#Just For Now - Imogen Heap | Explore Tumblr Posts and Blogs

redeemingvillains · 2 months

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cold comfort - mattheo riddle

summary: mattheo has one rule: any girl can share his bed (and there's been plenty) but none can stay the night. when the unexpected happens, and you're begging to be the first, you find out why he had the rule in the first place.

word count: 4k

soundtrack: between the sheets - imogen heap

a/n: wait this is kind of a saga! it just kept flowing and flowing, but i'm obsessed with it! hope you enjoy!! ♡♡

When Matteo heard that a first year in Charms cast a spell that backfired so badly it rendered Hogwarts unable to regulate the temperature in the castle, he'd nearly spit out his firewhiskey. The mental image of Flitwick, McGonagall and all of his other professors frantically trying to fix it to no avail gave him sick pleasure as he thought about all the times they'd looked down on him because of his last name. Fuck 'em he thought. Serves them right.

He'd enjoyed his twisted happiness for several days until an unexpected early spring snowstorm rolled off the mountains, leaving the castle a veritable chamber of cold. For two days now it had nearly been cold enough for him to see the white puff of his breath inside. As others scrambled for a place in front of the fireplaces, his mood darkened, making him even more sullen than usual as talk of canceling classes and sending everyone home began to circulate; home wasn't really a place he was looking to go back to.

So now he was sat in the Great Hall in a large sweatshirt with his hood drawn up around his face, the standard dress code long since forgotten, one hand wound tightly around his second cup of black tea in an effort to warm himself while the other rubbed his tired face as he listened to the incessant chatter of his friends.

He was quietly zoned out until he caught a glimpse of you walking through the large entryway. Everyone in the castle looked in disarray: mismatched sweaters, hats and gloves in haphazard layers to stay warm, but not you, you looked like a perfect snowbunny. You were wearing tight black leggings, fur-lined boots, a thick sweater and a headband to keep your ears warm that complimented your hair. Anyone looking closely enough would see the imperceptible tug of his lips into what could almost be called a smile as you made your way to the Slytherin table and slid onto the bench next to him.

It wasn't lost on him that his best friend was beautiful. He was well and painfully aware of the fact and had been for as long as he'd known you. But, despite the thoughts that ran rampant through his mind at the sight of you, he was determined to keep you at an arm's length. Simply put, you were too good for him, too pure. You had a smile that radiated a warmth that he could feel even now, you were caring and compassionate, smart and sweet, quick with a hug and a kind word. You were everything that he wasn't. He told himself, constantly, on repeat, that it was better to have you in his life at all than to fuck it up trying for anything more.

He subtly traced your face through the corner of his eye: your long lashes, the curve of your smile, and your warm, rosy cheeks, and just like no one but you could see his smile, no one but him noticed the tiredness in your eyes. He nudged his shoulder into yours.

"Alright?" he mumbled.

You glanced up at him, his groggy morning voice and the way his curls stuck out from his hood making you feel like you'd swallowed a pixie. You felt yourself flush, your exhaustion wearing down the mask you normally kept up around him, determined to never let him know how you really felt.

"Just tired s'all" you smiled kindly, nudging him back, coaxing what could almost be another smile out of him as you met each other's eyes. "I can't sleep for shit. No matter what I do, I can't get warm, even under a pile of blankets, in my fuzziest pajamas and a jumper" you shivered.

"Skin to skin is really the only solution" Pansy chimed in with a smirk as she sank further into Draco's arms and you rolled your eyes at the two of them. She had snuck out of your room the last few nights, leaving you not only cold, but alone too.

"Couldn't agree more" Theo said, smirking, before lifting an eyebrow at you "ready, able and at your service, babe" he said, opening his arms to you as you swatted him away, laughing at his attempt to flirt with you. He smiled widely and laughed back before glancing over your shoulder at Matteo whose eyes were narrowed in his direction.

"What, mate, it's not like you're any help, what with your strict 'no sleepover policy'" Theo chirped at him, referring to the fact that regardless of how many girls came in and out of Mattheo's bed, (which was a sizable number) not one had ever stayed the night, always kicked out in the end, despite the fact that they hoped to be the one to break his streak.

You turned to see Mattheo shooting daggers at Theo.

"S'my bed" he muttered, "more than happy to have someone in it for awhile, but a lad's got to get his rest, yeah?" he laughed and the guys laughed back.

You faked a bitter smile, returning your attention to your breakfast in front of you. You weren't naive but that didn't mean you had to sit here and listen to this, you nibbled a piece of dry toast, the mental image of Mattheo with other girls making you nauseous.

Matteo's smile fell from his face as he watched your reaction, and wished for the thousandth time that he could tell you that he made that rule because of you. Because if he couldn't have you, then he wasn't going to waste time getting closer than necessary with anyone else. The nights he spent alone his bed his punishment for who he was, the fact that he'd never be good enough for you.

You stood abruptly and shot him a small smile as you moved to leave. He said your name quietly and reached for your hand, but you were gone before you realized it.

That night you crawled into cold sheets that felt almost damp with a chill. Despite the pile of blankets and your thick pajamas, you couldn't get warm or comfortable, tossing and turning as small shivers ran through your body and Pansy's words echoed in your head. You were desperate for warmth at this point, desperate for a good night's sleep, but there was only one bed you wanted to crawl into, and it was with the only person who refused to share it.

Surely he would break his rule for you, for his best friend? you thought; things were different between you two. But were you willing to try, to embarrass yourself if he said no? You rolled around for another hour before climbing out of bed.

Mattheo was in a fitful sleep, which was not unusual for him; his nights were frequented by nightmares, leaving him constantly groggy and grumpy, but when he heard your voice, he was sure he was dreaming, a good dream, a great dream at that.

"Mattheo" you were whispering.

He turned to see you standing at the other side of his bed and was incredibly confused, until you moved to get in... and then he panicked. He panicked because he had thoughtfully planned every way to avoid this exact situation from the moment he met you, knowing that at this proximity he wouldn't be able to control himself. And he was right. You were close, too close. He could smell your shampoo, like warm vanilla, and his hands moved on autopilot towards you, his fingers twitching to bring you closer to him before he stopped himself, inches short.

"Whatareyoudoing?!" he whisper-mumbled in frustration, the words coming out angrier than he'd intended at the range of emotions he was feeling.

You froze, your heart shattering. He was angry. He didn't want you here, he didn't want anyone here. He was going to kick you out and you'd be mortified, your friendship would never be the same, you'd taken things too far. You felt a scratch in your throat as tears threatened to spring forward.

Even in the thick darkness, Mattheo could see that he'd upset you, able to read your expressions better than his own. He could see the wobble of your bottom lip as your wide eyes looked at him and he hated himself and the situation all the more for it.

"Please Matty, m'just so cold, I can't sleep" you whispered, using the nickname that was strictly forbidden for anyone but you that made him melt.

He rubbed a hand over his face and sighed deeply, trying in his sleepy state to figure out a solution as he felt his strength waning; the figment of his every daydream was literally begging to be in his bed and he was certain he couldn't trust himself, certain that this only ended one way.

You took in his rigid form and his frustration and began to backpedal, moving to leave.

"M'sorry, it's okay, I'll go, maybe Theo—"

And you didn't even get a chance to finish your thought before you felt his large, warm hands wrap around your middle and tug you across the bed and into his chest, quickly but gently.

"C'mere" he mumbled as he settled you against him, chest to chest, your head tucked under his.

Your arms wound around him naturally, your legs intertwining, the two of you fitting together effortlessly, perfectly, like puzzle pieces. You let out a small giggle as you nuzzled into him, making yourself comfortable.

He could feel your warm breath as you let out a contented sigh, the innocent sound somehow sinful to his ears as he willed his mind to stop wandering in every direction it wanted to as he felt every dip and curve of your body against his own despite the layers of clothing between you. He kept his hands at your back, unmoving, for a moment unsure if he was even doing this right, unable to remember the last time he'd cuddled with anyone.

"Thank you" you whispered, your voice already sounding relaxed and sleepy to him as your fingers traced patterns on his back, a lavish feeling that released every ounce of tension he had been holding.

You could feel the steady rise and fall of his chest as his arms hugged you to him firmly and you felt a sensation like melted honey spreading through every inch of you, as he rubbed your back, warming you from your heart to the tips of your toes for the first time in days as you fell into a hazy sleep.

The first thought Mattheo had was that he felt heavy, his limbs felt weighted and his mind felt calm. Rested he realized after a moment. His brain was slowly turning back on, piecing together the dream he'd had, it was a dream, right? You, in his bed, in his arms, pressed against him, nuzzling into him, contented and happy. It felt so real, real enough that he could still smell you, the intoxicating scent of your shampoo, could still feel you in his arms, could still ghost his fingers down your back. You hummed in response and his eyes fluttered open only to realize it was definitely not a dream.

You were here, with him, in his bed, had been all night, your body still wound perfectly in his, neither of you having let go of one another or moved an inch; if anything, it was like you melded together even further. Fuck this is nice he thought as he looked down at you curled into his chest. This was everything, everything he'd hoped it would be. He wanted to stay like this for as long as physically possible, the looming fear of it having to come to an end already upon him.

Suddenly, a pillow came flying onto the bed, askewing the thick curtains that draped around his four-poster.

"Oi wake up, will you, Riddle? Shit, it's almost noon and we've got practice in an hour" came a shout as a cacophony of voices followed behind it into the room.

You stirred in Mattheo's arms just as a hand reached through his curtains to pull them aside.

"Oh. My. Fucking. Days" Blaise drawled, annunciating every word as the others gathered around him.

"I knew it, I fucking knew it"

"Let's gooooooo!!"

"Mattttyyyy!!!" each of them shouted as the jumped up and down in excitement at the sight of you in his bed.

"Fuck off" he said, grasping the pillow they'd thrown at him and hucking it back at them, causing them to disperse as they fell apart with laughter and more cheers.

He felt you shift next to him and looked back to see that you had pulled the covers over your head, just the tips of your fingers and the top of your head visible. He yanked his curtain closed before leaning back towards you and gently grasping the blanket near your hands to pull it back.

While not the wakeup you had hoped for nor expected, Mattheo pulling back the blankets with a soft sleep-ridden smile on his face and his rumpled curls to see you was a mental image that you were sure you would think about every day for the rest of your life. You were swimming in a sea of him, engulfed in his smell, like pine and amber, and you were delightfully warm; he was going to have to pry you out of here.

"Hi" he said quietly in his morning voice.

"Hi" you whispered back.

You looked perfect. He may have thought about waking up to you, with significantly less clothing on and significantly fewer onlookers, but he'd never considered how beautiful you would look, your eyes not all the way open yet, your hair spread like a blanket of its own and fuck if he didn't want to kiss you. His eyes drifted lazily to your lips and back again and he swore he saw a flash of something in your expression in response, curiosity, or perhaps confusion.

"I should—" he started, shaking his head clear.

"—Yeah, of course! Sorry, I didn't realize the time—"

"No problem, take your time—" he said as he rolled out of bed to more cheers and shouts as he shepherded his friends out the door to give you some privacy.

You pulled the sheets back over your heard, burying yourself further into his blankets, reveling in the warmth his body had left before squealing with excitement at the way your day had started.

You were afraid that things would be awkward, but surprisingly they weren't, you were in your easy, unbothered rhythm together. Besides the giggles and teasing from your friends, nothing had changed... including the temperature. As the day went on the warmth you had woken up in faded and you felt progressively more cold settling into your bones, already dreading the cold night ahead of you.

Spending the night with Mattheo was a nice reprieve, but not something you intended to make a habit of, certain you didn't want to live through more teasing nor get your hopes up trying to read into how intimate it had felt.

You were leaving dinner, arms wound around yourself at the chill in the air when you heard a voice calling for you. You turned to see Mattheo jogging after you.

"Hey!" he called.

"Hey" you smiled back, glancing up at him as he fell into step with you.

He smiled readily back at you; he'd seemed peppier today, letting the ceaseless taunting roll of his back with a shrug of his shoulders, the unwillingness to turn everything into an argument or fistfight very uncharacteristic of him.

"Yeah, so—" he started to say, as he looked around for a moment and carded his hand through his hair. He took in how cold you looked and all he could think was how badly he wanted to fix it. "—About last night or whatever...I know it's still fucking frigid, if you wanted to come by or sleep with, er, stay with — in my — yeah, you could do it again if you wanted?"

You couldn't hide the smile the spread widely across your face, nor the way your eyes sparkled mischievously as you stopped walking to face him.

"Mattheo Riddle, are you asking me to sleep with you?" you said flirtatiously, leaning towards him.

He stopped breathing. Your proximity and the words coming out of your mouth snatched every last breath and every last thought he'd had.

"Don't fuck around with me" he said through smirked lips, his voice low and measured, holding a hint of playfulness, but also a warning.

You laughed softly back but didn't back down.

"I'll see you tonight" you said as you continued your path back to the common room, leaving him gazing after you.

Your new outfit that night wasn't lost on him. You were wearing a form-fitting pair of soft pants and a matching top that hung slightly off your shoulder, revealing the lace of a bralette. You crawled into bed beside him, smiling contentedly and curling into his arms like you were married, like this was the most normal, easy, simple thing in the world, and yet it still took him a minute to really comprehend the situation, to relax.

He barely had a minute to catch his breath before Blaise shouted across the room, "Goodnight Theo!"

"Night, Blaise!" Theo shouted back.

"Night, Enz!" Blaise said again.

"G'night!" Enzo replied.

Mattheo rubbed a hand over his face at the antic.

"I swear they don't do this every—" he started.

"—Night, Draco!" Blaise shouted.

"And Pans!" Theo chimed in.

"Full fuckin' house in here" Enzo said.

"Goodnight!" she giggled back.

"Goodnight Mattheo..." Blaise said slowly, drawling out his name.

Mattheo didn't reply.

"GOODNIGHT YN" they each shouted.

You laughed, "Goodnight!" you said back and they cheered as Mattheo turned and buried his head into your shoulder in embarrassment, letting his body weight fall on you in exasperation.

You laughed at his reaction, instinctively bringing a hand to tangle in his curls and hold him to you before you could stop yourself. It was decidedly more intimate than anything that had happened between you before, but it had just felt right, something about pulling him into you, comforting him. You paused after a moment, catching yourself... running your hands through his hair should not make you feel this way; suddenly, you were very very warm.

As if he could sense your reaction, he lifted his head just slightly to meet your eyes, his face inches from yours.

He had to feel your heart hammering in your chest at this proximity, right? As he searched your face, it felt like a veil had come down between the two of you after a night spent together on top of years spent dancing around one another like you didn't know exactly what this could be. On cue, the room around you fell deeply silent as the others settled into sleep.

Your hand slowly dropped to trace his cheek.

"YN" he said in a low voice, cautious, guarded, his tone roughly translating to "Don't".

"What?" you whispered.

"I can't" he said.

"Can't what, Matty?"

The nickname made his heart beat double-time, an impossible feat based on the way it was already drumming loudly in his ears.

"You know what" he said sternly.

"Why?" you asked, innocently, the tips of your fingers moving to trace his jaw, nearing his lips before his hand grasped yours firmly, stopping you, making you jump slightly.

His body was rigid and taught, his expression was serious, maybe even threatening to anyone but you, but all you could see was the look in his eyes that were burning with something else, something much more passionate than anger.

His words were strained, like it was a physical effort to form them.

"I. Can't. Alright? Just let it go" he said as his eyes continued to beg otherwise.

Your next words were so soft, he almost didn't hear them, might have missed them if his entire being wasn't fine tuned to hear the exact phrase.

"Kiss me" you said, somewhere between a plea and a demand.

He caught your eye and his breath caught in his throat at the way you were looking at him: your eyes wide, soft and focused on him, your chest visibly rising and falling underneath him, your body pressing against him as you wiggled your hand out of his grasp to trace his cheek. Surely he couldn't have heard you right?

"I'm not—I can't— that's not a good idea. I can't just kiss you" he said, stumbling over his words uncharacteristically.

"Why?" you asked quietly, sadly.

"No—not—fuck—" he started and stopped, trying not to upset you again.

He paused, trying to collect himself.

"Why do you think no other girl has slept in this bed?" he said seriously.

You pulled your hand back at the mention of other girls at a moment like this, but he responded by reaching to cup your cheek, to force you to look at him.

You were shaking your head.

"Because if I couldn't have you, then I didn't want anyone else. You're fucking it for me, always have been, but girls like you don't end up with guys like me and it's best I don't waste your fucking time and ruin our friendship in the process, alright?" he said resolutely, with finality.

"Matty—" you started

"—Please stop calling me that, please" he said, slamming his eyes closed, "I'm trying to maintain a semblance of self control here."

"Stop holding back!" you whisper-yelled, which caught his attention, causing his eyes to flutter open. "That's what I'm trying to tell you. I want you. I've always wanted you, ask any of our thickheaded friends, they've all known for a long time."

He blinked slowly like each individual word had to register in his head. You could see him swallow, could see the sentence process in his brain as the pad of his thumb traced your cheek and you leaned into him, pressing further against him.

"Kiss me, Matty" you said.

And the last thread of his self control snapped. He leaned in, hovering close enough that you could feel the faintest touch of his lips as they ghosted against yours, teasing you.

"If I kiss you, that's it then, you're mine" he said, like it was a threat, an ultimatum, and not the best thing that's ever happened to you.

A smile spread across your lips and you nodded against his.

"All yours" you whispered back and he caught the last of your words with his mouth, his lips taking yours as both of his hands came to grasp your face firmly but gently, pulling you into him.

You could barely suppress the hum of pleasure that left you at the sensation, the relief of the feeling of his lips pillowed against yours, the tenderness and softness so opposite of everything that he was, the duality of it all had your body tingling. One of your hands grasped at his sweatshirt while the other wound around his neck, attempting to pull him impossibly closer to you as he moaned into your mouth. His tongue tangled with yours and you swore there wasn't anything in the world but this moment, this feeling with him as you tasted the lingering flavor of cigarettes and peppermint that you would come to associate with him.

It was all grabbing, desperate hands and crashed lips at first, trying in moments to catch up on years of wanting, until it was tantalizingly slow, languid, purely achingly perfect and intimate. You were certain you would kiss him like this every single day, given the chance.

It could have been minutes or hours that you were lost in each other before he pulled back, and the whine that left your lips at the loss of contact nearly had him throwing you over his shoulder and marching you to the first broom closet he could find.

"I've spent just about every day for the last 5 years thinking about this, and I cannot believe I'm about to fuckin' say this, but I'm not gonna rush it. At the very least, I'm not gonna hook up with you in a room full of people" he said, before tilting his head, "Well, at least not the first time... after that, no promises."

You laughed quietly and swatted at his shoulder.

"C'mere" he said, pulling you into him.

You curled into his arms, head nuzzling into his neck, your head resting on his chest as he held you tightly, brushing soft kisses to your temple as you fell asleep.

E P I L O G U E

You had been so caught up in the events of the evening, you hadn't really stopped to consider what happens next, namely, how would you tell your friends? Just make an announcement at breakfast? Put on enough PDA that they drew their own conclusion? Take off the scarf you were wearing that was covering the innumerable hickies on your neck? Your mind was in a heady fog about it all as the group of you wandered towards the Great Hall.

You were glued to Mattheo's side, but that wasn't really unusual; his fingers brushed against your own as he shot you a look out of the corner of his eye, a mischievous smile on his face.

"YN!" a voice shouted behind you.

You turned to see Cedric Diggory jogging towards you and you slowed your pace, as did everyone around you. Boys had to be either brave, stupid or naive to approach you when you were with your guy friends, and you weren't sure which category to put Cedric in as his eyes met their unwelcome stares but addressed you anyway.

"Sorry— yeah, I was just wondering if maybe you'd like to—" he started.

Oh no you thought.

"—Cedric, really, that's so kind—" you interrupted, trying to prevent a scene from breaking out as you felt Mattheo tense beside you.

"—You didn't even hear what I was going to say?" he said with a laugh, somewhere between offended, annoyed and amused.

"Well, think that makes the message pretty clear then, mate" Mattheo said, the anger palpable in his tone.

"Excuse me?" Cedric replied. "I was talking to—"

Oh no you thought again.

And you weren't quick enough to intervene before Mattheo had Cedric pinned against the stone wall of the hallway, his forearm at Cedric's chest, nearly lifting him off the ground as his feet dangled for purchase.

"I don't fucking care who you were talking to. From now on, you don't talk to her at all, alright?"

"What are you, her bodyguard?" Cedric sputtered as he gasped for breath.

"No" ... a pause... "I'm her boyfriend" Mattheo growled.

You tried and failed to hide the huge smile on your face behind your manicured fingers as your friends shouted behind you.

Well, that's one way to do it you thought. ♡

#mattheo riddle #mattheo riddle x you #mattheo x you #slytherin boys #slytherin boys x reader #mattheo riddle fluff

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laikascomet · 4 months

Note

what are some songs do you feel represent the characters the most?

yippeeee i love music question

laika - cloudbusting (kate bush)

mars - just for now (imogen heap)

yue - a beginner's guide to destroying the moon (foster the people)

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likeadevils · 1 year

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1989 Timeline

This is a very long post that puts all the songs on 1989 in order of Taylor creating them. I’ve also included a few other songs she worked on while writing 1989 and quotes from Taylor and her collaborators talking about her process

Of all the albums in Taylor's discography, I think this is the one that improves the most when you listen to it in order. All of those things Taylor was talking about in the promo for this album-- how this is an album of her coming into her own, figuring out her values, learning to stand on her own two feet-- it all clicks into place. Listening to it in order has made me cry on more than one occasion, and it's also the thing that made me start this whole crazy process of figuring out the dates she wrote each song.

If you don't want to read the whole post, check out this playlist of the album in order or this playlist of her entire discography.

I’ve also added this color coded scale of how sure I am of the date:

Confirmed: There is some type of official source for the date

Inferring: Nobody has officially said “This is when we wrote it,” but all available evidence points to that date

Speculation: This date is based on guesswork and is highly likely to change, or, all that is known is the general season.

Unknown: All that is known is the year (from the US Copyright Offices)

Without further ado...

Oct 6, 2012: Taylor seems to have been in a studio in London (Note: I have no idea where this photo comes from and I can not find a place that specifies if this is a music studio or radio interview.)

This Love: Oct 17, 2012 (Confirmed)

October 19, 2012: Taylor mentions wanting to work with Imogen Heap, prompting Imogen to get in touch with Taylor

Time Interview: Who’d be your dream collaboration, especially now that you’re taking more musical risks? Let me think. Imogen Heap! She’s amazing. Taylor: Someone asked me in an interview "Who would you like to work with?" and I said Imogen Heap. I get an email to my management, sent like "Imogen just saw that Taylor just said an interview that she would like to work together" She said "Why don't you come out to my studio." Imogen: I got a phone call [in 2014] saying Taylor Swift was in London, she'd love to work with me and the only date she could do (between 4 sold out 02 arenas!) was the day after we got back, Sunday. It was both unexpected and not at the same time as I'd heard Taylor was a fan a while back via this Time magazine piece but somehow didn't think it would actually happen.

Fall 2012: Taylor possibly writes a song with Harry Styles and Jacknife Lee (her producer for The Last Time).

Jacknife Lee: “It was out of my field of expertise and interest, but I was intrigued and my girls were thrilled. Taylor was nice and very professional. She knew what she wanted and there was no fucking about. She was seeing Harry Styles at the time, so he came to Topanga on her recommendation. She wrote a few songs with him, and it was the same thing – quick. But this time it was more directed by the management and label. They were after something specific. I wanted more acoustic and gentle, almost Americana, and they wanted bombast. They got what they wanted, and that was the extent of my foray into teen-pop territory. It was fun.”

All You Had to Do Was Stay: Jan 10, 2013 (Confirmed)

Taylor is photographed outside Conway, and then tweets "Back in the studio. Uh oh..." Later, Taylor confirmed that she was recording All You Had To Do Was Stay. Taylor: I had a dream that my ex showed up at my door, knocked at my door, and I opened it up, and I was about ready to launch into the perfect thing to say [...], Instead, all that would come out of my mouth was that high-pitched chorus of people singing, 'Stay!'...and then you go to say something else, and it's just like 'Stay! Stay! Stay!' And I woke up, I was like 'Oh, that was mortifying. But that's kind of a cool vocal part.'

January 11, 2013: Taylor is photographed outside Conway again

How You Get The Girl: Jan 15, 2013 (Confirmed)

Taylor posts a picture of her playing a guitar in the studio, captioned "Somewhere in LA..". Later, Taylor confirmed that she was recording How You Get The Girl. Given what was going on in her personal life, she likely wrote this sometime in the fall/winter of 2012, but all we know for sure is the date she recorded it.

February 9, 2013: Tweets "Grammy rehearsals last night, studio today, who knows what tonight holds! (I do. Laying around watching TV and eating candy.)"

March 6, 2013: Taylor is photographed outside a studio in LA

March 23, 2013: Posts a picture of her playing guitar captioned "Pre show. Columbia, South Carolina"

I Wish You Would: May 28, 2013 (Inferring)

Taylor is photographed out for lunch in Rhode Island with Lena Dunham and Jack Antonoff on May 27, before leaving for her show in Phoenix, Arizona the next day Taylor: "Max Martin and [Karl Johan] Shellback [Schuster] were the last people I collaborated with on [2012 album] Red, and I wished we could have done more and explored more. So going into this album, I knew that I wanted to start with them again. Then I thought, “Wouldn’t it be amazing to work with Ryan Tedder?” And then I was with Jack Antonoff and Lena Dunham at the beach, and we started talking about our favorite ’80s music. All of this started happening organically, and I found myself gravitating toward pop sensibilities, pop hooks, pop production styles." Jack: "We were hanging out at her house in Rhode Island and we were talking about John Hughes movies, and a lot of the music that inspired [them], and just this general culture of sound in that time period that was really larger-than-life in an anthemic, positive way. These songs could be at the end of films that were really, really beautiful and said a lot. That actually ended up being a song called 'I Wish You Would' which is going to be on her album. We first worked on that song together and realized we kind of have a good thing. Taylor: “This is a song I did with Jack Antonoff, and Jack is one of my friends and so we were hanging out and he pulled out his phone and goes "I made this amazing track the other day. It's so cool, I love these guitar sounds." And he played it for me and immediately I could hear this finished song in my head, and I just said "Please, please let me have that. Let me play with it, like send it to me" And so he sent it to me and I was on tour and this was me playing the track on my laptop recording me singing the vocal into my phone and it ended up being a song called "I Wish You Would", because Jack wrote back and said "I love that".”

June 7, 2013: At the CMA fest, Taylor is asked if she's started writing for her next album yet

“It's starting, all the anxiety is starting and when the anxiety starts, then the writing happens right afterward, usually. Um, so, yeah, I basically... I like to, I like to write for about two years before I'm finished with an album because I... at this point I kind of know that whenever I write in the first year is going to get thrown away, because, I'm going to like it, but it's going to sound a little bit like the last project I had, and the second year usually ends up sounding like the next project. So I think at this point, at this point I feel like staying the same is the easy way to go but it's not the way that I want to go, creatively. I think you need to challenge yourself, I think you need to change up your influences, I think you need to be inspired by different things that you've been inspired by before, and, uh, y'know, It's harder to call people you don't know, and it's harder to think of topics you haven't covered and think of new ways to say old emotions that everyone feels, but, that's the goal at this point."

June 20-21, 2013: Taylor and Selena Gomez hang out, and Taylor potentially writes Wildest Dreams.

July 15, 2013: Taylor gives a brief interview to Rolling Stone

“The floodgates just opened the last couple weeks,” she says of the songwriting process. “I’m getting to that point where I’m irritating to be around because I’ll be with you for half the conversation and then the second half of the conversation I’m clearly editing the second verse of whatever I’m writing in my head.” “I really loved collaborating [on Red],” she says. “You work with a lot of different people and you find the people you have this dream connection with in the studio. I know those people and I know the ones I want to go back to. But I also have a really long list of the people I admire and I would really love to go and contact. So that’s kind of where that is.” “I think that the idea of having a different approach to every single one of my albums is so exciting to me. I never want to make the same record twice. Why do it? What’s the point? It’s so overwhelming that when you’re starting a project there are such endless possibilities if you’re willing to evolve and experiment. If you’re willing to become a different version of yourself, you can really go anywhere with it. And that’s kind of where I am. The kind of the laboratory experimental stage of really catching onto a new thing that I’m liking.”

July 18, 2013: Taylor unfollows the three backup dancers that left her tour for Katy's, meaning Bad Blood was likely written sometime between July and November 2013.

Sweeter Than Fiction: Summer 2013 (Speculation)

Taylor wrote this one over email, and then it was recorded in New York (partially in Jack's living room, partially in an actual studio)

August 25, 2013: Taylor and Selena Gomez hang out at the VMAs, and Taylor potentially writes Wildest Dreams.

August 25, 2013: Taylor gives a brief interview on the VMAs red carpet

"But I think [songwriting is] about to start to kick into full gear. I'm about to go into the studio. It's about to get really intense."

Out Of The Woods: September 14 2013 (Inferring)

On September 14, Fun cancelled their show. Taylor was likely either flying to or from Charlottesville, where she had a show for the Red Tour. Jack: "When I did the track for Out of the Woods, which is a Taylor song that I'm really proud of, there was some issue at a venue and our show was canceled that night and I didn't have my stuff, I had left it on the bus, so I only had these old samples on what was on my laptop, and caught up that 'oh oh'' thing, and I only had one drum kit on there, and these dumb little things [sometimes turn into a great song]" Jack: "So 'Out Of The Woods' was the third thing we worked on together, and probably the easiest. I sent her the track for it, and she sent back a voice note with the verse and chorus in what felt like five seconds. And it was just perfect. It's eerie how similar it is to what the final product is." Taylor: "This is a track that Jack Antonoff sent me, and I was actually on a plane, I got it and I got on a plane and I'm listening to it, and I'm just like listening to it and mumbling melodies cause the song came to me immediately like, in full [...] I think what I should start by playing you, is when I got the track, what I sent him like an hour later, and it is, me.. um, me singing what came to me, which ended up being the finished version of the song, or at least really close to it."

September 20, 2013: In a brief interview with USA Today, Taylor says she plans to work on her next album between the next few legs of the Red Tour

"I’ll be in the studio, figuring out what comes next. I really like to take two years to make a record, and I’ve been writing and doing stuff for the last year. This is kind of the year that it goes into overdrive, and it’s all I think about and I become obsessive over it and I’m hard to talk to"

September 22, 2013: Taylor gives an interview to New York Magazine where she talks about her plans for TS5

These days, Swift is thinking a lot about her next record. While on the Red tour, she’d been writing songs and stockpiling ideas: reams of lyrics, thousands of voice memos in her iPhone [...] she plans to spend much of 2014 writing and recording the new album, a prospect she finds exhilarating and terrifying. “I worry about everything. Some days I wake up in a mind-set of, like, ‘Okay, it’s been a good run.’ By afternoon, I could have a change of mood and feel like anything is possible and I can’t wait to make this kind of music I’ve never made before. And then by evening, I could be terrified of the whole thing again. And then at night, I’ll write a song before bed.” Swift hopes to collaborate with new songwriters and producers. But she planned to begin, she said, by heading back into the studio with Max Martin and Shellback. “I want to go in with Max and Johan first, just to figure out what the bone structure of this record is going to be. “I have a lot of things to draw from emotionally at the moment. But I have to draw from them with a different perspective than on Red. I can’t say the same things over and over, you know? I mean, I think it’s just all the more important that I don’t ever allow myself to coast. At the same time, there’s a mistake that I see artists make when they’re on their fourth or fifth record, and they think innovation is more important than solid songwriting. The most terrible letdown as a listener for me is when I’m listening to a song and I see what they were trying to do. Like, where there’s a dance break that doesn’t make any sense, there’s a rap that shouldn’t be there, there’s like a beat change that’s, like, the coolest, hippest thing this six months—but it has nothing to do with the feeling, it has nothing to do with the emotion, it has nothing to do with the lyric. I never want to put things in songs just because that might make them popular, like, on the more rhythmic stations or in dance clubs. I really don’t want a compilation of sounds. I just need them to be songs.”

September 28-October 5, 2013: Taylor and Selena Gomez are in the same city, and Taylor potentially writes Wildest Dreams.

October 12, 2013: Taylor gives an interview to the Associated Press

Swift: I think the goal for the next album is to continue to change, and never change in the same way twice [...] How do I write these figurative diary entries in ways that I’ve never written them before and to a sonic backdrop that I’ve never explored before? It’s my fifth album, which is crazy to think about, but I think what I’m noticing about it so far is it’s definitely taking a different turn than anything I’ve done before. AP: You said recently you’ve been working on songs for the new album for about six months. What can you tell us about what you have planned? Swift: It’s too early to tell who are going to be my predominant collaborators, but I do know that my absolute dream collaborators were Shellback and Max Martin on the last project. I’ve never been so challenged as a songwriter. I’ve never learned so much. I’ve never just been so excited to show up to the studio every day, just because you never know what we’re going to put together. I’ll bring in ideas and they’ll take such a different turn than where I thought they were going to go, and that level of unexpected spontaneity is something that really thrills me in the process of making music. ... What if we did this? What if we made it weirder? What if we took it darker? I love people who have endless strange and exciting ideas about where music can go."

October 14, 2013: At the NSAI, Taylor talks about reinventing herself for different albums

"I’m making my 5th record now, so I think you have to change things up, you have to explore different corners of music as much as you can. Cause I really, it’s been a big goal of mine to never make two albums that sounded the same. I really want my fans to be able to be like "Oh that song? Clearly that's from the Fearless album", "No that one, that one was from Red" and so I’m in the process of doing that thing all over again for my 5th album and it’s amazing to be in the studio and to be songwriting again, and be honored for songwriting tonight"

Blank Space: October 26, 2013 (Inferring)

It looks like she’s wearing the same outfit in this behind the scenes footage and these candids Taylor: "I was going into write with Max Martin and Shellback, who are two of the primary collaborators on 1989, and I... was preparing all these things, and I, I think Blank Space was like the third thing I played them, and they just stopped and they were like "NO, this is the first thing we're working on today." [...] I had the idea for the chorus and I had the hook, but a lot of the verse was gibberish." Taylor (On what song took her the least amount of time to write): "Blank space, cause I'd written a lot of the lines down already in the year preceding the session"

October 29, 2013: Tweets "Sitting in the studio writing the next album (!!!!) and wanted to thank you for the American Music Award nominations!"

November 1 : While promoting Keds, Taylor is asked about her next album

"What I go through is going to be the story that I tell. I think lyrically, I always try to tell my fans exactly what’s happened to me in the last two years, and that’s the thing they can expect. Everything else, they won’t be able to expect. Having been in the studio with this one, I’m just like… oh, this is going to be fun"

Bad Blood: Fall 2013 (Speculation)

The backup dancer drama seems to have kicked off in mid-July. Given that it's produced by Max Martin and Shellback, and Taylor was in the studio with them pretty much non-stop from October-November, we can assume that it was recorded sometime in the Fall of 2013

New Romantics: Fall 2013 (Speculation)

Unfortunately, Taylor doesn't really talk about this song. Given that it's produced by Max Martin and Shellback, and Taylor was in the studio with them pretty much non-stop from October-November, we can assume that it was recorded sometime in the Fall of 2013

Wildest Dreams: Fall 2013 (Speculation)

Selena reportedly told a fan she was there when Taylor wrote this, and I've noted above all the times Selena could have been with Taylor in 2013 (Here's my personal ranking of how likely each date is). Given that it's produced by Max Martin and Shellback, and Taylor was in the studio with them pretty much non-stop from October-November, we can assume that it was recorded sometime in the Fall of 2013.

Wonderland: Fall 2013 (Speculation)

Another one Taylor just doesn't talk about all that often. Given that it's produced by Max Martin and Shellback, and Taylor was in the studio with them pretty much non-stop from October-November, we can assume that it was recorded sometime in the Fall of 2013

Nov 20, 2013: Taylor posted "While in the studio, I came to the realization that my bangs are long enough to use as a sleep mask on long flights. Then I remembered I don't ever use sleep masks on flights. So really, I just need a haircut"

November 25, 2013: Taylor and Scott Borchetta have a meeting to talk about her plans for TS5 and are both asked about the next album at the AMAs

Taylor: “We got a lot already. There are probably seven or eight [songs] that I know I want on the record. It’s really ahead of schedule for me. I’m just stoked because it’s already evolved into a new sound, and that’s all I wanted. And I would have taken two years to make that happen, but it just kind of happened naturally, so that’s all I could really ask for.” Scott Borchetta: "Well earlier today we got together and she played me seven new songs, and she’s just on fire. The level of desire and passion that she has just to keep getting better, she’s an artist that just really never wants to just say ‘Well okay this is good enough’. It’s always gotta be better. She’s in amazing creative place right now." By the end of November, Taylor had likely recorded This Love, All You Had To Do Was Stay, How You Get The Girl, I Wish You Would, Out Of The Woods, Blank Space, Bad Blood, New Romantics, Wildest Dreams, and Wonderland. That’s 10 songs total, 5 of which were likely recorded in the past two months, and 7 that had been made since Taylor and Jack had their conversation about 80s music in May.

Dec 21, 2013: Taylor briefly talks to Billboard about TS5

"I’m really loving collaboration right now [...] I see it as a bit of an apprenticeship. I want to be around people who love writing songs and have done it for years. Every time I’m in a studio I’m learning, like how to build a drum track, and getting a new perspective on things. It’s so thrilling to keep learning on your fifth album. As soon as [an album] comes out I’m figuring out what the next one will be. It’s gotten to the point where each one is a reinvention, which is what I like best. I like it when it sounds new and people don’t know where you’re going to go next."

Say Don't Go: Jan 1, 2014 (Confirmed)

Diane Warren: Warren, who typically writes on her own, says the two of them “sat down and wrote the song […] from scratch” during the last few days of 2013. She remembers being impressed with how specific Swift was with her lyricism and how considerate she was about how her fans might receive it. “She was very particular about how she said certain things. It was a really interesting experience. She gets her audience [...] She’s deeply aware of how her fans want to hear something. I can’t explain it, but that’s probably why she’s the biggest fucking star in the world.” Several days after writing the song together, they got into Warren’s office to record a demo, where Swift played it on her acoustic guitar. “We demoed it on New Year’s Day. And I’m a workaholic, and that’s fine for me,” she says. “But I remember being impressed that she did, too. Everybody’s on vacation, but she showed up.”

You Are In Love: Jan 2014 (Inferring)

This song is copyrighted for 2014. Taylor has said a few times that Clean, Shake It Off, and Style were the last songs written for the album, meaning You Are In Love was likely completed in January or early February. Given Taylor's busy schedule in late January and early February, I'd guess this was written at some point in early January. Furthermore, I'd guess it was sometime after the 9th, when she returned from looking at house in New York.

I Know Places: Jan 22, 2014 (Confirmed)

Taylor: "I sent this voice memo to Ryan Tedder because I'd always wanted to work with him, and finally we scheduled some studio time. So I always wanna be prepared, I wanted to send him the idea that I was working on before we went into the studio just in case he wrote back and said "I can't stand that, I wanna work on something else, think of something else" So I just sat down with the piano, put my phone on top of the piano and just kind of explained to him where I wanted to go with the song, how I saw the melody sitting in and we ended up recording the song the next day and it ended up being on the record called "I Know Places" So this was the voice memo that I sent to him the night before we ended up finishing the song"

Welcome To New York: Jan 23, 2014 (Confirmed)

Ryan Tedder: "I thought we were going to walk in and start something from scratch because that's what I was used to. Then she calls me and says, 'Is it cool if I already have an idea?' I said, 'Sure.' She said, 'I have this song, I'm obsessed with New York and I just moved there, I want to write an ode to New York because no one's done it in a long time.' And then she sent me a voice memo. She's like, 'I want it to sound like 1980s.' So the next day I brought in a Juno-106, which is a very 1980s keyboard and I literally programmed that entire song right in front of her. It was very much on the fly, and that song was done in about three hours. And I did the rest of the production I think later that week. I was in Switzerland on a tour bus, and I did four versions of 'Welcome to New York,' one of which I liked personally more, but the thing about artists is they become very obsessed with the demo. She was in love with the demo so no matter how hard I fought, she brought it back to the demo, so really what you hear is what I did on the first day."

January 26 2014: Dianne Warren says that she recently wrote a song with Taylor

"I worked with Taylor Swift on a great song [...] I'm excited about the [song] that we did, it's pretty cool Dianne in 2016: “I know [Swift] likes it, so hopefully it will see the light of day. I know she really likes the song. She didn’t want me to give it away, so hopefully that means she wants it.”

January 26 2014: Taylor loses Album of the Year at the Grammy's to Daft Punk. She tells a few different stories about what the rest of the night looked like for her-- in some she goes home alone, in some she has some friends over-- but in all of them, this is the night where she decides that she's gonna name the album 1989, and she's not going to let her label tell her to put any country songs on it.

Clean: Feb 9, 2014 (Confirmed)

According to Imogen Heap's blog post, Taylor had the first verse and chorus by the time they got into the studio, and then wrote the second verse and bridge during the session. Taylor's part was wrapped up in 9 hours, ending at 8pm, while Imogen stayed up until 4am because she didn't want to stop working on it. Taylor: ""Shake It Off" and "Clean" were the last two things we wrote for the record, so it shows you where I ended up mentally. “Clean” I wrote as I was walking out of Liberty in London. Someone I used to date— it hit me that I’d been in the same city as him for two weeks and I hadn’t thought about it. When it did hit me, it was like, ‘Oh, I hope he’s doing well’. And nothing else. [...] The first thought that came to my mind was – I’m finally clean." Imogen Heap: I was really writing the tiniest amount just to help her do what she does. I put some noises to [“Clean”], played various instruments on it, including drums, and anytime she expressed she liked something I was doing, I did it more. It was a really fun day. She recorded all her vocals [for “Clean”] during that one session. She did two takes, and the second take was it. We always thought she would probably re-record it, because we thought it can’t possibly be that easy. But after we lived with it for a few months, we felt it was great.

February 15, 2014: Taylor posts "It was a studio Valentines Day with Max and Johan!"

Shake It Off: Feb 15, 2014 (Confirmed)

Lover Diaries (From Feb 22): "This week I’ve been in the studio with Max and Johan every day and it has been the most creatively successful and fulfilling time. The first day, Johan just made a really up tempo drum beat because we decided we needed something UP and light. We worked at it for a few hours before I just started singing “shake it off, shake it off.” And then the best way I know how to describe it is that the chorus just fell out of the sky. It ended up being this song about doing your own thing even though haters are gonna hate, and you just have to dance to your own beat. We all went home and I wrote the first and second verses and brought them in the next day. We wrote this chanty cheer leader bridge that I absolutely LOVE. We spent all day doing vocals and the next day recording background vocals. I think it’ll end up being the first single and Max said it’s his favorite song he’s ever been a part of." Taylor: "The problem was, I had all these lyrics, and I didnt have, like... writing session was coming up and I'm just like "I'm not getting a melody, I'm dead, I don't know what I'm gonna do." The thought terrified me, so I just sorta sulked into the studio and I was like "Guys, I have like an idea but its like, lyric, but I... and I know the vibe I want-- I want it to start off and the second the song starts, I want it to be the song where like, if it's played at a wedding, and there's this one girl who hasn't danced all night at the reception, all her friends come over to her and there like "You have to dance, come on, you have to dance on this one!". That's what I wanted. So I was like "Shellback, can you just go to the drum kit and try to play that?" Taylor: "There's one thing that I've always said to Max, is like "I don't like horns" I just always had a thing about it, I was always like weirdly scared of it, or intimidated by horns, I don't know what it was? It's a weird, like, nerdy studio fear of mine. I was like "No, no horns!" and I don't.. I don't even know, I don't have a reason for it, I love songs that have horns on them, I was just like "I don't think I can pull off horns." Strange. But, he goes over to the mellotron and he starts playing this horn sound. I'm like "What are you doing. Don't do that." and he's like, "No, I think this is cool" and I'm like "No it's not cool, and where are your chorus chords, because, that, you're just playing three chords over and over again and I can't make a chorus out of them, why don't you go to like a chorus chord that starts off the chorus, where is the one, like why don't you go--" and then there was this moment, where I thought of the whole chorus, and it's over the chords that I had just told him are not "chorus chords", which is a ridiculous thing to say."

February 18, 2014: Taylor is photographed entering Conway Studios

Style: Feb 19, 2014 (Confirmed)

Niklas Ljungfelt (guitarist): I played on “Style,” a song I started with Ali Payami for ourselves. He was playing it for Max Martin at his studio; Taylor overheard it and loved it. She and Max wrote new lyrics. But I recorded the guitar on it before it was a Taylor song. It was an instrumental. I didn’t have a clue that Taylor would sing on it. The inspiration came from Daft Punk and funky electronic music. Taylor: I'm pretty sure after we finished this one I knew the record was done. Shake It Off and Style were the last two songs to be written for 1989.

March 2014: Taylor's interview with Glamour is published (likely conducted two months beforehand)

TS: Working on this album has been unbelievable [...] I'm already in love with it. It's so different. CL: What's the new sound? TS: On Red I did three songs with Max Martin Shellback [...] I think we'll be doing a lot more than three songs together on the next album [Laughs].

March 26, 2014: Taylor is photographed entering a music studio in New York

May 30, 2014: Taylor writes in her diary:

So a crazy story unfolded in the last 24 hours. Last night, I had this vivid dream where the photo I’d chosen for the album cover wasn’t good enough, intriguing enough, artful enough. It woke me up. I couldn’t shake it and it stayed with me all day. Because that nagging feeling I’d been pushing back for weeks was now confirmed in my gut … It wasn’t good enough. I went to the venue, mind racing, wondering if I’d have to do an entirely new photo shoot … I got to my dressing room with newer versions of the “cover.” I looked at it and felt nothing. The team pulled up this new scanned file of the Polaroids we had taken during the shoot. I saw within 10 seconds. The shot. The cover. It’s a Polaroid of me sitting against a beige wall with a blue seagull swear shirt on. You can see my red lips, but the photo cuts off my eyes. From some reason unknown to me, it’s the most intriguing photo I’ve seen. I think it’s the mystery of not seeing my eyes. Maybe it just looks effortlessly cool. The craziest moment came when something caught my eye. The cover photo is photo 13. I kid you not.

August 23, 2014: Taylor is photographed walking out of a studio in LA (Note: I can not find a place that specifies if this is a recording studio, dance, photography, radio, or television studio.)

Now That We Don't Talk: Summer 2014 (Speculation)

Seeing as Taylor said she didn't have time to figure out the production, I imagine this came fairly late in the process. Taylor has a habit of adding songs right up to the deadline-- with Folklore and Evermore, she added multiple songs a week before the album came out. The latest she added songs to albums while signed to Big Machine was September, though (both Forever & Always and So It Goes...), so I assume that's the absolute latest she could've added a song to 1989. Taylor: "Now That We Don’t Talk” is one of my favorite songs that was left behind, it was so hard to leave it behind, but I think we wrote it a little bit towards the end of the process and we couldn’t get the production right at the time. But we had tons of time to perfect the production this time and figure out what we wanted this song to sound like. I think it’s the shortest song I’ve ever had, but I think it packs a punch, I think it really goes in. For the short amount of time we have, I think it makes its point.

And that's all for this timeline! Check out my others:

TIMELINES: debut • fearless • speak now • red • 1989 • rep • lover • folklore • evermore • midnights PLAYLISTS: debut • fearless • speak now • red • 1989 • rep • lover • folklore • evermore • midnights • entire discography GENERAL: tag

#txt*#timeline*#taylor swift #OH MY GOD ITS OUT ITS OUT ITS OUT I'VE BEEN RESEARCHING THIS FOR THREE YEARS AND IT'S DONE #!!!!!#as always let me know if you want further sourcing on anything/if you spot a typo or something

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#girlblogging #tumblr girls #girlblogger #2014 tumblr #gaslight gatekeep girlboss #girl interrupted #2014 aesthetic #2000s #coquette #2014 revival #autumn #femme fatale #aria montgomery #girlhood #Spotify #2000s aesthetic #2000s nostalgia

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bonesbonesbones69 · 14 days

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A GTN Fanmix

It's done!!! I can't believe it. I spent so much time on this, I had so much fun. I'm still doing final touches on the HTN playlist but it will also be done so soon. For now: Gideon.

Track list:

The Legend of Chavo Guerrero (The Mountain Goats)

Bitter Rivals (Sleigh Bells)

Hast Though Considered the Tetrapod (The Mountain Goats)

Mark on You (The Mountain Goats)

End Love (Ok Go)

Clear the Area (Imogen Heap)

Ask (The Smiths)

Anything For You (Ludo)

Everything I Am is Yours (Villagers)

Matilda (Alt-J)

Bleed Out (The Mountain Goats)

I know that's a lot of mountain goats. But this is my playground and I'm doing whatever I want, and you can't stop me.

Song breakdown under the cut! I get wordy, i've put a lot of thought into this playlist. Like a really embarrassing amount of thought. It's long. but also truly optional, this playlist can be enjoyed without my deep dive!! Enjoy!!

Yesssss you looked under the cut! Welcome to every thought i've ever had.

THE LEGEND OF CHAVO GUERRERO - THE MOUNTAIN GOATS

One thing I love about GTN is Gideon vs. her comic hero fantasies. It's heavily themed throughout this playlist, so we're starting with the concept.

I lose my mind thinking about Gideon spending her whole life dreaming about BEING someone and MAKING SOMETHING of herself through living out the action hero stories in her comics. That's what it means to be important and wanted, to fight and win and be covered in babes. Like they do in the comics.

Lyrics:

Before a black and white TV in the middle of the night I'm lying on the floor. I'm bathed in the light The telecast's in Spanish. I can understand some And I need justice in my life; here it comes

And then of course in the months between when she leaves the ninth and when dies, she lives the action comic hero scene by devoting herself dramatically to her necromancer and dying in battle for her - a short and tragic twist on the glorious victory found in comics, but also exactly what Gideon wanted from the comics: meaning to her actions. Being someone and making something of herself.

That shit makes me emotional so we're starting here, with the legend of chavo guerrero, and Gideon's childhood hero dreams.

BITTER RIVALS - SLEIGH BELLS

Ok the playlist is about "Gideon as the Action Hero" but its ALSO OF COURSE about Gideon + Harrow's relationship because I have the same disease about it that you all do. If you clicked down to read this stupid fanmix deep dive I can guarantee you also have this disease. the disease where we love Gideon + Harrow's relationship.

So here's a song about it :)

You are my bitter rival But I need you for survival

What else can I say??

This playlist is more or less chronologically aligned to GTN itself, which is something I love doing with playlists. Accordingly, this ones about them hating each other (yet... homoerotically?) and being inextricably tangled in each other at the same time. but don't worry, I have some gooier songs later.

HAST THOU CONSIDERED THE TETRAPOD - THE MOUNTAIN GOATS (AGAIN)

But not yet! Before we get to gooey love songs we have to listen to more child abuse songs.

Held under these smothering waves By your strong and thick-veined hands But one of these days I'm going to wriggle up on dry land

And it's also about maladaptive daydreaming and the persistent belief that there is a better future for you out there!!!

Playlist title is taken from this song - "I am young and I am good" as a self-identifier in the context of escaping and growing beyond an abusive household feel so right for Gideon, who is hungry for glory, but even more hungry to just be useful and acknowledged. To show that she is good and be validated as good. She hasn't had much opportunity in her life so far, which is SO unfair, because she is young and she is good!

MARK ON YOU - THE MOUNTAIN GOATS (GET USED TO IT)

When this is over, when we leave this all behind us Deep in the moonless night, when the rescue team finds us It's gonna get so dark for you I'm gonna leave a mark on you

What's perfect about this song is how threatening it is, and the implied violence... but also how in the same breath it implies an emotional footprint and no violence is ever confirmed. Do I even have to say that it's on here as a one-two punch referencing both harrow + Gideon's fighting and ALSO Gideon's sacrifice?? Of course that's why it's on here!!

It also gets bonus points for being off of the mountain goat's album 'bleed out', which was inspired by classic action movies. The action movie vibe comes through in the song, and therefore is a beautiful head-nod to Gideon the Action Hero at the same time as its a tragic foreshadowing to the nature of the mark that Gideon does in fact leave.

END LOVE - OK GO

Ok we're getting a little romantic. It's time for some songs about BUILDING TRUST ON PURPOSE

Cause no one's gonna save you, if you don't swim for the boat No one's gonna save you, if you won't take the rope No one's gonna find you, when you're hiding in the dark No one's gonna find you

The most romantic shit in the world to me is the combo of Harrow choosing to be vulnerable on purpose, and Gideon being so ready to accept and guard that vulnerability. Harrow's choices to let Gideon in are of course so delicious because theyre marinated in how absurdly difficult it is for her. And she does it so deliberately. She does it because she NEEDS to. Because the alternative (not having Gideons partnership) is so much worse. And that's romantic to me.

ASK - THE SMITHS

If there's something you'd like to try If there's something you'd like to try Ask me, I won't say no, how could I

Ok cmon. Right??

It's the other overwhelmingly romantic thing. The thing where Gideon is so ready to be there for harrow, when she's given the opportunity. When she's asked. And this is also STILL about having to be vulnerable and purposeful to build trust. Or the bomb will get you, or the whatever.

CLEAR THE AREA - IMOGEN HEAP

Ok here's the thing - I don't believe in criticizing your own art. Like posting something and saying 'oh its so bad' or pointing out all the stuff that didn't turn out right. It's self-defeating to give everyone the first impression that the thing you made is bad, before they have a chance to create their own impressions.

HOWEVER

The tone of this whole playlist is whack. Each song alone is great, but overall, the vibe is kind of sappy and idealistic and sweet - which feels so disparate from the tone of Gideon herself. I stand by the song choices I made but god I wish the vibe was more defensive, more funny, more bitter, more irreverent, more STUPID. ‘Bitter rivals’ is the only song on this playlist with the energy I dream of. I looked at some other riot grrl music but couldn’t find anything I loved. Ok I got so mad about this that I made a second playlist just now with only 'Gideon vibes' and no songs that have anything to do with shit that actually happened in GTN. Its here, it took 10m, and its very good.

Anyways, I’m telling you now because the song 'Clear the Area' is truly guilty of being too sweet and sincere.

Having said that, it absolutely belongs on this playlist anyways and I will defend it!

You find your way back down And I'll keep the area clear. When you find your way back down, in one piece Then I'll just be waiting here, right here.

This incredibly soft song is still solidly on the track of 'building trust on purpose or else the bomb will get you'. even more than that, it's about protecting and loving someone who is so wrapped up in their own shit that they do a very bad job of reaching out. and what about that DOESNT belong on a GTN playlist!!!

ANYTHING FOR YOU - LUDO

I don't have specific lyrics I want to share out for this one, but the entire thing as a whole deserves some attention: the singer lists fantastical and daring and victorious scenarios that they, clearly an adventurous hero, has completed, and then easily says that they'd give away all best things from their adventures for the song's subject.

It's an "all in" pledge that fits comfortably in with the cavalier oath. It's the commitment!! The gravity of devotion!!

and it's ALSO ABOUT IMAGINING YOURE A HERO yes thats right we are BACK to Gideon and the Action Hero. The song doesn't actually say that all the scenarios are imagined, but the variety and fantasy hint that they could easily be imagined. At the very least, they're supposed to make us think about adventure stories and that's good enough for me.

A fun little bonus for this one is the line "but the best story I could ever tell is the one where I am growing old with you," which I'm calling out because I get a little kick out of the 'growing old' theme. There's also a line in the legend of chavo guerrero, "I don't know but i've been told, it's real sweet to grow old". Between these two songs, the easy coupling of 'I dream of heroic deeds' with 'I will grow old' is... I mean.... tragic. I'm having fun, are you having fun?

EVERYTHING I AM IS YOURS - VILLAGERS

This is one of the first songs I put on this playlist. It's significant that this song has stayed on so long, I started seriously working on this playlist a month ago (in tandem with an HTN playlist) and i've removed and replaced most of the songs I started with.

There were times when I did consider removing it - I wondered if this song was a little redundant with 'anything for you'. Both are songs about devoting yourself fully to someone else. But what this song has that 'anything for you' doesn't, is the idea that 'everything I am' comes with the bad as well as the good. It's a promise and also a resigned statement.

I find it hard to say what's going on inside Got these little walls, couldn't break them if I tried But I promise I'll be true. And I promise I'll be right Sickness and in health. In the darkness and the light I give you every side 'Cause everything I am is yours

MATILDA - ALT J

OK WAIT HEAR ME OUT WAIT HEAR ME OUT WAIT WAIT IM SERIOUS ABOUT THIS ONE

It's a little high concept but whatever this is my playlist and I can do whatever I want!! you're welcome its not another mountain goats song.

The song Matilda by Alt J is not only a classic indie hit from 2012 with lyrics so warbly theyre basically nonsense, it is also explicitly about the ending to the 1994 action film 'Leon: The Professional'. Which I am about to talk about, so if you don't want spoilers, don't read the rest of this section!

So what happens at the end of the professional (and i'm stalling writing the sentence in case you are trying to skim over this to avoid spoilers), is that Leon (the professional himself) dies taking out an enemy with a grenade. This action saves the life of a young girl (Matilda) who he's taken under his wing, and who has brought new meaning into his life. Before blowing himself up, he hands the pin to the enemy, saying 'this is from Matilda', it's beautiful i cried blah blah blah

Put the grenade pin in your hand, so you understand who's boss. My defeat sleeps top to toe with her success Oh this is from, this is from, This is from Matilda

By now we're all on the same page, it's a song about dying so that someone you love will stay alive and finding meaning and purpose in that action, it's a song about what happened at the end of GTN.

AND it's a song about an action hero

AND it is itself the artistic reverb that the action hero had throughout pop culture!!!

Alt J saw 'the professional' and thought holy shit thats meaningful i'm gonna write a song about it. Gideon read comics and thought holy shit thats meaningful someday im gonna put my own life on the line for a necromancer. Then she DID, and DIED. Which is INSANE and I cried way more than I cried at the professional.

And the playlist ends on the next song for the exact same reason.

BLEED OUT - THE MOUNTAIN GOATS

What can I even say!! I'm only gonna quote a couple lyrics here but I could really go line-by-line for this entire 7 minute song.

There was a chance we'd make it through this It's safe to say now that we missed it And I will never lose hope, and I haven't lost hope I'm just realistic I will go down punching, but I will go down and my corner man won't bring me back around Bleed out I'm gonna bleed out

This is the second song on this playlist from the action-movie inspired album 'bleed out', and this song is about the endings to action movies where the heroes die. It's about the trope that happened to Leon and Gideon. It's a little tongue in cheek, it's funny, extremely genre-savvy, long, slow, and sad.

The tone, content, and meta commentary about action heroes all make this one of my favorite songs on the playlist.

Every story needs a child who believes The brave hero's gonna be just fine You only have to check the papers to see Some of these children end up just like me Bleed out I'm gonna bleed out

I was sooo close to naming this playlist “every story needs a child who believes” but it’s a mouthful. So let’s just take a moment here, deep in the playlist footnotes, to think about it.

Are you thinking about it? I'm thinking about it.

Anyways, that's the whole playlist. If you read this (any of it), thank you, I love you. I am going to miss this playlist now that I'm casting it out into the wild. But it's time. I think it's complete.

See you again when I get the final touches on the HTN playlist. which has just as many mountain goats songs. and is even better ;)

#tlt #gtn #the locked tomb #gideon the ninth #gideon nav #sets my stupid playlist adrift in the ocean #my art #Spotify

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