#i used a taylor swift lyric ha

[cametotheshowinsd]

THE ROARING TWENTIES (1929) | Written + Directed by Taylor Swift *ALL-TALKING PICTURE* Flapper Clara falls in love. With a Princeton sophomore. Every night they spend together feels like a dream. All the social occasions, the scent of wine she tasted on his lips, dance floor reflecting broken mirrorball lights, tossing pennies in the pool, sneaking in campus, night walks around the Nassau Hall, joking about school dorms, long dinner that seems never end and sophisticated conversations. His innocence and passion. Her wide-eyed gazes. Breathes that felt too close in the dark. Finally, one day, the kid went down on his knees and pulled that damned rock out of his pocket. Will Clara say "yes"?

[burnthatbridge]

They say, “He’s gone too far this time.”

Beating heart overlay from here.

[wavesoutbeingtossed]

OK so trying to articulate pt. 2 what's been sitting with me re: You're Losing Me especially in light of the track list dropping:

When You're Losing Me came out, I got the feeling that "I wouldn't marry me either, a pathological people pleaser who only wanted you to see her," came from a place not of desperation/resignation, but spite, at least the portion I bolded. In that, to me it sounded like the words once lobbed at her being spat back at the person who first uttered them -- even if only in her mind. There's an anger an intensity when she sings that part (in contrast to the "see her" part), especially as it comes to the peak of the bridge.

With the information that's slowly trickling out, from the way puzzle pieces are starting to fit together with the background, the references to works of art like The Little Mermaid, Clara Bow, even perhaps Who's Afraid of Virginia Woolf?, etc., I'm feeling more and more confident that that's likely the case. If we're taking into consideration context clues from these like the idea of having to give up what makes you sing (metaphorically and literally) to attain the life you think you want, to keep the love you think you've earned, to let bitterness fester and eat the relationship from within, there's an undercurrent of resentment in those lines about the things that make one person soar and the other recoil.

If I were to make an educated guess about these circumstances, I would think the line isn't about marriage writ large, it's about someone who is fuelled by desires -- in this case, to live out in the open, to embrace her world, to drop the shroud from her shoulders ---- and having those desires shunned by a partner who sees that external validation as debasing. A mirrorball to the whims of the public, as it were. But she is saying, this is who I am and this is what I want, and want you to love me not in spite of these but because of these. It's like she's saying, I wouldn't marry the version of me you think I am (that you disdain). She's trying to say, all these things you don't like about me and my life are what make me me.

In other words, it sounds like the realization that the person who is supposed to be your greatest champion thinks of you completely differently (and unkindly) from the person you are. And perhaps the crux of it is, what am I willing to give up to be the version of me this person wants? How many inches must I give before the miles they take become a runway?

In retrospect, the "Me" she wants him to choose at the end of the song may not just be an imploring to make a commitment full stop, but choosing the person she is vs. the person he thinks he wants, because she's sick of twisting herself into knots trying to cater to him when the goalposts keep moving. Their love comes at a cost to both, and it's one that may erase everything she holds dear.

We're in for a wild ride in April.

[alexisnotstraight]

this is truly important information, Jack antonoff is gonna make his broadway debut in the play "wherefore art thou romeo?" he wrote the music (tbh honest im not sure if just music or also lyrics), rachel zegler as juliet and kit connor as romeo. its gonna come to broadway this fall

[rosalesbeausderholle]

At the end of the day, it just really sucks when you can't even enjoy a new release by your favorite artist because the greater internet has decided she's their acceptable outlet of misogyny and they have to comment or hate on her every move every single time.

[vonlipvig]

people that laugh at the idea that 'ttpd is such a complex, difficult to understand album' are very silly because for one, i don't think this album is hard to understand at all, and i think most swifties would agree with me--it's a great album, with lots of beautiful writing, and when you listen to it you get it--, but then again those people then go and post the asylum lyric with the wikipedia paragraph about her upbringing as a 'gotcha', and i'm like...ok, maybe it is hard to understand for them.

[puthyflapps]

Swifties prove everyday that they’re the dumbest people on the internet and that’s really saying something cuz I’ve dealt directly with blarkes

[unspokenstydia]

LIAM DUNBAR — PEACE

(theo's version.)

[pendragonsclotpole]

Every sky was your own kind of blue.

So if your cascade ocean wave blues come…I don’t want no other shade of blue but you. No other sadness in the world would do.

And you paint me a blue sky and go back and turn it to rain.

But—did I paint your bluest skies the darkest gray a universe away?

All artwork by @a-star-is-here.

[ilostyou]

taylor x 5sos parallels - part 1/?

[vogelmeister]

anyways i am feeling kinda brave today so im gonna share a potentially unpopular taylor swift hot take. when i was talking to my friend yesterday about ttpd i realised that i kinda have a similar problem with the anthology as i do with evermore.

like don't get me wrong, both have absolute gems (willow, tolerate it, long story short, gold rush and NBNC from evermore are great and i love the albatross, so high school, the prophecy black dog, manuscript etc) but i think both collections (bc anthology is not an album) suffer because they came out connected to a much superior more cohesive work, and both almost feel like rejects from the body of work that proceeded it.

[ironhusband]

People on tumblr who just make fun of fandom culture baffle me. It’s like willingly sitting in a clown car and then loudly declaring that you hate the sound of squeaky shoes.

[emometalhead]

Things I'm putting on my personal Bingo card for my Eras Tour concert:

• I will cry 3+ times

• I will cry through the entirety of the surprise songs

• My dad will only sing along to I Knew You Were Trouble and You Need To Calm Down

• My dad will purposefully sing the wrong lyrics to I Knew You Were Trouble

• I will break a nail or severely chip the polish

• I'm going to trip, but not completely fall, on stairs at the stadium

[wavesoutbeingtossed]

“Back to December” is such a bittersweet song, but I think in light of everything we know now, the post-Dear John, WCS, I Can See You of it all, there’s something even more poignant about it.

On the surface, it’s an apology to a boy whose heart she broke because she just didn’t love him enough at the time, and how much she misses these very innocent things about him — his sweet smile, his tan skin lol that line always makes me laugh though, his uncomplicated love. It’s a romance that’s painted with summer sunshine and easy affection.

But as we know with later songs, at this point it wasn’t enough. She was tempted by the “forbidden fruit,” the thrill of the chase, the furtive glances and electric touch (lol sorry) of someone else and followed the path to desire. (OK that feels a little gross to type out, but you know what I mean.)

And as we also know, that experience, that fall from grace as it were, is one of the single most traumatizing experiences of her life. The god’s honest truth is that the pain was heaven, maybe, but it came at the cost of the very person she thought she was, and is something she’s been trying to rebuild over and over again ever since.

Which is why “Back to December” is so sad to me, taken in that context. It’s like she’s not just wistful for a sweet relationship that fizzled and the boy she left behind; she’s yearning for the very idea of what that relationship represented. The summer car rides, the laughs, the earnestness of their youth. She wants her girlhood back and this is the last moment she had it in her reaches before it was taken from her before she was ready.

And then the cold came, the dark days

When fear crept into my mind

You gave me all your love and all I gave you was goodbye

In the context of the songs that came in years to follow, we know those dark days are not just from their breakup; someone made her days very, very dark, and she’s replaying the moment before that penny dropped.

But if we loved again, I swear I'd love you right

Sure, the song is about making amends to the boy for breaking his heart, wishing she could get a do-over, but given how these themes are explored afterwards, it feels like it means more than that. Because after this point in time, she knows exactly how it feels not to be loved right, and she’s desperate to go back to a time when her world made sense.

I'd go back to December, turn around and change my own mind —> And I'll look back and regret how I ignored when they said, "Run as fast as you can" —> I regret you all the time

It’s just a constant loop of, this is the moment everything changed, and this is the last time I felt safe.

And then the last thing that just kind of clicked for me, is the recurring theme of reliving a moment over and over again and being unable to let it go. In Back to December, she’s replaying the moment she let him go, but again in light of what we know now, I don’t think it’s a reach to relate to the other closely related memories she relives in spite of herself. There are other examples of the theme of memories in her discography I’m sure, but this is obviously the one that sticks out in this discussion:

I go back to December all the time —> Memories feel like weapons —> The tomb won't close, stained glass windows in my mind

Sure I may be seeing things where there are none, but to me, underneath the puppy-love surface of “Back to December” are the seeds of trauma at work, yearning to return to a time before it happened and staying on the same “righteous” course with the right boy, the right behaviour, the right responses. She may not have the words to voice them at the time, but the feeling permeates all of her writing. Speak Now the album(s) is all about the things she wished she’d said or done in the moment, and this right here is one of the most poignant ones for so many reasons.

TL;DR: apologies to the boy in question, but it isn’t just about you.

[hanthecannibal]

"the new taylor swift song destroys harry styles" does it though??? so he sleeps around with models??? how is this new and damning information???

[straightfromthetorturedpoetsdept]

How am I supposed to explain to people who say things like "Taylor Swift is a mediocre songwriter" why they're wrong when lines like "i'm a soldier who's returning half her weight" are in fact a cliche metaphor repackaged as a direct reference to her eating disorder manifesting after being groomed and abused by two older men and the reason why swifties call her the songwriter of a generation is not because she creates unique metaphors- a concept that does not exist in reality- but rather how she uses well known tropes and metaphors to apply them to specific and deeply personal stories about her life in a way that can be universally applied to women, and perhaps other genders, but women specifically.

And also, it's the truth. Eating disorders are war with your brain and she was half her weight at the worst part of her recovery. Like is it a tired metaphor if it's just the damn truth?