#i’m only 30 pages in but it’s such a great satire. it won’t take me long to read at all

[fingertipsmp3]

Have accidentally ended up reading 6 books at once. How did this happen. We’re smarter than this

[aahsoka]

So having been on tiktok for a bit I wanna talk a little about it.

What I like

It’s actually rather entertaining to scroll through up to 30 second videos one after the other. Sometimes the humor falls flat or it’s not your taste, but the algorithim is quite good at recommending the kind of content you will like.

I joined right when there was a big trend going around about sharing your culture, and soon after a Blackout trend where non-Black creators stopped posting for a day & spread/supported videos by Black creators. So I ended up with a fairly diverse fyp or “for you page”. It also quickly gathered that I am bisexual, so I get plenty of lgbt+ content. There’s some art mixed in there, some cosplay, some historical costuming/seamstresses, lots of avatar jokes lately, musical theatre content, fashion, girls in bikinis on rollerskates (in outer space), commentary on political issues, body positivity, all the kinds of stuff I like. To get a feed that caters to your interests you just have to watch & like videos you’re interested in & eventually it gets a feel for what you’ll watch and what you won’t.

Theres a trend where people say which ‘side’ of tiktok they’re on and I get ‘science side of tumblr’ flashbacks but I’ve mostly avoided the “straight” and conservative sides of tiktok. I would be considered a part of “woke”, “alt” (as in alternative) and lgbt+ tiktok (there are separate ones for each letter of the acronym). Possibly also “theatre” and “cosplay” tiktok. These categories are nebulous and you’re usually part of multiple communities; its just as arbitray as ‘science side of tumblr’ was.

The format reminds me of snapchat a little, and I love to talk to myself on video & post dumb thirst traps for my friends (none of which I’m attracted to so idk what my goal is there) and make stupid jokes. So this app is kinda perfect for my attention seeking side & hyperactive tendencies. Its very easy to consume on a short attention span, though not as easy as vine was.

Being in quarantine, its a way for a lot of people to engage in hobbies that involve community. Cosplay is pretty popular, as its a fun way to show off a costume & dress up & have fun without having to attend a convention. I enjoy the way lip synced audios can be used to emulate the character someone is dressed as; that’s something you couldn’t really do unless you were really good at impressions. Its a nice succinct way to show the process of creating a cosplay as well.

Those who enjoy theatre, but cannot perform in shows at this time, are able to create mini-monologues & sketches as well as sing parts of their favorite songs. Its an avenue through which to perform without putting anyone at risk of the virus. It’s also an easy way to show off your talents without having to go through the audition process & actually get cast in a show as a prominent enough role that someone will notice it.

It’s a convenient format for discourse and educational videos. Nice, short, easily digestible tidbits that stay in your mind. This extremely catchy song, for example: “Black neighborhoods are overpoliced, so of course they have higher rates of crime, and white perpetrators are undercharged, so of course they have lower rates of crime. And all of those stupid stats you keep using are operating off a small sample size. So, shut up, shut up, shut up, shut up”.

As well as other videos where people take the time to explain historical events, satirize racist arguments to demonstrate why they are wrong, talk about prevalent tropes in movies, teach a few signs in ASL, share facts about their culture, etc, etc. I have found there are quite a lot of people there from unique and fairly unknown cultures and backgrounds- and this is a place where they’re able to share their culture & existence with people all over the world. There are a thousand different viewpoints. Their videos are doing far more for diverse representation than any other platform, I’d argue, as everyone is extremely visible on the app. (‘Their’ as in the creators, not the app itself).

I also have enjoyed coming across new artists on the app. It’s really fun to watch the process they go through, as most art videos deal with the whole creation of a piece. It’s inspiring. I have also come across a painter who’s work I’m in love with, and a woman who makes and sells the CUTEST ceramic mugs, and I need to purchase some stuff from them both.

Now onto the bad:

Unfortunately, the app doesn’t have much in the way of a filtering or warning system. I talked about that tiktok of the kids coming across human remains? That was just on people’s fyp. Just popped up. No warning. No reason for it to still be up. Traumatizing.

You can click on a video and say ‘not interested’ (I do this to literally every video I get where some girl is thirsting after kylo ren 🤮..... like I want the star wars videos just not THOSE videos). However, it doesn’t seem to know exactly why you weren’t interested, because I still get those videos from time to time. There’s no content filter where I can blacklist the kylo ren or any other hashtag.

There’s some very shitty content. There are racist conservatives. Misogynistic teen white boys. Really weird thirst traps. Videos where people lip sync to something with a straight face and tag it with #acting. Harmful body image trends. I thankfully stay very clear of this, but this kind of content makes me worry for the minors on the app. The one’s who don’t have enough of a concept of self yet to realize they don’t need to be able to do the newest pointless beauty trend to be beautiful, to realize it’s ok for them to be gay, to realize how predatory some adults can be, etc etc.

It is extremely easy to come across minors on the app who don’t look like teens. One time I went to a girl’s page and it said she was FIFTEEN. I’m usually good at guessing ages but something about this app messes that up. I wish there was a way to separate people under 18 and adults. Where I don’t have minor’s thirst traps popping up on my fyp. Where pedophiles don’t get a chance to curate that fyp intentionally. If anyone reading this has kids, I highly recommend they make their tiktok private or only viewable to friends.

Just like any site, there are plenty of bigots. Lots of racist comments. Plenty of transphobia. Any hatred you’ve seen elsewhere, of course it exists on tiktok. I have actually zero clue if you can report people & if it works. Most people seem to send a video commentary to their haters or duet a video of a racist pointing out their racism. I’ve heard of creators blocking people, however. I remember a tiktok of a Black woman who’s video somehow went fairly viral in Poland and now she gets a lot of racist comments from this large group of random racisf Polish followers she has and its extremely time consuming to block them all, as there’s no mass block feature.

The rumors about what works with the algorithm and doesn’t abound. I’ve heard well lit videos get more views. Many people suspect they have been shadowbanned for speaking out about current events. TikTok will remove the audio from videos sometimes if they deem it controversial enough. Most of us know they were criticized recently for intentionally keeping Black creator’s videos from being seen (a catalyst for the Blackout, actually). Or you may also recall when it was criticized for widely removing lgbt+ content. Those creators are fighting to be seen the same amount as straight cis white creators are allowed to be seen with no effort.

The effects some trends could have on teen girls. So many of them are already so uncomfortable in their own skin simply because of societal standards, but the absolutely meaningless challenges people come up with on tiktok make it so much worse. One trend was based around whether your finger touched your lips when you put it in your nose. Or if you could get your clasped hands around the back of your legs and over your butt (if they get passed, you have a flat ass, if they get stuck, its big). These completely arbitrary signifiers of the things you need to have in order to be pretty, are far more ridiculous that anything I have seen yet in my life. I worry about little girls taking these ideas to heart. There is a very kind body positive community on the app & I hope more people can find that.

There’s also that thing where they steal your data. Like most apps. But apparently they got a lot more invasive than usual, so I would look into it before making an account; if you want to do that.

I think the apps users can be great & its a pretty intuitive set up. It certainly deserves its popularity solely as a creative form of social media. That being said, its owners are so so insidious & do the worst things. Just like all other social media, its controlled by the worst kind of people. Who can never figure out how to effectively get rid of nazis or keep kids safe from adult content.

These are my less serious gripes with the app:

1) Lip syncing

When people lip sync and don’t do any kind of skit, joke, etc, just look as if they’re saying what someone else said; I hate that. I have to go back and find the original tiktok so I can like it instead. You literally did nothing interesting by ripping off someones audio and moving your lips along to it. So many people on this app are creative and so many others lack any semblance of creativity.

Also people are too easily impressed by lip syncing to kinda-fast songs. I lip synced to like....10 seconds of the devil went down to georgia and two people praised my lip syncing abilities. Like, I can also sing and talk fast, out loud, isn’t that more impressive? more skillful? The fiddle playing in that song is impressive, not the fact I can lip sync ‘the devil went down to georgia, he was lookin for a soul to steal, he was in a bind, cause he was way behind.’ Have you ever seen someone play Johnny’s fiddle solo????? It’s insane!!!

Rather than see someone lip sync to the verse in Stressed Out 2x faster than normal (which is, extremely simple and the song was overplayed and ingrained into our collective consciousness) and go WOW what about someone.....doing the verse out loud. You can litterally just mouth random words and look like you’re saying the right ones. It’s driving me crazy lmao. I’m set to become a God of tiktok because I have a repertoire of fast songs and rap verses memorized. It’s not even an uncommon skill to speak or sing quickly, people literally make rap music for a living! Listen to it maybe.

2) “Acting”

I am begging you to stop making me sit through those horrible POVs. I cannot take another girl not quite fake crying towards the camera as she lip syncs the words from a song that apply to the random situation she decided she was in. I cannot take another boy who thinks its sexy to stare into a camera and smirk in every single situation he creates.

Back to lip syncing, making facial expressions along to words isn’t really acting. Try saying the words out loud perhaps? The inflection you use with your lines is a pretty big part of acting. Like you can lip sync all you want, just stop tagging it with #acting.

3) Comedic timing, or lack thereof

You don’t need the entire intro to sit there looking at the camera waiting until the first line starts and you can lip sync to the part that’s the joke. You could cut off at least 15 seconds. Brevity is the soul of wit.

When your joke involves both reading text on screen and listening to the song for the punchline, if it isn’t done prefectly, its so difficult to follow. I can’t read a paragraph in 5 seconds. Paraphrase.

4) self deprecating artist audio

the audio thats like ‘this wont get views’ ‘I suck’ ‘you probably won’t see this anyway’ LOVE YOURSELF

It sucks when people dont enagage with your art but it sucks worse when your value in yourself and you art is based solely on receiving that validation. Please find a healthy medium.

Also you’re asking for pity, and you don’t want that. You want people who genuinely love your art for what it is.

5) editing videos is really hard how do you make such cool & smooth transitions????

please help me I don’t understand

Finally

here’s my account if you’re interested

[makistar2018]

All 125 Taylor Swift Songs, Ranked From Worst to Best

By NATE JONES April 30, 2019

In this business, there are two subjects that will boost your page views like nothing else: Game of Thrones and Taylor Swift. One of them is a massive, multi-million-dollar enterprise filled with violence and betrayal, and the other airs on HBO. I find it hard to explain why exactly, and I’m sure Swift would, too: Somehow, this one 27-year-old woman from Wyomissing, Pennsylvania, keeps finding herself at the center of our national conversations about race, gender, celebrity, victimhood, even the economics of the tech industry. And, outside the legions of fans who eat up everything she puts out, no take on her ever stays solid for long. She was a precocious teenager, and the ultimate embodiment of white privilege. She’s been feminism’s worst nightmare, and an advocate for victims of sexual assault. Some people say she’s a goddess of the alt-right. Other people say she’s Jewish.

And yet, unlike Madonna or Bowie, Swift got through the first 11 years of her career without any major reinventions. (For 1989, she embraced feminism and threw away the last vestiges of her Nashville sound, but those were basically just aesthetic changes.) If the word on her has shifted since her debut, it’s because we’ve changed, not her. Swift — or at least the version of Swift on her albums — has remained largely the same person since her debut: a thin-skinned, bighearted obsessive, with a penchant for huge romantic moments. People don’t slowly ease into a relationship in her songs; they show up at each other’s doors late at night and they kiss in the rain. An unworthy suitor won’t just say something thoughtless; he’ll skip a birthday party or leave a teenage girl crying alone in a hotel room. Listen to her songs and you’ll ache at the resemblance to the most dramatic moments in your own private history. Listen to too many and you might ache again at the nagging feeling that those stories of yours have all been a bit uneventful and drab by comparison. What sort of real life can stand up against fantasies like these?

So, uh, I don’t recommend you listen to this list top to bottom.

But I do recommend sampling as many of these songs as you see fit. Even with the widespread critical embrace of poptimism — a development I suspect has as much to do with the economics of online media as it does with the shifting winds of taste — there are still those who see Swift as just another industry widget, a Miley or Katy with the tuner set to “girl with a guitar.” If this list does anything, I hope it convinces you that, underneath all the thinkpieces, exes, and feuds, she is one of our era’s great singer-songwriters. She may not have the raw vocal power of some of her competitors, but what she lacks in Mariah-level range she makes up for in versatility and personality. (A carpetbagger from the Pennsylvania suburbs, she became an expert code-switcher early in her career and never looked back.) And when it comes to writing instantly memorable pop songs, her only peers are a few anonymous Swedish guys, none of whom perform their own stuff. I count at least ten stone-cold classics in her discography. Others might see more. No matter how high your defenses, I guarantee you’ll find at least one that breaks them down. 

Some ground rules: We’re ranking every Taylor Swift song that’s ever been released with her name on it — which means we must sadly leave out the unreleased 9/11 song “Didn’t They” as well as Nils Sjöberg’s “This Is What You Came For” — excluding tracks where Swift is merely “featured” (no one’s reading this list for B.o.B.’s “Both of Us”) but including a few duets where she gets an “and” credit. Songwriting is an important part of Swift’s spellbook, so covers are treated more harshly than originals. Because Swift’s career began so young, we’re left in the awkward position of judging work done by a literal high-schooler, which can feel at times like punching down. I’ll try to make slight allowances for age, reserving the harshest criticism for the songs written when Swift was an adult millionaire.

125. “Look What You Made Me Do,” Reputation (2017): “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,” Swift told New York back in 2013. “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.” To Swift’s credit, it took her six records to get to this point. On a conceptual level, the mission here is clear: After the Kim-Kanye feud made her the thinking person’s least-favorite pop star, this comeback single would be her grand heel turn. But the villain costume sits uneasily on Swift’s shoulders, and even worse, the songwriting just isn’t there. The verses are vacuous, the insults have no teeth, and just when the whole thing seems to be leading up to a gigantic redemptive chorus, suddenly pop! The air goes out of it and we’re left with a taunting Right Said Fred reference — the musical equivalent of pulling a Looney Tunes gag on the listener. Other Swift songs have clunkier rhymes, or worse production values, but none of them have such a gaping hole at the center. (I do dig the gleeful “Cuz she’s dead!” though.)

124. “Umbrella,” iTunes Live From Soho (2008): Swift has recorded plenty of covers in her career, and none are less essential than this 90-second rendition of the Rihanna hit recorded at the peak of the song’s popularity. It’s pure college-campus coffeehouse.

123. “Christmas Must Mean Something More,” The Taylor Swift Holiday Collection (2007): One of two originals on Swift’s early-career Christmas album, “Something More” is a plea to put the Christ back in Christmas. Or as she puts it: “What if happiness came in a cardboard box? / Then I think there is something we all forgot.” In the future, Swift would get better at holding onto some empathy when she was casting a critical eye at the silly things people care about; here, the vibe is judgmental in a way that will be familiar to anyone who’s ever reread their teenage diary.

122. “Better Than Revenge,” Speak Now (2010): A nasty little song that has not aged well. Whether a straightforward imitation of Avril Lavigne’s style or an early attempt at “Blank Space”–style self-satirization, the barbs never go beyond bratty. (As in “Look What You Made Me Do,” the revenge turns out to be the song itself, which feels hollow.) Best known now for the line about “the things she does on the mattress,” which I suspect has been cited in blog posts more times than the song itself has been listened to lately.

121. “American Girl,” Non-album digital single (2009): Why would you cover this song and make it slower?

120. “I Want You Back,” Speak Now World Tour – Live (2011): Another 90-second cover of a pop song that does not particularly benefit from a stripped-down arrangement.

119. “Santa Baby,” The Taylor Swift Holiday Collection (2007): Before Ariana Grande’s “Santa Tell Me,” there was only one holiday song about falling in love with Santa, and for some reason, we spent decades making all our young female singers cover it. Swift’s version leans out of the awkwardness by leaning into the materialism; she puts most of her vocal emphasis on the nice presents she hopes Santa will bring her. (The relationship seems to be fairly quid pro quo: She’ll believe in him if he gives her good gifts — even at this early stage, Swift possessed a savvy business sense.) Otherwise, this is a by-the-numbers holiday cover, complete with sleigh bells in the mix.

118. “Sweet Escape,” Speak Now World Tour – Live; Target edition DVD (2011): Swift’s sedate cover of the 2006 Gwen Stefani hit — those “ooh-ooh”s are pitched way down from Akon’s falsetto in the original — invests the song with a bittersweet vibe, though like anyone who’s ever tried the song at karaoke, she stumbles on the rapid-fire triplets in the first verse.

117. “Silent Night,” The Taylor Swift Holiday Collection (2007): Swift’s cover of the Christmas classic veers significantly away from Franz Xaver Gruber’s original melody, and even gives it a Big Taylor Swift Finale. Points for ambition, but sometimes you just want to hear the old standards the way you remember them.

116. “The Last Time,” Red (2012): Red is Swift’s strongest album, but it suffers a bit from pacing issues: The back half is full of interminable ballads that you’ve got to slog through to get to the end. Worst of all is this duet with po-faced Ulsterman Gary Lightbody, which feels about ten minutes long.

115. “Invisible,” Taylor Swift: Special Edition (2006): A bonus track from the debut that plays like a proto–”You Belong With Me.” The “show you” / “know you” rhymes mark this as an early effort.

114. “…Ready for It?,” Reputation (2017): The second straight misfire off the Reputation rollout, this one sees Swift try her hand at rapping, with some ill-advised bars about Elizabeth Taylor and a flow she borrowed from Jay-Z. (Try to rap “Younger than my exes” without spilling into “rest in peace, Bob Marley.”) Bumped up a spot or two for the chorus, a big Swift hook that sounds just like her best work — in this case, because it bites heavily from “Wildest Dreams.”

113. “I Heart ?,” Beautiful Eyes EP (2008): Swift code-switches like a champ on this charmingly shallow country song, which comes from the Walmart-exclusive EP she released between her first two albums. Her vocals get pretty rough in the chorus, but at least we’re left with the delightful line, “Wake up and smell the breakup.”

112. “Bad Blood,” 1989 (2014): When Swift teamed up with Max Martin and Shellback, the marriage of their dark eldritch songcraft nearly broke the pop charts. But when they misfire, the results can be brutal. The lyric here indulges the worst habits of late-period Swift — an eagerness to play the victim, a slight lack of resemblance to anything approaching real life — attached to a schoolyard-chant melody that will never leave your head, even when you may want it to. The remix hollows out the production and replaces Swift’s verses with two from Kendrick Lamar; it’s less embarrassing than the original, which does not make it more memorable.

111. “White Christmas,” The Taylor Swift Holiday Collection (2007):The most bluegrass of Swift’s Christmas tunes, this gentle rendition sees Swift’s vocals cede center stage to the mandolin and fiddle.

110. “Crazier,” Hannah Montana: The Movie soundtrack (2009): When approached by the filmmakers about contributing a song to the Hannah Montana movie, Swift sent in this track, seemingly a holdover from the Fearless sessions. In an admirable bit of dedication, she also showed up to play it in the film’s climax. It’s kind of a snooze on its own, but compared to the other songs on the soundtrack, even Swift’s leftovers shine.

109. “I’d Lie,” Taylor Swift (2006): A bonus track only available to people who bought Swift’s debut at Best Buy. It’s as cute as a study-hall MASH game, and just as easily disposable.

108. “Highway Don’t Care,” Tim McGraw’s Two Lanes of Freedom(2013): After joining Big Machine, McGraw gave Swift an “and” credit here as a professional courtesy. Though her backing vocals are very pleasant, this is 100 percent a Tim McGraw song.

107. “Superman,” Speak Now: Deluxe Edition (2010): A bonus track that’s not gonna make anyone forget Five for Fighting any time soon.

106. “Change,” Fearless (2008): A bit of paint-by-numbers inspiration that apparently did its job of spurring the 2008 U.S. Olympic team to greatness. They won 36 gold medals!

105. “End Game,” Reputation (2017): Swift tries out her blaccent alongside Future and Ed Sheeran, on a track that sounds unmistakably like a Rihanna reject. The only silver lining? She’s better at rapping here than on “…Ready for It?”

104. “The Lucky One,” Red (2012): A plight-of-fame ballad from the back half of Red, with details that never rise above cliché and a melody that borrows from the one Swift cooked up for “Untouchable.”

103. “A Place in This World,” Taylor Swift (2006): Swift’s version of “Not a Girl, Not Yet a Woman,” this one feels like it missed its chance to be the theme tune for an ABC Family show.

102. “I Don’t Wanna Live Forever,” Fifty Shades Darker soundtrack (2017): In Fifty Shades Darker, this wan duet soundtracks a scene where Christian Grey and Anastasia Steele go for a sunny boat ride while wearing fabulous sweaters. On brand!

101. “Last Christmas,” The Taylor Swift Holiday Collection (2007): Swift does George Michael proud with this reverent cover of the Wham! classic.

100. “Breathless,” Hope for Haiti Now (2010): Swift covered this Better Than Ezra deep cut for the Hope for Haiti telethon. With only one take to get it right, she did not let the people of Haiti down.

99. “Bette Davis Eyes,” Speak Now World Tour – Live (2012): “There’s some unbelievable music that has come out of artists who are from L.A., did you know that?” Swift asks the audience at the beginning of this live track. The crowd, not being idiots, responds with an enthusiastic yes. This cover loses the two most famous parts of Kim Carnes’s original — the synths and Carnes’s throaty delivery — but the acoustic arrangement and Swift’s intimate vocals bring out the best qualities of the tune.

98. “Eyes Open,” The Hunger Games: Songs From District 12 and Beyond (2012): One of two songs Swift contributed to the first Hunger Games soundtrack. With guitars seemingly ripped straight out of 1998 alt-rock radio, this one’s most interesting now as a preview of Swift’s Red sound.

97. “Beautiful Eyes,” Beautiful Eyes EP (2008): The title track of Swift’s early-career EP finds the young songwriter getting a lot of mileage out of one single vowel sound: Besides the eyes of the title, we’ve got I, why, fly, cry, lullaby, even sometimes. A spirited vocal performance in the outro saves the song from feeling like homework.

96. “The Outside,” Taylor Swift (2006): If you thought you felt weird judging songs by a high-schooler, here’s one by an actual sixth-grader. “The Outside” was the second song Swift ever wrote, and though the lyrics edge into self-pity at times, this is still probably the best song written by a 12-year-old since Mozart’s “Symphony No. 7 in D Major.”

95. “SuperStar,” Fearless: Platinum Edition (2008): This bonus track is a relic of an unfamiliar time when Swift could conceivably be the less-famous person in a relationship.

94. “Starlight,” Red (2012): Never forget that one of the most critically acclaimed albums of 2012 contains a piece of Ethel Kennedy fanfiction. The real story of Bobby and Ethel has more rough spots than you’ll find in this resolutely rose-colored track, but that’s what happens when you spend a summer hanging in Hyannis Port.

93. “Sad Beautiful Tragic,” Red (2012): Another glacially paced song from the back half of Red that somehow pulls off rhyming “magic” with “tragic.”

92. “Innocent,” Speak Now (2010): The disparate reactions to Kanye West stage-crashing Swift at the 2009 VMAs speaks to the Rorschachian nature of Swift’s star image. Was Swift a teenage girl whose moment was ruined by an older man who couldn’t control himself? Or was she a white woman playing the victim to demonize an outspoken black man? Both are correct, which is why everyone’s spent so much time arguing about it. Unfortunately, Swift did herself no favors when she premiered “Innocent” at the next year’s VMAs, opening with footage of the incident, which couldn’t help but feel like she was milking it. (Fairly or not, the comparison to West’s own artistic response hardly earns any points in the song’s favor.) Stripped of all this context, “Innocent” is fine: Swift turns in a tender vocal performance, though the lyrics could stand to be less patronizing.

91. “Girl at Home,” Red: Deluxe Edition (2012): This Red bonus track offers a foreshadowing of Swift’s interest in sparkly ’80s-style production. A singsongy melody accompanies a largely forgettable lyric, except for one hilariously blunt line: “It would be a fine proposition … if I was a stupid girl.”

90. “A Perfectly Good Heart,” Taylor Swift: Special Edition (2006): A pleading breakup song with one killer turn of phrase and not much else.

89. “Mary’s Song (Oh My Oh My),” Taylor Swift (2006): This early track was inspired by Swift’s elderly neighbors. Like “Starlight,” it’s a young person’s vision of lifelong love, skipping straight from proposal to old age.

88. “Come in With the Rain,” Fearless: Platinum Edition (2008): An ode to a long-lost lover that follows the Swift template a tad too slavishly.

87. “Dancing With Our Hands Tied,” Reputation (2017): Reputation sags a bit in the middle, never more than on this forgettable ’80s-inspired track.

86. “Welcome to New York,” 1989 (2014): In retrospect, there could not have been a song more perfectly designed to tick off the authenticity police — didn’t Swift know that real New Yorkers stayed up till 3 a.m. doing drugs with Fabrizio Moretti in the bathroom of Mars Bar? I hope you’re sitting down when I tell you this, but it’s possible the initial response to a Taylor Swift song might have been a little reactionary. When it’s not taken as a mission statement, “Welcome to New York” is totally tolerable, a glimmering confetti throwaway with lovely synths.

85. “Tied Together With a Smile,” Taylor Swift (2006): When she was just a teenager with a development deal, Swift hooked up with veteran Nashville songwriter Liz Rose. The two would collaborate on much of Swift’s first two albums. “We wrote and figured out that it really worked. She figured out she could write Taylor Swift songs, and I wouldn’t get in the way,” Rose said later. “She’d say a line and I’d say, ‘What if we say it like this?’ It’s kind of like editing.” This early ballad about a friend with bulimia sees Swift and Rose experimenting with metaphor. Most of them work.

84. “King of My Heart,” Reputation (2017): Swift is fond of saying that “songs are what you think of on the drive home — you know, the Great Afterthought.” (She says it’s a Joni Mitchell quote, but I haven’t been able to find it.) Anyway, I think that’s why some of the love songs on Reputationdon’t quite land: Swift is writing about a relationship from inside of it, instead of with hindsight. It’s a different skill, which could explain why the boyfriend character here is less vividly sketched than some of her other ones.

83. “Come Back … Be Here,” Red: Deluxe Edition (2012): A vulnerable track about long-distance love, with simple sentiments overwhelmed by extravagant production.

82. “Breathe,” Fearless (2008): A Colbie Caillat collaboration that’s remarkable mostly for being a rare Swift song about a friend breakup. It’s like if “Bad Blood” contained actual human emotions.

81. “Stay Beautiful,” Taylor Swift (2006): Nathan Chapman was a Nashville session guitarist before he started working with Swift. He produced her early demos, and she fought for him to sit behind the controls on her debut; the two would work together on every Swift album until 1989, when his role was largely taken over by Max Martin and Shellback. Here, he brings a sprightly arrangement to Swift’s ode to an achingly good-looking man.

80. “Nashville,” Speak Now World Tour – Live; Target edition DVD (2011): Swift gives some shine to singer-songwriter David Mead with a cover of his 2004 ballad. (Listen to the screams during the chorus and try to guess where this one was recorded.) She treats it with a delicate respect, like she’s handling her grandmother’s china.

79. “So It Goes,” Reputation (2017): Unfortunately not a Nick Lowe cover, this one comes and goes without making much of an impact, but if you don’t love that whispered “1-2-3,” I don’t know what to tell you.

78. “You’re Not Sorry,” Fearless (2008): An unflinching kiss-off song that got a gothic remix for Swift’s appearance as an ill-fated teen on CSI. It shouldn’t work, but it does.

77. “Drops of Jupiter,” Speak Now World Tour – Live (2012): The best of the covers on the live album sees Swift commit to the Train hit like she’d written it herself. If you had forgotten that this song came out in 2001, she keeps the line about Tae Bo.

76. “The Other Side of the Door,” Fearless: Platinum Edition (2008): A bonus track saved from mediocrity by a gutsy outro that hints that Swift, like any good millennial, was a big fan of “Semi-Charmed Life.”

75. “Gorgeous,” Reputation (2017): In the misbegotten rollout for Reputation, “Gorgeous” righted the ship by not being completely terrible. Max Martin and Shellback pack the track with all sorts of amusing audio doodads, but the melody is a little too horizontal to stick, and the lyrics have a touch of first draft about them. (You’d be forgiven for preferring the actual first draft, which is slightly more open and real.)

74. “I Wish You Would,” 1989 (2014): Like “You Are in Love,” this one originated as a Jack Antonoff instrumental track, and the finished version retains his fingerprints. Perhaps too much — you get the sense it might work better as a Bleachers song.

73. “Cold As You,” Taylor Swift (2006): A dead-serious breakup song that proved the teenage Swift (with help from Rose, who’s got a co-writing credit) could produce barbs sharper than most adults: “You come away with a great little story / Of a mess of a dreamer with the nerve to adore you.” Jesus.

72. “Haunted,” Speak Now (2010): In which Swift tries her hand at Evanescence-style goth-rock. She almost pulls it off, but at this point in Swift’s career her voice wasn’t quite strong enough to give the unrestrained performance the song calls for.

71. “This Love,” 1989 (2014): Began life as a poem before evolving into an atmospheric 1989 deep cut. Like an imperfectly poached egg, it’s shapeless but still quite appetizing.

70. “Untouchable,” Fearless: Platinum Edition (2008): Technically a Luna Halo cover (don’t worry about it), though Swift discards everything but the bones of the original. Her subsequent renovation job is worthy of HGTV: It’s nearly impossible to believe this was ever not a Taylor Swift song.

69. “Wonderland,” 1989: Deluxe Edition (2014): A deranged bonus track that sees Swift doing the absolute most. This song has everything: Alice in Wonderland metaphors, Rihanna chants, a zigzag bridge that recalls “I Knew You Were Trouble,” screams. As she puts it, “It’s all fun and games ’til somebody loses their MIND!”

68. “Sweeter Than Fiction,” One Chance soundtrack (2013): Swift’s first collaboration with Jack Antonoff is appropriately ’80s-inspired, and so sugary that a well-placed key change in the chorus is the only thing that staves off a toothache.

67. “I’m Only Me When I’m With You,” Taylor Swift: Special Edition(2006): A rollicking pop-rock tune that recalls early Kelly Clarkson. As if to reassure nervous country fans, the fiddle goes absolutely nuts.

66. “Tell Me Why,” Fearless (2008): A bog-standard tale of an annoyingly clueless guy, but it’s paired with one of Swift and Rose’s most winning melodies.

65. “If This Was a Movie,” Speak Now: Deluxe Edition (2010): The mirror image of “White Horse,” which makes it feel oddly superfluous.

64. “How You Get the Girl,” 1989 (2014): The breeziest and least complicated of Swift’s guy-standing-on-a-doorstep songs, which contributed to the feeling that 1989 was something of an emotional regression. You probably shouldn’t take it as an instruction manual unless you’re Harry Styles.

63. “Don’t Blame Me,” Reputation (2017): A woozy if slightly anonymous love song that comes off as a sexier “Take Me to Church.” [A dozen Hozier fans storm out of the room.]

62. “The Way I Loved You,” Fearless (2008): Written in collaboration with Big and Rich’s John Rich, which may explain how stately and mid-tempo this one is. (There’s even a martial drumbeat.) Here, she’s faced with a choice between a too-perfect guy — he’s close to her mother and talks business with her father — and a tempestuous relationship full of “screaming and fighting and kissing in the rain,” and if you don’t know which one she prefers I suggest you listen to more Taylor Swift songs. Swift often plays guessing games about which parts of her songs are autobiographical, but this one is explicitly a fantasy.

61. “New Romantics,” 1989: Deluxe Edition (2014): Like “22,” an attempt at writing a big generational anthem. That it was left off the album proper suggests Swift didn’t think it quite got there, though it did its job of extending the singles cycle of 1989 a few more months. Despite what anyone says about “Welcome to New York,” the line here about waiting for “trains that just aren’t coming” indicates its writer has had at least one authentic New York experience.

60. “Sparks Fly,” Speak Now (2010): This one dates back to Swift’s high-school days, and was destined for obscurity until fans fell in love with the live version. After what seems like a lot of tinkering, it finally got a proper studio release on Swift’s third album. It’s like “True Love Waits,” but with more kissing in the rain.

59. “Me!,” Untitled Seventh Album (2019): Well, what did we expect? The run-up to “Me!” was preceded by a weeks-long guessing game about what precisely would be the nature of Swift’s April 26 announcement. Would she come out? Would she come out and reveal she had once dated Karlie Kloss? Cut to the fateful day, and the news was … Swift, who is a pop singer, was releasing a new pop song. After the Sturm und Drang of the Reputation era, “Me!” is a return to anodyne sweetness, a mission statement that says, “I’m through making mission statements.” The result is blandly inoffensive, emphasis on the bland.

58. “All You Had to Do Was Stay,” 1989 (2014): Just like the melody to “Yesterday” and the “Satisfaction” riff, the high-pitched “Stay!” here came to its writer in a dream. Inspiration works in mysterious ways.

57. “Delicate, Reputation (2017): With multitracked, breathy vocals, this is Swift at her most tentative. Would any other album’s Taylor be asking, “Is it cool that I said all that?”

56. “Stay Stay Stay,” Red (2012): Swift broke out her southern accent one last time for this attempt at homespun folk, which is marred by production that’s so clean it’s practically antiseptic. In an alternate universe where a less-ambitious Swift took a 9-to-5 job writing ad jingles, this one soundtracked a TV spot for the new AT&T family plan.

55. “Call It What You Want,” Reputation (2017): Many of the Reputationsingles aim at sexy; this airy slow jam about losing yourself in love after a scandal is the only one that gets there, though the saltiness in the verses (“all the liars are calling me one”) occasionally betrays the sentiment.

54. “Ours,” Speak Now: Deluxe Edition (2010): It’s not this song’s fault that the extended version of Speak Now has songs called both “Mine” and “Ours,” and while “Ours” is good … well, it’s no “Mine.” Still, even if this song never rises above cuteness, it is incredibly cute. I think Dad’ll get over the tattoos.

53. “The Best Day,” Fearless (2008): Swift’s parents moved the family to Tennessee so she could follow her musical dreams, and she paid them back with this tender tribute. Mom gets the verses while Dad is relegated to the middle eight — even in song, the Mother’s Day–Father’s Day disparity holds up.

52. “Everything Has Changed,” Red (2012): “We good to go?” For many American listeners, this was the first introduction to a redheaded crooner named Ed Sheeran. It’s a sweet duet and Sheeran’s got a roughness that goes well with Swift’s cleaner vocals, but the harmonies are a bit bland.

51. “Today Was a Fairytale,” Valentine’s Day soundtrack (2010): How much of a roll was Swift on during the Fearless era? This song didn’t make the album, and sat in the vault for a year until Swift signed on for a small role in a Garry Marshall rom-com and offered it up for the soundtrack. Despite the extravagant title, the date described here is charmingly low-key: The dude wears a T-shirt, and his grand gestures are showing up on time and being nice.

50. “Last Kiss,” Speak Now (2010): A good-bye waltz with an understated arrangement that suits the starkness of the lyrics.

49. “You Are in Love,” 1989: Deluxe Edition (2014): The best of Swift’s songs idealizing someone else’s love story (see “Starlight” and “Mary’s Song”), this bonus track sketches Jack Antonoff and Lena Dunham’s relationship in flashes of moments. The production and vocals are appropriately restrained — sometimes, simplicity works.

48. “The Story of Us,” Speak Now (2010): The deluxe edition of Speak Now features both U.S. and international versions of some of the singles, which gives you a sense of how fine-tuned Swift’s operation was by this point. My ears can’t quite hear the difference between the two versions of this exuberant breakup jam, but I suspect the U.S. mix contains some sort of ultrasonic frequencies designed to … sorry, I’ve already said too much.

47. “Clean,” 1989 (2014): Co-written with Imogen Heap, who contributes backup vocals. This is 1989’s big end-of-album-catharsis song, and the water imagery of the lyrics goes well with the drip-drip-drip production. I’d be curious to hear a version where Heap sings lead; the minimalist sound might be better suited for her voice, which has a little more texture.

46. “Getaway Car,” Reputation (2017): Another very Antonoff-y track, but I’m not mad at it. We start with a vocoder she must have stolen from Imogen Heap and end with one of Swift’s most rocking outros, and in between we even get a rare key change.

45. “I Almost Do,” Red (2012): The kind of plaintive breakup song Swift could write in her sleep at this point in her career, with standout guitar work and impressive vulnerability in both lyrics and performance.

44. “Long Live (We Will Be Remembered),” Speak Now (2010):Ostensibly written about Swift’s experiences touring with her band, but universal enough that it’s been taken as a graduation song by pretty much everyone else. Turns out, adolescent self-mythologizing is the same no matter where you are — no surprise that Swift could pull it off despite leaving school after sophomore year.

43. “The Moment I Knew,” Red: Deluxe Edition (2012): An epic account of being stood up that makes a terrible birthday party seem like something approximating the Fall of Troy. If you’re the type of person who stays up at night remembering every inconsiderate thing you’ve ever done, the level of excruciating detail here is like a needle to the heart.

42. “Jump Then Fall,” Fearless: Platinum Edition (2006): An effervescent banjo-driven love song. I get a silly kick out of the gag in the chorus, when Swift’s voice leaps to the top of her register every time she says “jump.”

41. “Never Grow Up,” Speak Now (2010): Swift’s songs where she’s romanticizing childhood come off better than the ones where she’s romanticizing old age. (Possibly because she’s been a child before.) This one is so well-observed and wistful about the idea of children aging that you’d swear she was secretly a 39-year-old mom.

40. “Should’ve Said No,” Taylor Swift (2006): Written in a rush of emotion near the end of recording for the debut, what this early single lacks in nuance it makes up for in backbone. I appreciate the way the end of each verse holds out hope for the cheating ex — “given ooonnne chaaance, it was a moment of weeaaknesssss” — before the chorus slams the door in the dumb lunk’s face.

39. “Back to December,” Speak Now (2010): At the time, this one was billed as a big step for Swift: the first song where she’s the bad guy! Now that the novelty has worn off “Back to December” doesn’t feel so groundbreaking, but it does show her evolving sensitivity. The key to a good apology has always been sincerity, and whatever faults Swift may have, a lack of sincerity has never been one of them.

38. “Holy Ground,” Red (2012): This chugging rocker nails the feeling of reconnecting with an ex and romanticizing the times you shared, and it livens up the back half of Red a bit. Probably ranked too high, but this is my list and I’ll do what I want.

37. “Enchanted,” Speak Now (2010): Originally the title track for Swift’s third album until her label told her, more or less, to cut it with the fairy-tale stuff. It’s a glittery ode to a meet-cute that probably didn’t need to be six minutes long, but at least the extended length gives us extra time to soak up the heavenly coda, with its multi-tracked “Please don’t be in love in with someone else.”

36. “I Know Places,” 1989 (2014): No attempts of universality here — this trip-hop song about trying to find a place to make out when you’re a massive celebrity is only relatable to a couple dozen people. No matter. As a slice of gothic pop-star paranoia, it gives a much-needed bit of edge to 1989. Bumped up a couple of spots for the line about vultures, which I can only assume is a shout-out.

35. “Treacherous,” Red (2012): Swift has rarely been so tactile as on this intimate ballad, seemingly constructed entirely out of sighs.

34. “Dress,” Reputation (2017): An appropriately slinky track that gives us an unexpected payoff for years of lyrics about party dresses: “I only bought this dress so you could take it off,” she says in the chorus. The way the whole song starts and stops is an obvious trick, but I like it.

33. “Speak Now,” Speak Now (2010): The rest of the band plays it so straight that it might take a second listen to realize that this song is, frankly, bonkers. First, Swift sneaks into a wedding to find a bridezilla, “wearing a gown shaped like a pastry,” snarling at the bridesmaids. Then it turns out she’s been uninvited — oops — so she decides to hide in the curtains. Finally, at a pivotal moment she stands up in front of everyone and protests the impending union. Luckily the guy is cool with it, so we get a happy ending! All this nonsense undercuts the admittedly charming chorus, but it’s hard not to smile at the unabashed silliness.

32. “22,” Red (2012): Another collaboration with Martin and Shellback, another absurdly catchy single. Still, there’s enough personality in the machine for this to still feel like a Taylor song, for better (“breakfast at midnight” being the epitome of adult freedom) and for worse (the obsession with “cool kids”). Mostly for better.

31. “Christmases When You Were Mine,” The Taylor Swift Holiday Collection (2007): The clear standout of Swift’s Christmas album, with an endearingly winsome riff and lyrics that paint a poignant picture of yuletide heartbreak. If you’ve ever been alone on Christmas, this is your song.

30. “White Horse,” Fearless (2008): You’d never call Swift a genre deconstructionist, but her best work digs deeper into romantic tropes than she gets credit for. In just her second album, she and Rose gave us this clear-eyed look at the emptiness of symbolic gestures, allegedly finished in a mere 45 minutes. Almost left off the album, but saved thanks to Shonda Rhimes.

29. “I Knew You Were Trouble,” Red (2012): The guiding principle on much of Red seems to have been to throw absolutely every idea a person could think of into a song and see what worked. Here, we go from Kelly Clarkson verses to a roller-coaster chorus to a dubstep breakdown that dates the song as surely as radiocarbon — then back again. It shouldn’t hang together, but the gutsy vocals and vivid lyrics keep the track from going off the rails.

28. “Teardrops on My Guitar,” Taylor Swift (2006): An evocative portrait of high-school heartbreak, equal parts mundane — no adult songwriter would have named the crush “Drew” — and melodramatic. It’s also the best example of Swift and Rose’s early songwriting cheat code, when they switch the words of the chorus around at the end of the song. “It just makes the listener feel like the writer and the artist care about the song,” Rose told Billboard. “That they’re like, “Okay, you’ve heard it, but wait a minute — ’cause I want you know that this really affected me, I’m gonna dig the knife in just a little bit deeper.’” (In a fitting twist, “Teardrops” ended up inspiring a moment that could have come straight out of a Taylor Swift song, when the real Drew showed up outside her house one night. “I hadn’t talked to him in two-and-a-half years,” she told the Washington Post. “He was like: ‘Hey, how’s it going?’ And I’m like: ‘Wow, you’re late? Good to see you?’”)

27. “Begin Again,” Red (2012): Swift’s sequencing genius strikes again: After the emotional roller coaster of Red, this gentle ballad plays like a cleansing shower. (It works so well she’d repeat the trick on 1989, slightly more obviously.) Of all Swift’s date songs, this one feels the most true to life; anyone who’s ever been on a good first date can recall the precise moment their nervousness melted into relief.

26. “New Year’s Day,” Reputation (2017): Like a prestige cable drama, Swift likes to use her final track as a kind of quiet summing-up of all that’s come before. Here, she saves the album’s most convincing love song for last: “I want your midnights / but I’ll be cleaning up bottles with you on New Year’s Day” is a great way to describe a healthy relationship. The lovely back-and-forth vocals in the outro help break the tie with “Begin Again.”

25. “Shake It Off,” 1989 (2014): Swift’s second No. 1 was greeted with widespread critical sighs: After the heights of Red, why was she serving up cotton-candy fluff about dancing your way past the haters? (Never mind that Red had its own sugary singles.) Now that we’ve all gotten some distance, the purpose of “Shake It Off” is clear: This is a wedding song, empty-headed fun designed to get both Grandma and Lil Jayden on the dance floor. Docked ten or so spots for the spoken-word bridge and cheerleader breakdown, which might be the worst 24 seconds of the entire album.

24. “Safe and Sound,” The Hunger Games: Songs From District 12 and Beyond (2012): Swift’s collaboration with folk duo the Civil Wars is her best soundtrack cut by a country mile. Freed from the constraints of her usual mode, her vocals paint in corners you didn’t think she could reach, especially when she tries out a high-pitched vibrato that blends beautifully with Joy Williams and John Paul White’s hushed harmonies. Swift has worked in a variety of emotional palettes in her career, but this is the only time she’s ever been spooky.

23. “Picture to Burn,” Taylor Swift (2006): Swift’s breakup songs rarely get more acidic than they do in this country hit. By the time she’s twanging a line about dating all her ex’s friends, things have gotten downright rowdy. The original lyrics — “Go and tell your friends that I’m obsessive and crazy / That’s fine, I’ll tell mine you’re gay” — show how far standards for acceptable speech in nice young people have shifted in the past decade.

22. “Fearless,” Fearless (2008): The title track from Swift’s second album has more of her favorite images — in one memorable twofer, she’s dancing in the rain while wearing her best dress — but she invests them with so much emotion that you’d swear she was using them for the first time. The exuberance of the lyrics is matched in the way she tumbles from line to line into the chorus.

21. “Tim McGraw,” Taylor Swift (2006): If you by chance ever happen to meet Taylor Swift, there is one thing you should know: Do not, under any circumstances, call her “calculating.” “Am I shooting from the hip?” she once asked GQ when confronted with the word. “Would any of this have happened if I was? … You can be accidentally successful for three or four years. Accidents happen. But careers take hard work.” However, since the title of her first single apparently came from label head Scott Borchetta — “I told Taylor, ‘They won’t immediately remember your name, they’ll say who’s this young girl with this song about Tim McGraw?’” — I think we’re allowed to break out the c-word: Calling it “Tim McGraw” was the first genius calculation in a career that would turn out to be full of them. Still, there would have been no getting anywhere with it if the song weren’t good. Even as a teenager, Swift was savvy enough to know that country fans love nothing more than listening to songs about listening to country music. And the very first line marks her as more of a skeptic than you might expect: “He said the way my blue eyes shined put those Georgia pines to shame that night / I said, ‘That’s a lie.’”

20. “Dear John,” Speak Now (2010): “I’ve never named names,” Swift once told GQ. “The fact that I’ve never confirmed who those songs are about makes me feel like there is still one card I’m holding.” That may technically be true, but she came pretty dang close with this seven-minute epic. (John Mayer said he felt “humiliated” by the song, after which Swift told Glamour it was “presumptuous” of him to think that the song his ex wrote, that used his first name, was about him.) She sings the hell out of it, but when it comes to songs where Swift systematically outlines all the ways in which an older male celebrity is an inadequate partner, I think I prefer “All Too Well,” which is less wallow-y. I’ve seen it speculated that the guitar noodling on this track is meant as a parody of Mayer’s own late-’00s output, which if true would be deliciously petty.

19. “Red,” Red (2012): Re-eh-eh-ed, re-eh-eh-ed. Red’s title track sees the album’s maximalist style in full effect — who in their right mind would put Auto-Tune and banjos on the same track? But somehow, the overstuffing works here; it’s the audio equivalent of the lyrics’ synesthesia.

18. “I Did Something Bad,” Reputation (2017): It’s too bad Rihanna already has an album called Unapologetic, because that would have been a perfect title for Reputation, or maybe just this jubilant “Blank Space” sequel. Why the hell she didn’t release this one instead of “Look What You Made Me Do,” I’ll never know — not only does “Something Bad” sell the lack of remorse much better, it bangs harder than any other song on pop radio this summer except “Bodak Yellow.” Is that a raga chant? Are those fucking gunshots? Docked a spot or two for “They’re burning all the witches even if you aren’t one,” which doth protest too much, but bumped up just as much for Swift’s first on-the-record “shit.”

17. “Forever & Always,” Fearless (2008): This blistering breakup song was the one that solidified Swift’s image as the pop star you dump at your own peril. (The boys in the debut were just Nashville randos; this one was about a Jonas Brother, back when that really meant something.) Obligatory fiddles aside, the original version is just about a perfect piece of pop-rock — dig how the guitars drop out at a pivotal moment — though the extended edition of Fearless also contains a piano version if you feel like having your guts ripped out. I have no idea what the lines about “rain in your bedroom” mean, but like the best lyrics, they make sense on an instinctual level. And to top it off, the track marks the introduction of Swift’s colloquial style — “Where is this GOoO-ING?” — that would serve her so well in the years to come.

16. “Mean,” Speak Now (2010): It takes some chutzpah to put a song complaining about mean people on the same album as “Better Than Revenge,” but lack of chutzpah has never been Swift’s problem. Get past that and you’ll find one of Swift’s most naturally appealing melodies and the joyful catharsis that comes with giving a bully what’s coming to them. (Some listeners have interpreted the “big enough so you can’t hit me” line to mean the song’s about abuse, but I’ve always read it as a figure of speech, as in “hit piece.”)

15. “Wildest Dreams,” 1989 (2014): Swift is in full control of her instrument here, with so much yearning in her voice that you’d swear every breath was about to be her last. For a singer often slammed as being sexless, those sighs in the chorus tell us everything we need to know. Bumped up a few spots for the invigorating double-time bridge, the best on 1989.

14. “This Is Why We Can’t Have Nice Things,” Reputation (2017): Put aside the title, which can’t help but remind me of the time Hillary Clinton tweeted “delete your account.” The same way “I Did Something Bad” is the best possible version of “Look What You Made Me Do,” this is a much better rewrite of “Bad Blood.” Swift brings back the school-yard voice in the chorus, but also so much more: She does exaggerated politeness in the bridge, she spins the “Runaway” toast, she says the words “Therein lies the issue” like she’s been listening to Hamilton. The high point comes when she contemplates forgiving a hater, then bursts into an incredulous guffaw. Reader, I laughed out loud.

13. “Style,” 1989 (2014): The much-ballyhooed ’80s sound on 1989 often turned out to just mean Swift was using more synths than usual, but she nailed the vibe on this slinky single, which could have soundtracked a particularly romantic episode of Miami Vice. Despite the dress-up games in the chorus, this is one of the rare Swift love songs to feel truly adult: Both she and the guy have been down this road too many times to bullshit anymore. That road imagery is haunted by the prospect of death lurking around every hairpin turn — what’s sex without a little danger?

12. “Hey Stephen,” Fearless (2008): Who knew so many words rhymed with Stephen? They all come so naturally here. Swift is in the zone as a writer, performer, and producer on this winning deep cut, which gives us some wonderful sideways rhymes (“look like an angel” goes with “kiss you in the rain, so”), a trusty Hammond organ in the background, and a bunch of endearing little ad-libs, to say nothing of the kicker: “All those other girls, well they’re beautiful / But would they write a song for you?” For once, the mid-song laugh is entirely appropriate.

11. “Out of the Woods,” 1989 (2014): Like Max Martin, Antonoff’s influence as a collaborator has not been wholly positive: His penchant for big anthemic sounds can drown out the subtlety of Swift, and he’s been at the controls for some of her biggest misfires. But boy, does his Jack Antonoff thing work here, bringing a whole forest of drums to support Swift’s rapid-fire string of memories. The song’s bridge was apparently inspired by a snowmobile accident Swift was in with Harry Styles, an incident that never made the tabloids despite what seemed like round-the-clock coverage of the couple — a subtler reminder of the limits of media narratives than anything on Reputation.

10. “Love Story,” Fearless (2008): Full disclosure: This was the first Taylor Swift song I ever heard. (It was a freezing day in early 2009; I was buying shoes; basically, the situation was the total antithesis of anything that’s ever happened in a Taylor Swift song.) I didn’t like it at first. Who’s this girl singing about Romeo and Juliet, and doesn’t she know they die in the end?What I would soon learn was: not here they don’t, as Swift employs a key change so powerful it literally rewrites Shakespeare. The jury’s still out on the question of if she’s ever read the play, but she definitely hasn’t read The Scarlet Letter.

9. “State of Grace,” Red (2012): Swift’s songs are always full of interesting little nuggets you don’t notice until your 11th listen or so — a lyrical twist, maybe, or an unconventional drum fill — but most of them are fundamentally meant to be heard on the radio, which demands a certain type of songwriting and a certain type of sound. What a surprise it was, then, that Red opened with this big, expansive rock track, which sent dozens of Joshua Tree fans searching for their nearest pair of headphones. Another surprise: that she never tried to sound like this again. Having proven she could nail it on her first try, Swift set out to find other giants to slay.

8. “Ronan,” non-album digital single (2012): A collage of lines pulled from the blog of Maya Thompson, whose 3-year-old son had died of cancer, this charity single sees Swift turn herself into an effective conduit for the other woman’s grief. (Thompson gets a co-writing credit.) One of the most empathetic songs in Swift’s catalogue, as well as her most reliable tearjerker.

7. “We Are Never Ever Getting Back Together,” Red (2012): Flash back to 2012. Carly Rae Jepsen had a No. 1 hit. Freaking Gotye had a No. 1 hit. LMFAO had two. And yet Swift, arguably the biggest pop star in the country, had never had a No. 1 hit. (“You Belong With Me” and “Today Was a Fairytale” had both peaked at No. 2.) And so she called up Swedish pop cyborg Max Martin, the man who makes hits as regularly as you and I forget our car keys. The first song they wrote together is still their masterpiece, though it feels wrong to say that “We Are Never Ever Getting Back Together” was written; better to say that it was designed, as Swift and Martin turn almost every single second of the song’s 3:12 run time into a hook. Think of that guitar loop, the snippets of millennial-speak in the margins (“cuz like”), those spiraling “ooh”s, the spoken-word bit that could have been overheard at any brunch in America, and towering over it all, that gigantic “we.” Like all hyper-efficient products it feels like a visitor from some cold algorithmic future: The sense of joy here is so perfectly engineered that you get the sense it did not come entirely from human hands.

6. “Our Song,” Taylor Swift (2006): Swift wrote this one for her ninth-grade talent show, and I have a lovely time imagining all the other competitors getting the disappointment of their lives once they realized what they were up against. (“But nice job with that Green Day cover, Andy.”) Even at this early stage Swift had a knack for matching her biggest melodic hooks to sentences that would make them soar; that “’cause it’s late and your mama don’t know” is absolutely ecstatic. She’s said she heard the entire production in her head while writing, and on the record Nathan Chapman brings out all the tricks in the Nashville handbook, and even some that aren’t, like the compressed hip-hop drums in the final refrain.

5. “Mine,” Speak Now (2010): As catchy as her Max Martin songs, but with more of a soul, “Mine” wins a narrow victory over “Our Song” on account of having a better bridge. This one’s another fantasy, and you can kind of tell, but who cares — Paul McCartney didn’t really fall in love with a meter maid, either. Swift packs in so many captivating turns of phrase here, and she does it so naturally: It’s hard to believe no one else got to “you are the best thing that’s ever been mine” before her, and the line about “a careless man’s careful daughter” is so perfect that you instantly know everything about the guy. Let’s give a special shout-out to Nathan Chapman again: His backup vocals are the secret weapon of Speak Now, and they’re at their very best here.

4. “Blank Space,” 1989 (2014): You know how almost every other song that’s even a little bit like “Blank Space” ranks very low on this list? Yeah, that’s how hard a trick Swift pulls off on this 1989 single, which manages to satirize her man-eater image while also demonstrating exactly what makes that image so appealing. The gag takes a perfectly tuned barometer for tone: “Look What You Made Me Do” collapsed under the weight of its own self-obsession; “Better Than Revenge” didn’t quite get the right amount of humor in. But Swift’s long history of code-switching works wonders for her here, as she gives each line just the right spin — enough irony for us to get the jokes, enough sincerity that we’ll all sing along anyway. Martin and Shellback bring their usual bells and whistles, but they leave enough empty space in the mix for the words to ring out. Who wouldn’t want to write their name?

3. “Fifteen,” Fearless (2008): For many young people, the real experience of romance is the thinking about it, not the actual doing it. (For an increasing number, the thinking about it is all they’re doing.) Swift gets this almost instinctively, and never more than on this early ballad about her freshman year of high school, which plays like a gentle memoir. Listen to how the emotional high point of the second verse is not something that happens, but her reaction to it: “He’s got a car and you feel like flyyying.” She knows that the real thing is awkward, occasionally unpleasant, and almost guaranteed to disappoint you — the first sentence she wrote for this one was “Abigail gave everything she had to a boy who changed his mind / We both cried,” a line that became exhibit B in the case of Taylor Swift v. Feminism — and she knows how fantasies can sustain you when nothing else will. “In your life you’ll do things greater than dating the boy on the football team / but I didn’t know it at 15,” she sings, even though she’s only 18 herself. That there are plenty of people who spent their teenage years making out, smoking cigarettes, and reading Anaïs Nin doesn’t negate the fact that, for a lot of us squares, even the prospect of holding someone else’s hand could get us through an entire semester. Virgins need love songs, too.

2. “All Too Well,” Red (2012): It’s no wonder that music writers love this one: This is Swift at her most literary, with a string of impeccably observed details that could have come out of a New Yorker short story. “All Too Well” was the first song Swift wrote for Red; she hadn’t worked with Liz Rose since Fearless, but she called up her old collaborator to help her make sense of her jumble of memories from a relationship recently exploded. “She had a story and she wanted to say something specific. She had a lot of information,” Rose told Rolling Stone later. “I just let her go.” The original version featured something like eight verses; together the two women edited it down to a more manageable three, while still retaining its propulsive momentum. The finished song is a kaleidoscopic swirl of images — baby pictures at his parents’ house, “nights where you made me your own,” a scarf left in a drawer — always coming back to the insistence that these things happened, and they mattered: “I was there, I remember it all too well.” The words are so strong that the band mostly plays support; they don’t need anything flashier than a 4/4 thump and a big crescendo for each chorus. There are few moments on Red better than the one where Swift jumps into her upper register to deliver the knockout blow in the bridge. Just like the scarf, you can’t get rid of this song.

1. “You Belong With Me,” Fearless (2008): Swift was hanging out with a male friend one day when he took a call from his girlfriend. “He was completely on the defensive saying, ‘No, baby … I had to get off the phone really quickly … I tried to call you right back … Of course I love you. More than anything! Baby, I’m so sorry,’” she recalled. “She was just yelling at him! I felt so bad for him at that moment.” Out of that feeling, a classic was born. Swift had written great songs drawn from life before, but here she gave us a story of high school at its most archetypal: A sensitive underdog facing off with some prissy hot chick, in a battle to see which one of them really got a cute boy’s jokes. (Swift would play both women in the video; she had enough self-awareness to know that most outcasts are not tall, willowy blonde girls.) Rose says the song “just flowed out of” Swift, and you can feel that rush of inspiration in the way the lines bleed into each other, but there’s some subtle songcraft at work, too: Besides the lyrical switcheroos about who wears what, we also only get half the chorus the first go-round, just to save one more wallop for later. The line about short skirts and T-shirts will likely be mentioned in Swift’s obituary one day, and I think it’s key to the song’s, and by extension Swift’s, appeal: In my high school, even the most popular kids wore T-shirts.

Vulture

[heliosfinance]

My Interview with Jason Zweig

Note: This interview was originally published in the December 2016 issue of our premium newsletter – Value Investing Almanack (VIA). To read more such interviews and other deep thoughts on value investing, business analysis and behavioral finance, click here to subscribe to VIA.

“I wish I could talk to this guy,” I told my wife when I read Ben Graham’s The Intelligent Investor first time sometime in 2005.

“But he is dead, right?” she said.

“Oh, not Graham,” I exclaimed, “But Jason Zweig who has edited this version of Graham’s book.”

“I am sure you would one day,” she said with an air of confidence. But I junked her thoughts saying, “Why would he even want to talk to me?”

Well, I had this discussion in mind when I wrote to Mr. Zweig in mid-October last year to request him for an interview for our Value Investing Almanack newsletter. I knew it was a shot in the dark, something I had not done for a long-long time after missing a few such shots in the dark on stocks I lost money owning.

But this shot worked, and worked well for me. Not only did Mr. Zweig agree immediately for the interview, he also made me comfortable by asking me to address him as, well, Jason.

It turned out to be a great interview for me as a learner, and I hope Jason also found it worth his time and effort. Before I begin, I remember this quote from Jason in his starting note for The Intelligent Investor –

In the same way, I envy you the excitement of reading Jason’s thoughts in this interview for the first time. So let’s start right here with a brief introduction.

Jason Zweig is the investing and personal-finance columnist for The Wall Street Journal. He is the author of The Devil’s Financial Dictionary, a satirical glossary of Wall Street (PublicAffairs Books, 2015), and Your Money and Your Brain, on the neuroscience of investing (Simon & Schuster, 2007).

Jason edited the revised edition of Benjamin Graham’s The Intelligent Investor (HarperCollins, 2003), the classic text that Warren Buffett has described as “by far the best book about investing ever written.” He also wrote The Little Book of Safe Money (Wiley, 2009); co-edited Benjamin Graham: Building a Profession, an anthology of Graham’s essays (McGraw Hill, 2010); and assisted the Nobel Prize-winning psychologist Daniel Kahneman in writing his book Thinking, Fast and Slow. From 1995 through 2008 Zweig was a senior writer for Money magazine; before joining Money, he was the mutual funds editor at Forbes.

Jason has also been a guest columnist for Time magazine and cnn.com. He has served as a trustee of the Museum of American Finance, an affiliate of the Smithsonian Institution, and sits on the editorial boards of Financial History magazine and The Journal of Behavioral Finance. A graduate of Columbia College, Jason lives in New York City.

Safal Niveshak (SN): What inspired you to write your latest book, The Devil’s Financial Dictionary? What’s the biggest lesson you wish the reader should take from the book?

Jason Zweig (JZ):

Ever since I was a college student, I’ve been an admirer of Ambrose Bierce, the 19th century American author who wrote The Devil’s Financial Dictionary, one of the greatest works of satire in the English language.

A few years ago, my teenage daughters were teasing me about how my personal website never featured anything new (at least in their opinion). I looked out the window of my home office and wondered: “What could I do that would be new every day without making readers feel that I’m encouraging them to respond to the market’s every move?”

To the left of my window, I glimpsed the paperback copy of The Devil’s Financial Dictionary that I’ve owned since 1979. I glanced to the right and there, on my other bookshelf, was my second, hardcover copy of the same beloved book. I suddenly realized that I could write and post one satirical financial definition per day on my website. I didn’t expect it to turn into a book; I wrote the entries for fun. Then several publishers stumbled on it, and suddenly it became a book.

Of course, Wall Street and the rest of the financial world provide such a wealth of absurdities that eventually it may turn into a multi-volume encyclopaedia.

The lesson readers should take from the book is that the language of finance is often used not to explain, but to obfuscate. Those who know what terms mean can make a lot of money. Those who think they know what terms mean will lose a lot of money.

SN: What do you think happens inside our brains when we hear the financial experts’ gibberish? We all want to simplify our lives, so why is it that many of us admire those in the financial markets who throw at us the most complex stuff?

JZ: Neuroeconomist Gregory Berns of Emory University and his colleagues have found that listening to financial experts triggers a neural response they call “offloading,” which is a lower level of activation in the posterior cingulate and other regions of the frontal cortex normally engaged in decisions about risk and return. Conformity and deference to authority are part of human nature; man is a social animal, and we evolved to learn that following the leader and staying inside the herd helps to keep us alive. That served our ancestors well on the plains of the Serengeti. It doesn’t serve us well in modern financial markets, where computers can outsmart us and many people are richly rewarded for giving advice that is better for their own bottom line than it is for ours.

I also feel that financial jargon is even more insidious than other professional dialects, like medical lingo or info-tech gobbledygook. When a financial advisor uses jargon, we want to pretend to understand it so we can feel like privileged insiders who are “in the know.” Pretending to comprehend financial gibberish confers an illusion of power on those who purport to know what the jargon means.

In truth, the ultimate power lies in understanding that you don’t know what it means – and that the person using those words probably doesn’t, either.

SN: That’s true! Anyways, in mid-October 2016 front-page article in The Wall Street Journal titled The Dying Business of Picking Stocks, you wrote about investors giving up on stock picking and moving into passive funds. Can you please elaborate more in that? Do you see it as a long-lasting trend?

JZ: Our article was primarily about the U.S. market, although I believe these trends will inevitably percolate worldwide. Active management will never disappear entirely; hope springs eternal, and most people never entirely abandon their belief in magic.

Furthermore, active management gives investors someone else to blame. If you buy an index-tracking fund that loses 30% in six months, you have no one to blame but yourself; if you buy an actively managed fund that does the same, you can tell your family or your boss or your pensioners that the fund manager “strayed from his mandate.” You get to sack him instead of being sacked yourself. Finally, at least in the U.S. (and I’m sure in many other places), institutional investors are often required to make periodic “due-diligence” visits to the asset-management firms they hire. Many such firms seem to have home offices near beautiful beaches or in historic cities that are delightful to visit. Perhaps that is some kind of coincidence, but it certainly gives their largest clients a lifelong incentive to ignore high fees and low performance.

Nevertheless, index-tracking funds will continue to grow worldwide, as they should and as they must. Research by Fama and French, among others, has shown that nearly all outperformance relative to a market index can be explained by such common dimensions of risk and return as value, size, “quality” (profitability), and momentum. These factors can be systematically packaged into a tracker fund at extraordinarily low cost. An active manager whose success has come from picking stocks one at a time that score high on one or more of these factors must charge high fees to cover the considerable research costs; a passive fund can algorithmically mimic what the active manager is doing for a fraction of the cost. In the U.S., such “factor ETFs” are available for annual fees of under 0.1%, or 10 basis points and less. Active managers charging 10 to 20 times as much are doomed to lose market share.

SN: You define ‘forecasting’ as “an attempt to predict the unknowable by measuring the irrelevant; a task that in one way or another, employs most people on Wall Street.” Let’s talk about financial journalists here, who are in the prediction mode all the time, whether it’s newspapers, television, or the Internet. What role has financial journalism to play in promoting the devilish financial jargon you have defined in your book?

JZ: The financial media can’t be dissociated from the prediction industry in general. We are all guilty of perpetrating the myth that someone, somewhere, knows what the markets are about to do. Decades ago, the psychologist Paul Andreeassen showed that people who get more frequent news updates on their investment portfolios earn lower returns than those with no access to the news at all. That doesn’t mean that financial journalism is useless: Ignorance won’t make you a better investor. But the financial media should focus investors’ attention on the elements that separate success from failure – how to be optimally diversified, how to minimize fees and taxation, how to increase one’s own self-control – rather than pretending to clairvoyance or trumpeting whichever investment has been hottest lately.

I try to write for my high-school English teacher’s wife, who tells me whenever I see her that she likes my columns even though she doesn’t understand them. My goal is eventually to write one she can understand; I think, after 20 years, I am getting closer.

SN: You’ve defined “News” as “noise; the sound of chaos.” Bombarded with such noise from all sides, how does an investor go about blocking it to be able to make sound investment decisions.

JZ: Whatever can be a matter of policy and procedure must be. You should have a checklist that you must follow before taking any action. The rules should be yours, not mine, but they must be rules, not wishes. A few possibilities:

Never buy a stock purely because its price has been going up, nor sell purely because it has been going down.

List, in writing, three detailed reasons why you are buying, in terms that – like a scientific hypothesis – can be falsified by subsequent findings.

Stipulate a price target, a time by which you expect the stock to reach that level, and an estimated probability that those forecasts are correct.

Set up, in advance, automated alerts to remind you when price changes significantly – for example, 25%, 50%, etc. At those thresholds, assess methodically whether the value of the underlying business has changed comparably.

Sign a contract with yourself, witnessed by family or friends, binding you to sell only when the value of the business, rather than the price of the stock, decays.

If that sounds like too much work, then owning individual stocks probably isn’t a good match for your temperament. Buy a passive fund instead – but don’t forget to sign a comparable contract with yourself.

SN: You recently quoted Keynes who said that courage is the key to investing. But showing courage when everyone is running for cover in a falling market is harder to do than to imagine. Given that such scenarios are playing out quite often in the current times, how does an investor build the necessary courage to combine with his/her capital when the opportunities come knocking?

JZ: Cash and courage go hand in hand, as Benjamin Graham wrote in 1932 after stocks had fallen more than 80%. Cash without courage will do you no good in a falling market, as you will be too afraid to invest it. Courage without cash is equally useless, as you can’t buy anything no matter how brave you feel if you have no money to buy it with. So husbanding some cash is the first step.

I am also great believer in what I call “financial fire drills.” Just as office-workers are periodically required to rehearse what to do if the building catches fire, investors should rehearse how they should behave if the stock market erupts in flames.

Build a watch-list of investments you would like to own at much lower prices than today’s, specifying the prices at which they will become bargains. Cultivate good mental hygiene now, before it is too late: Break bad habits like watching financial television, frequently checking the value of your brokerage accounts, or getting constant updates on the market. Go back and study your behavior during the last market crash: Did you sell? freeze? or buy more? (Don’t rely on your memory, which is likely to be illusory; consult your actual brokerage records, and be honest with yourself about what they show.) Then look at how those decisions worked out: Did your behavior rescue you from further losses, or preclude you from further gains?

Using what you learn about your past behavior, you should be able to structure rules to improve your future behavior.

SN: Your book basically mocks the outrageousness of the financial world which, in other words, is laying bare the truth of how the system works. In fact, you’ve defined “stock market” as a chaotic hive of millions of people who overpay for hope and underpay for value. Amidst all this, what advice do you have for a small, individual investor on how to safeguard his/her capital and grow his/her money?

JZ: The great investment philosopher Peter Bernstein liked to say that investors without much money should take small risks with most of their money and big risks with a little of it. Maximizing diversification should be your primary goal. If you put at least 90% of your investable assets into a small set of low-cost, widely diversified market-tracking funds, then there’s nothing wrong with trying to pick a few market-beating stocks with the rest of your money. You can’t lose much of your total wealth if you turn out to be incompetent at stock-picking, while you could enhance your wealth significantly if you turn out to be good at it. But you must be serious about it, willing to devote great amounts of time and effort and scholarship and emotional resolve. If you treat it as a game, you are certain to lose, sooner or later.

SN: How can an investor improve the quality of his/her decision making?

JZ: Study the markets. Study history. Study psychology. Above all, study yourself. Successful investing isn’t about picking the right stocks and avoiding the wrong ones. It is about making sure that you don’t let your own emotions deflect you from your strategy at the worst imaginable time. The best investors are those who think constantly about their own shortcomings and how to overcome them.

SN: What are the most important qualities an investor needs to survive the complexity of the financial markets?

JZ: Self-control. I don’t know what proportion of people who call themselves “investors” are, in fact, just speculators, but I wouldn’t be surprised if it is above 90%.

I find it remarkable that in India, the world’s wellspring of yoga, so many investors give themselves endless stress trying to chase short-term market performance.

Investing is not a 110-metre race. It is a marathon. If you want to finish the race, you shouldn’t try to go faster; you should slow down. And you need to learn how to resist investing in any asset or strategy you don’t understand.

SN: You talk about self-control. Can someone learn to have self-control or learn to behave well, if that attribute is not already ingrained in him/her? I’ve read this wonderful book called Sapiens, where the author talks about the gorging gene theory, which suggests that we carry the DNA from our ancestors of gorging on sugared or fatty food even when we have our refrigerators overstuffed with such foods. This is because our ancestors used to gorge on sugared fruits but that was purely out of scarcity and fear that if they did not eat them, the baboons would. So, with such a DNA, can we as investors really learn to behave well?

JZ: Genetics is predisposition, but it doesn’t have to be predestination. We’re all inclined to love sweet, salty, or fatty foods, but we aren’t all doomed to like them. With diligence and discipline, we can train ourselves to have higher resistance to them. And we can recognize that willpower is insufficient, in and of itself, to achieve that resistance. We must make our environment more hygienic. Think of alcoholics, for example. You might tell yourself, When someone offers me a drink, I will just say no. But, over time, you will learn that that doesn’t work, because of what psychologist George Lowenstein has called “the hot-cold empathy gap”: In a cold, or emotionally unengaged state, you will picture your future desires as much more manageable than they will, in fact, turn out to be in the heat of the moment. So eventually alcoholics learn to control their environmental hygiene: They avoid walking down the street where the tavern is, they ask their friends to tell the party host not to serve alcohol, they bring their own non-alcoholic beverages with them when they travel. All of those behaviors are intended to keep dangerous emotional cues at bay.

By the same token, investors need to avoid the cues that can trigger self-defeating behaviors. Use checklists and watchlists to prevent impulse from determining your behavior. Remove any trading apps from your smartphone. Don’t bookmark any websites that encourage you to update your account values in real time. Build a spreadsheet of all your holdings that you refresh only once every calendar quarter. Change the password on your brokerage account to a personalized variant of IWILLTRADEONLYWHENABSOLUTELYNECESSARY; there is evidence from psychological research that frequent subliminal repetition of such a message can change your behavior.

You should be under no delusion that these techniques will eliminate your genetic frailties. But they can help you exert at least some control over them.

SN: Are successful investors born, or made?

JZ: Both, of course. A great deal of investing success comes from temperament, which is (largely) inborn. But every good investor I’ve ever met is a learning machine – someone who eats information ravenously and who is obsessed not by how much he already knows but by how much he has yet to learn.

An underappreciated factor that great investors share, I believe, is that they relish being proven wrong. Most people dread making mistakes with a kind of visceral horror. But great investors welcome making mistakes, because errors are opportunities to learn. Whenever I encounter a professional investor with a track record of outperformance who boasts only about what he got right, I know I am in the presence of someone whose overconfidence is dangerous, if not deadly.

SN: Apart from Ben Graham, Warren Buffett, and Charlie Munger, who inspires you the most when it comes to investing and investment behaviour?

JZ: I would name three people: two giants and one few people have ever heard of. First, John Maynard Keynes: Chapter 12 of his book The General Theory of Employment, Interest and Money is probably the most concentrated set of profound insights into investment behavior ever written. He teaches us that to be rational you must reckon with how irrational other people can be.

Second, Daniel Kahneman, whom I have known for 20 years and whose book Thinking, Fast and Slow I helped research, write and edit: From Danny I learned how important it is to try answering difficult questions by beginning with the words “I don’t know.” The admission of ignorance is the gateway to learning, and the more you learn the clearer it should become to you how much you do not know. Finally, an individual investor and retired U.S. Army colonel named Jack Hurst, whom I met when amyotrophic lateral sclerosis (motor neurone disease) had already paralyzed his entire body save a few muscles in his right cheek. Unable to speak or move on his own, Jack nevertheless exemplified the patience, skepticism, independence, discipline, and courage that characterize the intelligent investor. Using a computer-brain interface powered by the electrochemical signals in the facial muscles over which he still had voluntary control, he meticulously researched stocks, bought them after severe price declines, sold them to capture tax benefits, and watched financial television – but with the sound turned off so it wouldn’t influence him emotionally! I wrote about him here. He taught me that courage is the most underappreciated of all investing virtues.

SN: You have inspired millions through your writing, but which are some of the books on investing, behaviour, and multidisciplinary thinking that have inspired you the most over the years? If you were to give away all your books but one, which one would it be and why?

JZ: I have listed the books I regard as indispensable here, here, and here.

Your last question is painfully difficult for someone who has loved books since he first learned to walk. I suppose if you held a gun to my head and made me pick only one book to keep, it would be the Essays of Montaigne. While that book has nothing to do directly with investing, it has everything to do with learning how to think and live. I can’t think of another book that is so good a guide to what it means to know oneself, to embrace uncertainty, to live within one’s means, to value humility above all other virtues, and to remember that the two greatest intellectual endeavours in life are to learn as much as possible and to accept how little you will ever be able to learn.

SN: Hypothetical Question: If you had a magic wand, which ill of the financial system would you eliminate first, and why?

JZ: I suppose I would require anyone providing investment advice to have a formal fiduciary duty to the client. Enforcing that requirement would be difficult, however. The supply of people whose minds and hearts qualify them to be fiduciaries for others is probably insufficient to meet even one-tenth of the demand. The sudden imposition of such a requirement would force millions of advisors around the world to try meeting a standard that most would fall short of. Perhaps there should be some sort of centralized training and licensing regime, the same way most nations require physicians, attorneys, and accountants to meet rigorous professional standards. Unfortunately, the magic wand you have handed me doesn’t seem to work; we are probably many years, if not decades, away from seeing fiduciary duty become universal. That is a shame. Investors, in the meantime, will have to rely largely on themselves; identifying good financial advisors is going to require great effort for the foreseeable future.

SN: You’ve talked about the importance of being a learning machine. And it seems that reading widely – apart from learning from, say, role models – is one of the important means to becoming a learning machine. In this regard, what are your thoughts on how one should go about selecting which books to read? There are so many books that come out these days, and each one of them looks inspiring and highly recommended by someone. But time is limited. So, is restricting to the supertexts on investing, thinking, and behaviour a good idea? Else, how should one go about selecting which new books to read? Do you have such a process in place?

JZ: I don’t have a formal process. However, I do pay close attention to what the people I respect the most are reading. When someone I admire recommends a book or a website or anything else to read, I try to read it. If minds better than mine have benefited from something, then so can I. It’s also worth bearing in mind that people without high standards will often recommend reading something that sounds better than it is. It’s disconcertingly easy for anyone to write a review or summary of just about anything and make it sound exciting even if, in fact, it is barely better than garbage. So if (for example) Charlie Munger says a book is “not bad,” you should regard that as much higher praise than if a second-rate or third-rate mind says some other book is a “must-read” or a “masterpiece.”

SN: As I’ve read at a few places, you also seem to hold Richard Feynman in very high regard. What are some of the most important things you like about Mr. Feynman and his teachings, which readers of this interview could also benefit from?

JZ: What I love about Feynman was his determination to think for himself and to be honest about his own limitations. In his books, he tells remarkable stories that can help even humanists think like scientists.

When Feynman was young, his wife, Arlene, was dying. Every day, she would send him little gifts at his office to show how much she loved him. Among them were bespoke pencils she’d had made with lettering along the lines of “I LOVE YOU, RICHARD. ARLENE.” (I don’t remember the exact wording, but it was something like that.) Embarrassed lest his colleagues see these emotional messages on his pencils, Feynman scraped them off with a knife. Soon, the next round of pencils arrived. This time, the message on them read: WHAT DO YOU CARE WHAT OTHER PEOPLE THINK?” From that, he – and all his readers since then – have learned the importance of disregarding the opinions of others when important matters of the heart (or mind) are at stake. My other Feynman story involves the time he was asked by the state of California to sit on the committee that approves science textbooks for schoolchildren. He requested a copy of every single book on the list and read each from cover to cover. At the final committee meeting, the other members all said their favorite book was X. To Feynman’s astonishment, they had picked the book with the prettiest cover but without a word of text. It turned out that none of them had even opened the textbook; they liked how the cover looked and picked it as “best” on that basis alone. From that I learned the importance of always reading the source material, rather than relying on someone else’s representation of it. It still amazes me how many people who say “studies have shown that…” have never read the studies they are citing.

SN: Can you name some of the current publications (newspapers, magazines, blogs etc.) you read and respect a lot for their learning quotient? As far as reading newspapers is concerned, there have been proponents (like Warren Buffett who say it is a great source of ideas and information) and opponents (like Taleb who think newspapers are plain noise) of the same. Which side are you on? Is there a way to read newspapers effectively to differentiate between noise and signal?

JZ: I’ve listed many of the sources I regularly read here. Nowadays, I don’t use the term “newspapers” much; I call them (including The Wall Street Journal) “news organizations,” because that’s what we are. We don’t only, or even primarily, publish a newspaper. We publish online and on your phone and by email and so forth. To be honest, I don’t believe there is much debate to be had on this matter. Just ask yourself: Would I be able to make better decisions if I knew nothing whatsoever about what is happening in the world around me? It seems to me that the question answers itself, in the negative. While most investors probably pay too much attention to the news, an investor who pays no attention at all would be entirely in the dark.

As for me, I read The Wall Street Journal in both print and electronic form. First thing in the morning and last thing at night, I whiz through the top stories of the day on my iPhone to get a quick feel for what is happening. When I arrive at my desk for the work day, I read the print edition. I find that the “What’s News” column on Page One, which provides a one-or-two-sentence summary of every important article, is an invaluable guide to focusing my attention. Then I will often open some of the stories in my Internet browser, since the online versions often have interactive features that the print versions don’t. However, I don’t read every article every day; far from it. I focus on a handful that interest me, some in finance, some in politics or economics, some in technology, some in culture. On the weekend I mainly read our coverage of history and culture. The only other observation I would make is that when I am not working, I am always reading – but never about work. In my spare time away from the office, I have an iron rule never to read anything relating to finance or economics. Instead, I read classic fiction, poetry, history, philosophy, or science. The mind, like any muscle, must rest in order to grow. If all you read is finance, morning, noon, and night, eventually you will stop being able to learn anything new about finance. The best way to deepen your mastery of specific knowledge is by broadening your horizons of general knowledge.

SN: On that wonderful note, Jason, let me thank you for sharing your amazing and deep insights for Safal Niveshak readers. I’m sure readers are going to attain great benefits out of your thoughts and experience.

JZ: Thanks for the interview, Vishal! I really enjoyed it.

Note: This interview was originally published in the December 2016 issue of our premium newsletter – Value Investing Almanack (VIA). To read more such interviews and other deep thoughts on value investing, business analysis and behavioral finance, click here to subscribe to VIA.

The post My Interview with Jason Zweig appeared first on Safal Niveshak.

My Interview with Jason Zweig published first on http://ift.tt/2ljLF4B