, i had it all i had it right there how i wanted it

he came along, got me alone, and let's hear the applause

he sold them faster than you could say sabotage

I never saw it coming, nor would I have suspected it

I underestimated just who I was dealing with

he had to know the pain was beating on me like a drum

he underestimated just who he was stealing from

he's not a saint and he's not what you think

he's a looter, whoa

but now i know that taylor’s version will

surpass scooter woah

Soon he's gonna find

Stealing other people's toys on the playground

Won't make you many friends

he should keep in mind,

he should keep in mind

There is nothing I do better than revenge, ha

he sees my music like it's money and he doesn’t care

he looks at me like I don’t deserve to be treated fair

I think the focus on economics here is troubling

And, he’ll think I'm psycho

'Cause I like to rhyme his name with things, but

Sophistication isn't what you own, or who you know

Or pushing people down to get you where you wanna go

Oh they didn't teach you that in prep school

So it's up to me

But no amount of petty theft gives you dignity

(Think about what you did)

he's not a saint and he's not what you think

he's a looter, whoa

but now i know that taylors version will

surpass scooter woah

Soon he's gonna find

Stealing other people's toys on the playground

Won't make you many friends

he should keep in mind,

he should keep in mind

There is nothing I do better than revenge, ha

I'm just another thing for you to get your cash, how heartless

You might have six, but haven't you heard

I'm just another thing for you to get your cash, how heartless

You might have them, but I'll always get the last word

Whoa

he's not a saint and he's not what you think

he's a looter, whoa

but now i know that taylors version will

surpass scooter woah

Soon he's gonna find

Stealing other people's toys on the playground

Won't make you many friends

he should keep in mind,

he should keep in mind

There is nothing I do better than revenge, ha

And do you still feel like you know what you're doing,

'Cause I don't think you do, oh

Do you still feel like you know what you're doing

I don't think you do, I don't think you do

Let's hear the applause

C'mon show me how much better you are

he sold them faster than you could say sabotage

[hermionegranger56]

ok lads its time for my breakdown of folklore, something absolutely no one is asking for but here we are!! this album. thIs ALBUMMMM. dear GOD. the intersection of my two favorite things, taylor swift and indie folk???? i feel like i’m dreaming. when she announced the surprise drop i literally burst into tears and evidently for good reason lol.

anywho here’s the thing. Red has been my all time favorite album for 8 years now. it holds such an important place in my life and i never thought anything she did could come close (though Lover almost did). but this. THIS IS BETTER THAN RED

the lyrical genius is unmatched here. taylor isn’t just writing songs here, this is POETRY. every song is nuanced, intricate, devastatingly beautiful, with words that’ll haunt me for a long time. and the fact that it’s stories, literal folklore, no longer just about her own life is incredibly creative and is executed so well for someone who has interwoven her life into her entire body of music thus far. folklore blends facts with fiction so seamlessly and is a true exhibition of taylor’s power as a songwriter.

and the vibessss!! from haunting heartbreak songs, to ethereal lost-in-the-woods vibes, to a comforting return to her old self, this album has everything. taylor is without a doubt one of the most versatile artists of our generation, having success and skill in multiple genres and folklore only solidifies this fact.

ALL RIGHT KIDS LETS JUMP IN

the 1: hell yeah explicit tswift give it to me lol you ARE on some new shit!! ok when i first listened to this i hadn’t read her statement about the other perspectives and i was about to RIOT about her and joe breaking up (like they could ever lol). this is such a catchy beat, such a casual?? look at such a painful feeling? a really good start to this album. the part where she goes another day waking up aLONE killlllllls me wow

fave lines: “in my defense i have none/for never leaving well enough alone”

cardigan: (don’t get me started on the mv it’s gorgeous) YES THE TEENAGE LOVE TRIANGLE suchhh a good concept!! the melody of this song is unreal, the chorus makes me want to scream it’s so beautiful, the i-i-i is SOMETHING ELSE. it’s crazy how just the melody makes betty’s pain so palpable, but so enchanting at the same time. it’s bittersweet and cinematic and i’m in love. PETER LOSING WENDY GOD. easily top 5 song here

fave lines: “when you are young they assume you know nothing”, “cause i knew you/ heartbeat on the high line/ once in 20 lifetimes i” “you drew stars around my scars/but now i’m bleeding”

the last great american dynasty: watch hill!!! her watch hill house!! i live near there!! oh i think this song is so clever and i love how it ties into mad woman as well as harkens back to starlight. i LOVE the way she ties her self in, “and then it was bought by me” like ughhh her mind? and its catchy AF

fave lines: “i had a marvelous time ruining everything”

exile: YOU KNOW HOW TO DO AN INDIE ALBUM??? BRING BON IVER INTO THIS SHIT!! wowww this song is haunting and is definitely the “i’m you but stronger” version of The Last Time. the overlap of both of them singing and their parallel lines are flawless. i could play this on repeat for hours and contemplate my whole existence

fave lines: “you never gave a warning sign/i gave so many signs”

my tears ricochet: ok somehow a track 5 with tears in the title is not the saddest song here but DAMN is it good. I love the visual of someone watching over their funeral and reacting. the music is stunningggg here. ALSO i am pretty convinced this is about the whole scott/scooter drama, like the lyrics fit so well? and she said it was the first song she wrote so the timeline kinda fits?? geniusss

fave lines: “I didn’t have it in myself to go with grace”, “and if i’m dead to you/why are you at the wake?”

mirrorball: ohhhh this one is so pretty!! it just makes me want to dance around the kitchen with the person i love??? its comforting, ethereal, happyyy ugh i love it. I also think it could be about her relationship with her fans? like her music shows us different sides of ourselves idk? or just absorbing into a relationship?

fave lines: “on my tallest tiptoes/shining just for you”

seven: i’m gonna call this now: this is going to be the most underrated song on this album. it is STUNNING. POETIC. HEARTBREAKING. the music is so hauntingly nostalgic. and the lyrics, holy absolute shit. they’re a delicate testament to childhood, memory, and innocent love. it’s gut wrenching and i love it so so much

fave lines: “i’ve been meaning to tell you/i think your house is haunted/your dad is always mad/and that must be why”, “and just like folk song/our love will be passed on”, “before i learned civility/ i used to scream ferociously” ALL OF IT

august: and now we get the girl james cheated with’s perspective, which i think is great. its sunny, wistful and sad underneath all that beautiful production. when she slides from the chorus to the “back when we we’re changing for the better” and hits that “mineeee to lose” GOD, it just fills your chest. i feel like even if you never have, this makes anyone feel like they know exactly what a summer fling feels like. one of my faves

fave lines: “august slipped away/like a bottle of wine”, “cancel my plans just in case you call/ and say meet me behind the mall”

this is me trying: the slow pacing of this melody serves to show these EXQUISITE lyrics here. this is so intimate and personal and i feel like everyone can relate to this feeling of just trying to hold on and put on a brave face?

fave lines: “they told me all of my cages were mental/ so i got wasted like all my potential”

illicit affairs: ok all you need to know about this one is a) I’m obsessed b) this is the closest she has come to creating a bridge that makes me feel like the All Too Well bridge has, like scream sobbing in the car type vibe??? its unreal. and this song makes me feel that shitty feeling of: “this was supposed to be casual but oops its very much not” hmmm maybe that’s where the scream sobbing comes from hahah

fave lines: “don’t call me kid/don’t call me baby/look at this godforsaken mess that you made me/you showed me colors you know i can’t see with anyone else”

invisible string: this. THIS is probably her most stunning love song. like. i thought it was Lover. i was wrong. this one is confidently from Taylor’s perspective, about Joe and dear lord i want a love like theirs. and shit does this song put the folk in folklore, the music is so simple and gorgeous and harkens back to her country roots without losing this new sound she has. and the first few notes remind me of Mystery of Love by Sufjan Stevens so instantly im sold. this and betty are tied for my number 1, it’s just too beautiful

fave lines: “time curious time/give me no compasses/give me no signs” “isn’t it just so pretty to think/all along there was some invisible string/tying you to me”, “cold was steel of the axe that i had to grind/for the boys who broke my heart/now i buy their babies presents”, “hell was the journey/but it brought me heaven”

mad woman: FUCK YOU FOREVERRRRRR!!! yes taylor said fuckkkk ugh i LOVE this vibe, the revenge of the mad woman that the town cast out is so eerie and powerful, i’m obsessed. it ties back into the maddest woman of TLGAD and it feels like a spiritual sequel to The Man, the same feminist thread weaving through it. the lyrics are razor sharp and biting, i love it

fave lines: “and you poke that bear/till the claws come out/ and you find something/ to wrap your noose around”, “it’s obvious wanting me dead has really brought you two together”

epiphany: so uhhh THIS is the saddest song on folklore. fight me. the seamless comparison between wartime and the pandemic and waiting for some epiphany that could make sense of all the horrors surrounding the both. idk man, as someone who’s been a covid nurse since March, i just….this one HURTS. similar to Soon You’ll Get Better tbh

fave lines: “hold your hand through plastic now/doc i think she’s crashing out/and somethings you just can’t speak about”

betty: OH I LOVE IT WITH MY WHOLE HEART! this is such a TRIUMPHANT return to old taylor, it is so joyful but sad at the same time?? the harmonica?? the last part of the love triangle?? it sounds like Taylor Swift and Fearless all grown up and it makes me ache for back then, but love where we are right now. tbh the first time i heard this i sobbed through the whole thing just out of pure nostalgia. she’s back but at the same time she never left. this feels like a love song to original fans and it. is. incredible. my favoriteeee goddd

fave lines: THE WHOLE CHORUS BABYYYYY

peace: it’s gorgeous, especially the guitarrr ugh. this feels like delicate’s quiet older sister. i think it’s definitely about joe and how taylor, despite loving him, still has these insecurities and fears about what a relationship with someone in her position could be like? like there will be struggles, but he’s her family and she “would die for you in secret”. stunning

fave lines: “i’m a fire and i’ll keep your brittle heart warm”, “the devils in the detail/but you’ve got a friend in me”, “give you my wild/give you a child”

hoax: i’m surprised she ended it on a sad one (but we still have the lakes!!) but this song is hauntingly beautiful WOW. every line of this absolutely floors me. i think this one will also be largely underrated, but it is pure poetry and deserves so so much hype

fave lines: “stood on the cliffside/screaming give me a reason/your faithless love’s the only hoax i believe in”, “it still hurts underneath my scars/from when they pulled me apart/but what you did was just as dark” “my kingdom come undone/ my broken drum/ you have beaten my heart”

ANYWHO TAYLOR HAS PRODUCED HER BEST WORK TO DATE AND IM READY FOR SAD GIRL AUTUMN

[makistar2018]

Taylor Swift on "Lover" and haters

John D'Amelio August 25, 2019

You might say Taylor Swift's happy place is at the piano in her Nashville home. "There have been so many songs that were written at this piano," she said.

"And it's often the middle of the night?" asked correspondent Tracy Smith.

"It's usually in the middle of the night," she replied. "Or if I'm trying to get to sleep and I can't and then I get an idea. And I'm, like, 'Well, I'm not tired anyway!' And then kind of wander over here."

Taylor Swift at her piano, with correspondent Tracy Smith. 

It's kind of a rare sight, not just because "Sunday Morning" was there ("I haven't serenaded someone in a while, hope you know that!"), but because, for the moment, Taylor Swift was actually sitting still.

I promise that you'll never find another like Me-e-e, Ooh ooh ooh ooh I'm the only one of me Baby, that's the fun of me – "Me!" by Taylor Swift, Joel Little and Brendon Urie

And there never really has been another like Taylor Swift. After only 13 years in the business, she's become a musical force of nature, with an armload of #1 hits, more Grammy Awards than The Rolling Stones, and (according to Forbes) the distinction of being the highest-paid celebrity on the planet.

By any measure, she's an amazing young woman. But there were times, she says, that being young, and a woman, worked against her.

"You're always gonna have people going, 'Did she write all her own songs?'" she said. "Talking about your personal life, talking about your dating life.

"There's a different vocabulary for men and women in the music industry, right?"

"Gimme an example," asked correspondent Tracy Smith.

"Okay. A man does something, it's 'strategic'; a woman does the same thing, it's 'calculated.' A man is allowed to 'react'; a woman can only 'over-react.'"

And it seems her usual reaction is to get to work. Swift writes or co-writes all of her songs. And what's more, her music videos are all her vision, from the pastel wonderland in "Me!":

…to the giant dollhouse in her latest video, "Lover." 

That's also the title of her critically-acclaimed new studio album, her seventh. She wrote "Lover" on her piano at home, and polished it up in the studio. And once she recorded the music, Swift (accompanied by and her cats) went to Hollywood to make the music video, and she invited Smith along to watch.

There's a love story here, and like a lot of Swift's work, it's an echo of her real life.

Born in Reading, Pennsylvania, Swift discovered her love for music as a toddler. She set her sights on a career in country music, and eventually her parents and younger brother moved to Nashville to help her do it.

"My brother's a real bro for doing that," Swift said.

"Yeah, they all upended their lives," Smith said.

"For sure."

"It worked out well!"

"Yeah, I buy 'em lots of presents," she laughed.

The rest reads like a fantasy: Swift became a country music phenomenon, and, in the last few years, a pop icon. But the superstar is, by her own admission, as emotionally fragile as any other 20-something, "I'm still someone who is the first to apologize when I'm wrong," she said. "But I think I'm better at standing up for myself when I've been wronged. So, that's something that I think also comes with growing up."

Which brings us to Scooter Braun. Earlier this summer, Braun, a talent agent with whom Swift says she has a contentious relationship, acquired the rights to her previous recordings – her masters – when his company bought Scott Borchetta's Big Machine Label Group for a reported $300 million. Borchetta, who worked with Swift for years, says she and those close to her (including her dad, who was an investor), knew about the deal in advance, and that Swift had previously been offered the chance to buy her own masters.  

She remembers it differently, and told Smith she didn't see it coming: "I found out when it was online, like, when it hit the news."

"Nobody in your inner circle knew?" Smith asked.,

"Nobody knew."

"And you didn't smell it?"

"No. I knew he would sell my music; I knew he would do that. I couldn't believe who he sold it to, because we've had endless conversations about Scooter Braun. And he has 300 million reasons to conveniently forget those conversations."

With the sale of the masters to her first six albums, there has been speculation that Swift might re-record her back catalog, in order to control the recordings of her songs.

Smith asked, "Might you do that?"

"Oh, yeah," Swift replied.

"That's a plan?"

"Yeah, absolutely!"

Scooter Braun may not agree with her side of the story, but he did reach out to Swift in a tweet last week, calling her new album "brilliant."

It's clear that Swift wants to control her music:  When it's time to release one of her new songs, she does it personally, talking to her fans live on Instagram. This personal connection has earned her a loyal following. But her openness comes at price: She's followed just about everywhere she goes these days, by people who are crazy about her – or just plain crazy.

Smith asked, "Where is home for you now?"

"It's a very good question," she said. "I try not to ever really say where I am the most, because since all my addresses are on the internet, people tend to show up uninvited. Like, you know, dudes that think we have an imaginary marriage."

"And you mentioned that you keep wound dressing with you?"

"Yeah. I've had a lot of stalkers show up to the house, armed. So, we have to think that way."

And she's come under attack in other ways: You need only glance at the tabloids to see some very well-publicized feuds, and she often hits back at her haters through her music. For instance, in "You Need to Calm Down," she calls out anti-gay protesters and online trolls:

You are somebody that we don't know But you're comin' at my friends like a missile Why are you mad? When you could be GLAAD? Sunshine on the street at the parade But you would rather be in the dark ages …

Control your urges to scream about all the people you hate 'Cause shade never made anybody less gay – "You Need to Calm Down" by Taylor Swift and Joel Little

Smith asked, "I'm curious, because I feel like almost every album, you have a song where you address the haters, at least one song. Sometimes more than one song."

"I probably do have that habit. I imagine that I might have that habit, yeah."

"Why is that? Why sing to the haters?"

"Well, when they stop coming for me, I will stop singing to them," Swift replied. "You know, people go on and on about, like, you have to forgive and forget to move past something. No, you don't. You don't have to forgive and you don't have to forget to move on. You can move on without any of those things happening. You just become indifferent, and then you move on."

"Do you believe in forgiveness?"

"Yes, absolutely, like, for people that are important in your life who have added, you know, who have enriched your life and made it better, and also there has been some struggle and some bad stuff, too. But I think that, you know, if something's toxic and it's only ever really been that, what are you gonna do?"

"Just move on?"

"Just move on. It's fine."

Taylor Swift's music is always personal, sometimes intensely so. "There's one song on the album called 'Soon You'll Get Better' that it's, I can't even really hear. I can't even listen to it."

She won't talk specifically about her inspiration, but it comes at a time when her mother Andrea, who was battling cancer, suffered a relapse.

Swift said, "It's really interesting because I don't think I have written a song quite like that before. And it's just sort of, like, it's just a tough one."

"I can imagine. But I can also tell you, having listened to it, that it's universal."

"It's just not something that we deal with until we have to, until we see it, until we experience it, until someone close to us is going through something like that. And so, writing about it was really emotional. And I'm just gonna stop talking about it now."

She's more comfortable plunging into her work. On the Hollywood set, a large glass tank will become a symbolic fish bowl in the "Lover" music video.

Taylor Swift filming the fish bowl sequence from her music video "Lover."  CBS NEWS

"I very oftentimes remark that my life is like a fish bowl, and that, like, if I were to, like, fall in love, you know, somebody's choosing to be in that fish bowl with me. To jump into the fish bowl with me and live in that world just with me – it's not as depressing as it sounds, I promise! It's just symbolic!"

Talk about fish bowls: she's been dating British actor Joe Alwyn for three years. Seems he's up for a swim.

At the moment, Swift is, well, fully immersed in today. Beyond that, she says she doesn't know … and doesn't really want to.

Smith asked her, "Do you think about, you know, 'What am I gonna do in 20, 30 years?'"

"No, 'cause that puts me into what I call a panic spiral," Swift replied. "Like, I cannot do that. I've never been able to do that."

Why? "It just freaks me out. When I zoom out too far, I freak out. Do I know where I'm gonna be or even wanna be in 20 years? Absolutely not. Like, not taking a single day for granted."

"So, how far ahead do you look?"

"Six months. Just 'cause I have to plan shows and stuff. But I don't know what I'll do after this album. And I think that's great. I tell myself, like, it's actually really ungrateful to just assume that you have 20 years. Like, be stoked that you have today."

CBS News

[tswiftdaily]

Taylor Swift on "Lover" and haters

You might say Taylor Swift's happy place is at the piano in her Nashville home. "There have been so many songs that were written at this piano," she said.

"And it's often the middle of the night?" asked correspondent Tracy Smith.

"It's usually in the middle of the night," she replied. "Or if I'm trying to get to sleep and I can't and then I get an idea. And I'm, like, 'Well, I'm not tired anyway!' And then kind of wander over here."

It's kind of a rare sight, not just because "Sunday Morning" was there ("I haven't serenaded someone in a while, hope you know that!"), but because, for the moment, Taylor Swift was actually sitting still.

I promise that you'll never find another like Me-e-e, Ooh ooh ooh ooh I'm the only one of me Baby, that's the fun of me – "Me!" by Taylor Swift, Joel Little and Brendon Urie

And there never really has been another like Taylor Swift. After only 13 years in the business, she's become a musical force of nature, with an armload of #1 hits, more Grammy Awards than The Rolling Stones, and (according to Forbes) the distinction of being the highest-paid celebrity on the planet.

By any measure, she's an amazing young woman. But there were times, she says, that being young, and a woman, worked against her.

"You're always gonna have people going, 'Did she write all her own songs?'" she said. "Talking about your personal life, talking about your dating life.

"There's a different vocabulary for men and women in the music industry, right?"

"Gimme an example," asked correspondent Tracy Smith.

"Okay. A man does something, it's 'strategic'; a woman does the same thing, it's 'calculated.' A man is allowed to 'react'; a woman can only 'over-react.'"

And it seems her usual reaction is to get to work. Swift writes or co-writes all of her songs. And what's more, her music videos are all her vision, from the pastel wonderland in "Me!"…to the giant dollhouse in her latest video, "Lover."

That's also the title of her critically-acclaimed new studio album, her seventh. She wrote "Lover" on her piano at home, and polished it up in the studio. And once she recorded the music, Swift (accompanied by and her cats) went to Hollywood to make the music video, and she invited Smith along to watch.

There's a love story here, and like a lot of Swift's work, it's an echo of her real life.

Born in Reading, Pennsylvania, Swift discovered her love for music as a toddler. She set her sights on a career in country music, and eventually her parents and younger brother moved to Nashville to help her do it.

"My brother's a real bro for doing that," Swift said.

"Yeah, they all upended their lives," Smith said.

"For sure."

"It worked out well!"

"Yeah, I buy 'em lots of presents," she laughed.

The rest reads like a fantasy: Swift became a country music phenomenon, and, in the last few years, a pop icon. But the superstar is, by her own admission, as emotionally fragile as any other 20-something, "I'm still someone who is the first to apologize when I'm wrong," she said. "But I think I'm better at standing up for myself when I've been wronged. So, that's something that I think also comes with growing up."

Which brings us to Scooter Braun. Earlier this summer, Braun, a talent agent with whom Swift says she has a contentious relationship, acquired the rights to her previous recordings – her masters – when his company bought Scott Borchetta's Big Machine Label Group for a reported $300 million. Borchetta, who worked with Swift for years, says she and those close to her (including her dad, who was an investor), knew about the deal in advance, and that Swift had previously been offered the chance to buy her own masters.  

She remembers it differently, and told Smith she didn't see it coming: "I found out when it was online, like, when it hit the news."

"Nobody in your inner circle knew?" Smith asked.,

"Nobody knew."

"And you didn't smell it?"

"No. I knew he would sell my music; I knew he would do that. I couldn't believe who he sold it to, because we've had endless conversations about Scooter Braun. And he has 300 million reasons to conveniently forget those conversations."

With the sale of the masters to her first six albums, there has been speculation that Swift might re-record her back catalog, in order to control the recordings of her songs.

Smith asked, "Might you do that?"

"Oh, yeah," Swift replied.

"That's a plan?"

"Yeah, absolutely!"

Scooter Braun may not agree with her side of the story, but he did reach out to Swift in a tweet last week, calling her new album "brilliant."

It's clear that Swift wants to control her music:  When it's time to release one of her new songs, she does it personally, talking to her fans live on Instagram. This personal connection has earned her a loyal following. But her openness comes at price: She's followed just about everywhere she goes these days, by people who are crazy about her – or just plain crazy.

Smith asked, "Where is home for you now?"

"It's a very good question," she said. "I try not to ever really say where I am the most, because since all my addresses are on the internet, people tend to show up uninvited. Like, you know, dudes that think we have an imaginary marriage."

"And you mentioned that you keep wound dressing with you?"

"Yeah. I've had a lot of stalkers show up to the house, armed. So, we have to think that way."

And she's come under attack in other ways: You need only glance at the tabloids to see some very well-publicized feuds, and she often hits back at her haters through her music. For instance, in "You Need to Calm Down," she calls out anti-gay protesters and online trolls:

You are somebody that we don't know But you're comin' at my friends like a missile Why are you mad? When you could be GLAAD? Sunshine on the street at the parade But you would rather be in the dark ages …

Control your urges to scream about all the people you hate 'Cause shade never made anybody less gay – "You Need to Calm Down" by Taylor Swift and Joel Little

Smith asked, "I'm curious, because I feel like almost every album, you have a song where you address the haters, at least one song. Sometimes more than one song."

"I probably do have that habit. I imagine that I might have that habit, yeah."

"Why is that? Why sing to the haters?"

"Well, when they stop coming for me, I will stop singing to them," Swift replied. "You know, people go on and on about, like, you have to forgive and forget to move past something. No, you don't. You don't have to forgive and you don't have to forget to move on. You can move on without any of those things happening. You just become indifferent, and then you move on."

"Do you believe in forgiveness?"

"Yes, absolutely, like, for people that are important in your life who have added, you know, who have enriched your life and made it better, and also there has been some struggle and some bad stuff, too. But I think that, you know, if something's toxic and it's only ever really been that, what are you gonna do?"

"Just move on?"

"Just move on. It's fine."

Taylor Swift's music is always personal, sometimes intensely so. "There's one song on the album called 'Soon You'll Get Better' that it's, I can't even really hear. I can't even listen to it."

She won't talk specifically about her inspiration, but it comes at a time when her mother Andrea, who was battling cancer, suffered a relapse.

Swift said, "It's really interesting because I don't think I have written a song quite like that before. And it's just sort of, like, it's just a tough one."

"I can imagine. But I can also tell you, having listened to it, that it's universal."

"It's just not something that we deal with until we have to, until we see it, until we experience it, until someone close to us is going through something like that. And so, writing about it was really emotional. And I'm just gonna stop talking about it now."

She's more comfortable plunging into her work. On the Hollywood set, a large glass tank will become a symbolic fish bowl in the "Lover" music video.

"I very oftentimes remark that my life is like a fish bowl, and that, like, if I were to, like, fall in love, you know, somebody's choosing to be in that fish bowl with me. To jump into the fish bowl with me and live in that world just with me – it's not as depressing as it sounds, I promise! It's just symbolic!"

Talk about fish bowls: she's been dating British actor Joe Alwyn for three years. Seems he's up for a swim.

At the moment, Swift is, well, fully immersed in today. Beyond that, she says she doesn't know … and doesn't really want to.

Smith asked her, "Do you think about, you know, 'What am I gonna do in 20, 30 years?'"

"No, 'cause that puts me into what I call a panic spiral," Swift replied. "Like, I cannot do that. I've never been able to do that."

Why? "It just freaks me out. When I zoom out too far, I freak out. Do I know where I'm gonna be or even wanna be in 20 years? Absolutely not. Like, not taking a single day for granted."

"So, how far ahead do you look?"

"Six months. Just 'cause I have to plan shows and stuff. But I don't know what I'll do after this album. And I think that's great. I tell myself, like, it's actually really ungrateful to just assume that you have 20 years. Like, be stoked that you have today."

(x)