#plus the burton taylor of it all

[wavesoutbeingtossed]

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

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

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

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

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

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

We're in for a wild ride in April.

[hotvintagepoll]

Propaganda

Paul Newman (Paris Blues, A New Kind of Love)—those blue eyes! that cleft chin, that jawline! plus his company makes that really good organic salad dressing!!!!!

Richard Burton (The Taming of the Shrew, Cleopatra)—idk man i mean Elizabeth Taylor must have seen SOMETHING in him (it's the welshness. he's so wales. it's the wales of it all)

This is round 1 of the bracket. All other polls in this bracket can be found here. Please reblog with further support of your beloved hot sexy vintage man.

[foxes-that-run]

do you think Hits Different is haylor coded?

Hi, to me it is, though I think it is ambiguous as I think Taylor's feelings might have been. Aaron indicated it was an earlier song on Midnights. It was possibly written not very long after Renegade.

Timeline

Aaron mentioned it as one of the songs they wrote together, he mentioned it when saying they wrote High Infidelity in L.A. after Taylor saw Harry at the 2021 Grammy's. He mentioned The Great War also. (31 mins in Broken Record podcast)

I guess this somewhat depends on one's view of the Joever timeline and the Haylor aspects of Folklore. At that time Harry wrote As it was and LOML which are about moving on and there was a lot of reporting around OW.

Video

In this pretty unsettling short she wore an Opal, Taylor's worn Opals since 2014 including the Cardigan video and says 'Opal eyes' in Ivy.

Lyrics

I washed my hands of us at the club You made a mess of me I pictured you with other girls in love Then threw up on the street Like waiting for a bus that never shows You just start walkin' on They say that if it's right, you know Each bar plays our song Nothing has ever felt so wrong

Taylor has been a mess in:

All You Had To Do Was Stay: I’ve been picking up the pieces of the mess you made

Dancing With Our Hands Tied: I’m a mess but I’m the mess that you wanted

Illicit Affairs: Look at this godforsaken mess that you made me

Also the only other bus lyric is The 1: I thought I saw you at the bus stop, I didn’t, though.

Bars feature a lot on Reputation, so many associate them with Joe, (who she started dating after a lot of the album was recorded.) however to me most of those songs are Haylor.

Oh my, love is a lie Shit my friends say to get me by It hits different It hits different this time Catastrophic blues Movin' on was always easy for me to do It hits different It hits different 'cause it's you ('Cause it's you)

The Catastrophic blues, to me are most similar to Peace: "If your cascade ocean wave blues come." but I hear the lyric as Taylor is depressed.

'Movin' on was always easy for me to do' indicates Harry to me because, he is someone she hasn't been able to move on from because of the cyclical nature of it:

End Game "We tried to forget it, but we just couldn't" and "And I can't let you go, your handprint's on my soul"

DBATC: "Chandelier's still flickering here / 'Cause I can't pretend it's ok when it's not"

I used to switch out these Kens, I'd just ghost Rip the Band-Aid off and skip town like an asshole outlaw Freedom felt like summer then on the coast Now the sun burns my heart and the sand hurts my feelings And I never don't cry (no, I never don't cry) at the bar Yeah, my sadness is contagious (my sadness is contagious) I slur your name 'til someone puts me in a car I stopped receiving invitations

Taylor has also described Harry is irreplaceable, not a switchable Ken:

Question..?:"Cause I don't remember who I was / Before you painted all my nights / A color I've searched for since" and "Does it feel like everything's just like / Second best after that meteor strike

Ready for it: "And he can be my jailer, Burton to this Taylor / Every lover known in comparison is a failure"

Gold Rush: "And the coastal town / We wandered 'round had never / Seen a love as pure as it"

Finally the drunk, slurred name lyrics, (hard to slur Joe), and

Cruel Summer: I’m drunk in the back of the car and I cried like a baby coming home from the bar

Death By A Thousand Cuts: I get drunk but it’s not enough ‘cause the morning comes and you’re not my baby

I find the artifacts, cried over a hat Cursed the space that I needed I trace the evidence, make it make some sense Why the wound is still bleedin' You were the one that I loved Don't need another metaphor, it's simple enough A wrinkle in time like the crease by your eyes This is why they shouldn't kill off the main guy Dreams of your hair and your stare and sense of belief In the good in the world, you once believed in me And I felt you and I held you for a while Bet I could still melt your world Argumentative, antithetical dream girl

Joe's worn a few baseball caps, though Taylor has also referenced Harry's hats before. In early interviews Niall said he wore them to hide his hair in public, so he wears them a lot. Including this green beanie in the 22 MV.

Bleeding is a Haylor Theme

Trace the evidence / Wrinkle in time reminds me of Right where you left me, "They expected me to find somewhere / Some perspective, but I sat and stared"

Hair, Stare and Sense of belief describe Harry well:

Hair (Style: long hair, Shake it off: hella good hair, Gold Rush: Hair falling into place)

Stare (Style: daydream look in your eye, Delicate: look into your eyes, Exile: eyes add insult to injury, Gold Rush: Twinkling eyes)

Harry has a belief in the good in the world, Joe may too, we don't really know him.

Finally the Argumentative, antithetical dream girl - reminds me of Gold Rush "At dinner parties, I call you out on your contrarian shit". Harry describes Taylor in Sweet Creature "It's hard when we argue We're both stubborn, I know" Kiwi "Hard liquor mixed with a bit of intellect" and Woman "I told you, but I know you never listen."

I heard your key turn in the door down the hallway Is that your key in the door? Is it okay? Is it you? Or have they come to take me away? To take me away

Finally, hallways and doors both feature a lot in Haylor songs, here the muse has a key. I guess this also depends on a perspective of the pandemic time, I don't find it a stretch to think H had a key to Taylors home. As far as I wonder if she even has a literal key anymore...

Have they come to take me away reminds me of:

Wonderland: And in the end in Wonderland, we both went mad

Say Don’t Go: The waiting is a sadness fading into madness

Don’t Blame Me: "For you I would cross the line, I would waste my time, I would lose my mind" and "Don’t blame me, love made me crazy"

I Wish You Would: This mad, mad love makes you come running

Blank Space: Magic, madness, heaven, sin

[youngsamanda]

i know tumblr is dead a lot of the time but i am desperate for some plots ! my brain is rotting all i want to do is write ! below is a bunch of plots and wanted opposites i have ! please keep in mind i only write with people eighteen plus and on discord ! if you are interested dm me or like this post !

wanted opposites : taylor zahkar perez , paul mescal , aubrey plaza , fabien frankel , ruby cruz , yahya abdul mateen ii , brady skjei , sabrina carpenter , havana rose liu , may calamawy , devon aoki , kieron moore , drew starkey , mason gooding , samara weaving , alperen duymaz , riley keogh , gabriel luna , jacob elordi , adrian kempe , rachel zegler , calahan skogman , chay suede , jessie mei li , zazie beetz , david harbour , emma d'arcy , kiowa gordon , roman reigns , olivia cooke , joseph quinn , anna diop , amita suman , freddie carter , danielle galligan , mia goth , henry golding etc

ships : taylor zakhar perez x nicholas galitzine , emma d'arcy x olivia cooke , emma d'arcy x ryan corr , drew starkey x odessa a'zion , courtney eaton x sophie thatcher , mason gooding x jenna ortega , joe keery x natalia dyer , anna diop x brenton thwaites , sean teale x adelaide kane , brett dalton x chloe bennet , hilarie burton x jeffrey dean morgan , deborah ann woll x jon bernthal , / finnick x annie from the hunger games , bella x edward from twilight , rosalie x emmett from twilight , leon x ada from resident evil , dick x starfire from dc , adult richie x eddie from it , van x taissa from yellowjackets , yennefer x geralt from the witcher , lorna x alex from xmen , scott x emma from xmen , steve x bucky from marvel , spike x buffy from btvs , haley x nathan from one tree hill , kate x anthony from bridgerton , eli x claire from degrassi , seam x emma from degrassi , rhys x feyre from acotar , nesta x cassian from acotar

plots : yellowjackets multimuse but oc , slasher/scream inspired mumu , sons of anarchy style bikers , you thought i died but actually i'm a vampire and we haven't seen each other in a hundred years , queen charlotte oc plot , gay witches or gay pirates or cowboys , 13 going on 30 plot , literally the plot of ez and emily from mayans mc where he goes to prison and tries to dump her turns out she's pregnant but they meet eight years later and mess ensue , messy girl and sexy priest , frat boy x friends little sister plot , messy rich gossip girl shit , arranged marriage , angsty historical people

[denimbex1986]

'Now that the radioactive fallout from Oppenheimer’s detonation is starting to settle, and the mushroom cloud that was Barbenheimer has drifted away on the breeze, it’s a bit easier to see the whole thing for what it was. Christopher Nolan has made a good film, and loads of people went to see it at the cinema, and so far it’s made north of $725 million on a $100 million budget. Happy days, whichever way you slice it.

Leave aside the typically Nolanesque time-scrambling narratives and Oppenheimer is, in a lot of ways, a blast from the past. It’s a war story packed with stars, led by a prestige director and hotly tipped for awards season. You’ve seen a hundred of ‘em. They’re BBC4 fodder. Yet Oppenheimer – in a quite Nolan-y twist – might also be the future too.

Oppenheimer hasn’t started a trend, but it’s the first of a run of historical epics which could turn out to be blockbusters like it has become. Ridley Scott continues his ridiculously productive eighties with a biopic of Napoleon Bonaparte, starring Joaquin Phoenix as the general and Vanessa Kirby as his wife Joséphine. When it was announced Scott said he’d always been fascinated by the French emperor. “He came out of nowhere to rule everything – but all the while he was waging a romantic war with his adulterous wife Joséphine,” Scott said. “He conquered the world to try to win her love, and when he couldn't, he conquered it to destroy her, and destroyed himself in the process.”

He’s also working on Gladiator 2 with (Esquire's newest cover star) Paul Mescal and Pedro Pascal, which should be gigantic. They’re all about different times and different ideas, and their attitudes toward actual history range from painstakingly researched to a broad feeling for vibes. And, really, the historical epic never went away. But it feels like it’s back as one of the pillars of Big Event Movies after some time gathering dust in the archives.

There’s a distinction here between a historical epic and a period drama. A period drama plops a story and characters into a time and place in a few specific bits of the past: the whole of the 20th century is up for grabs, plus the grottier bits of the nineteenth, the fancier bits of the early 18th, and Shakespearean London. A historical epic is less about using a time and place as a setting and more about using it as an engine for the story. Gladiator might be fictional, but it’s the heaving tides of history that take Maximus Decimus Meridius from the front lines of the war against Germanic tribes to North Africa and back to Rome.

But more than anything, it’s about the size of the ideas. Period dramas tend to be drawn on a smaller scale while historical epics reach for something timeless and gigantic. For instance: Oppenheimer broke apart the fundamental matter of the universe and made it possible for humanity to destroy itself; Pearl Harbor was more interested in blowing things up. One is an epic, the other is Pearl Harbor.

We’re in the middle of one of the occasional booms in historical movies. Last year there was The Woman King and All Quiet on the Western Front, both of which made their mark – the latter won seven Baftas including Best Film – but along with musicals they’re a type of movie that have been popular as long as there’s been movies.

The late Twenties and Thirties were a golden age: between 1929 and 1939, six of the 10 Best Picture Oscar winners were historical epics. They were big through the early Sixties too: the Elizabeth Taylor-Richard Burton Cleopatra bombed but was a massive story, while Ben-Hur, Spartacus, El Cid and Lawrence of Arabia were huge hits.

You can see the appeal for filmmakers and studios: some of these stories are so embedded within the culture that everyone roughly knows what they’re getting themselves into beforehand. Making a movie about Napoleon – or Hitler, or Henry VIII, or Helen of Troy – makes marketing a breeze. It’s the historical equivalent of making another Expendables. You know where you are.

So why are they back now? Well, on one level, they might not actually be back. This might be two Ridley Scott films and a Chris Nolan film landing in the same 18-month period, to the power of a one-off grassroots cross-promotional meme-storm. This isn’t like the boom in biopics about products and brands. It’s not like every streamer is going to be able to join the rush by running to one of Britain’s A-list directors and getting them to knock together a biopic of Charlemagne.

I think there’s certainly something to the excitement which Oppenheimer, Napoleon and Gladiator 2 have generated though. They’re all likely to be very serious films with designs on big awards, and though the stock of historical movies goes up and down it’s rare that there’s a year when not a single one is nominated for the Best Picture Oscar – it was 2009 last time that happened. But none of those movies challenged the top 10 of the biggest grossing movies in their years. You’ve got to go back to The Last Samurai in 2003 for the last historical movie to make the global top 10. As it stands, Oppenheimer is fourth in the 2023 list.

Oppenheimer strikes a noticeably grown-up tone for a Big Event Movie to take after a good 15 years where most of the Big Event Movies have either been from Marvel or the world of Avatar. In fact, movies like Oppenheimer are the exact opposite of the huge hits we’ve gradually become blasé about. Not every movie can be an event, but as the various multiverses unravel, there’s hope in the fact that stories told inventively by skilled directors have shown they can get people buying cinema tickets and talking about movies. We’re not looking at a chain reaction here, but a spark which might catch light.'

[dominionra]

Burton-Katzman inks $240 million recapitalization deal with New York firm

By Kirk Pinho  I April 11, 2023  I  Crain’s Detroit 

A new joint venture with local ties is recapitalizing more than 2.2 million square feet of light industrial real estate in Michigan with $240 million in new funding.

The JV between Bingham Farms-based Burton-Katzman LLC and New York City-based DRA Advisors LLC said it is recapitalizing 24 properties, which are 99 percent leased to more than 40 tenants. None of the tenants takes up more than 15 percent of the portfolio square footage, according to the JV.

Andy Boyce, who is partner, COO and CFO of Burton-Katzman, said Burton-Katzman bought out some of its equity partners from its portfolio and brought in DRA, which was looking for a local partner in the region.

"We got strong returns. A lot of these are our B, B-minus properties, not the A-plus pretty ones," Boyce said. "But when you package them all together, you get a little more efficiency and better returns for our overall investors, including ourselves."

DRA, whose website said it has about 30 industrial properties in the state, expands its light industrial presence at a time when the market for industrial and warehouse properties has been pumping out spec buildings at a regular clip for years.

A fourth-quarter report from the local office of New York City-based brokerage Newmark says that in the last decade, nearly two dozen spec warehouse buildings have come to the market totaling some 10.2 million square feet, and an additional 16 totaling a little over 5 million square feet are set to be completed in 2023.

Boyce said most of the 24 properties are in Southeast Michigan, although some are in Grand Rapids. Within the two dozen properties, there are close to 40 buildings in all as part of the deal.

It closed in a couple phases, wrapping up in March, Boyce said.

"Building on our over 100 years of industry experience, we're looking forward to a long and prosperous relationship with DRA Advisors, one of the most dynamic and intelligent teams in our industry," Peter Burton, one of the heads of Burton-Katzman, said in a release.

Burton-Katzman has Michigan properties in Taylor, Auburn Hills, Grand Blanc, Sterling Heights, New Baltimore, Lake Orion, Rochester Hills, Howell, Lincoln Park, Canton Township and elsewhere around the state, according to the company's website.

To read this original article on Crain’s: https://www.crainsdetroit.com/real-estate-insider/burton-katzman-dra-ink-240-million-recapitalization-deal

[thorntonkrell-blog-blog]

Changing Cleopatra's Nose

One of my idols Stephen Jay Gould wondered what would have happened if it had been raining instead of sunny when the earth came into existence? Thus began the theory of determinism which claims that history by and large is a series of accidents.

Gould was riffing on Blaise Pascal who famously stated "If Cleopatra's nose had been shorter, the entire history of the world would have been changed."

This all fits into my predisposition towards possibility thinking. In possibility thinking we ask 'what if' rather than 'what' or 'why..

We can't go back and change Cleopatra's nose but we can change the prevalent image of Cleopatra as depicted by Elizabeth Taylor. When Taylor was offered the role, she laughingly requested the unheard of salary of a million dollars to take the role.

Twentieth century Fox turned down that request. They had several other candidates in mind. Fox offered the job to the leading actresses of the day who they believed could do the job less expensively. Those actresses included Audrey Hepburn, Natalie Wood, Shirley McClain and if they really wanted to save money Tuesday Weld.

They all turned down the job. Fox re-offered the role to Taylor for the mill but Taylor wanted more so she asked for the mill plus 10% of the films profits. She didn't think the studio would agree.

Fox agreed and the rest is Hollywood cultural history.

But wait.....

Something happened in the interim.

When Elizabeth heard that Marilyn Monroe was next in line for the job, Elizabeth contacted Marlyn and said that she could have the role if she wanted it but it was too late.

Marilyn passed.

Interesting.

So now we are left to wondering what would have happened if Marilyn would have accepted the role. The ramifications are profound but I'll leave those for another day but here's a couple.

Marilyn might not have got involved with JFK. JFK might not have gone to Dallas. MM might not have been murdered. Lee Harvey Oswald and Jack Ruby would be unknown. Johnson might not have become President and mismanaged the situation in Viet Nam etc.

That's just for starters.

Yeah but how to imagine Marilyn as the queen of the Nile. One thing for pretty sure is that Cleo wasn't blonde and pale skinned

No problem.

Dye her Marilyn's hair black and darken her complexion.

Marilyn always wanted to be taken seriously as an actress but her trademark blonde hair ( which of course wasn't her natural hair color) had led her to the objectification and stereotype of the dumb blonde who wasn't as dumb as the stereotype might suggest but still kind of a joke.

She would get a chance to show off her acting chops.

Fox also considered Brando for Marc Antony as he had played him in Julius Caesar.

Stephen Boyd, still hot after his performance as Messala in Ben Hur was offered the job but delays in production forced him to give up the role.

Back to Marilyn with the Marc Antony job still open. Marilyn learns that Brando is in the mix.

Marilyn accepts the offer from Fox.

Liz never becomes Cleopatra.

Now on top of the dark hair and complexion let's fix Marilyn up with some Egyptian style makeup.

She was the right height for the job based on Taylor. Both Liz and MM were five foot three. Both were statuesque.

So now we have Brando and Monroe in Cleopatra.

Liz never meets Burton.

Le scandale never happens.

Yeah, Marilyn was an insurance risk but as it turned out Liz was a health nightmare. She missed 40 days of shooting at a studio cost of $175,000 a day.

Yeah Marilyn was habitually late but so was Elizabeth.

The studio went bankrupt.

Let's imagine Marilyn as Cleo.

The movie itself would have cost less to make, saving the studio.

With both Brando and Monroe on their game, the finished product might have become the critical and popular success that the studio imagined.

We would have a different version of Cleopatra.

But aside from that, nothing much would have changed.

Except my life and everybody else's.

[ng25fj]

— Forest were busy again this window. We knew Gustavo Scarpa was joining from Palmeiras but he was joined by teammate Danilo for (approx £16m). Scarpa is already looking like a quality attacking player. Plus another Brazilian in Felipe from Atlético Madrid. FOUR Brazilians in the Forest side now!! Chris Wood and Jonjo Shelvey also joined from Newcastle. Wood on a loan with an option to buy and Shelvey on an undisclosed fee. I can see why both these were signed. Experienced players and, with Wood, someone who has got goals in a side threatened by relegation before when he helped Newcastle out last season. I think he’d have definitely ended up at Leeds, Everton or Southampton if he wasn't here. There's been a pattern this season in getting more than one player from a club or nationality at the same time. I wonder if this was strategic? With the team being so new it would at least make the players feel a bit more comfortable with someone familiar next to them? Another signing was a bit of a surprise... Keylor Navas on loan from PSG. Sure he’s getting on a bit but 36 isn’t too old for a keeper and what great cover for the injured Henderson. All the signings here make sense and are a reaction to the current players injuries and what was seen to be needed to make improvements. I can only hope they hit the ground running and do well.  Outgoings saw a lot of loans. Loic Bade (loan from Rennes terminated). Bit of a weird transfer in the first place this one. Never got a game and smacks of a bad, rushed decision by the previous recruitment team. Josh Bowler (on loan to Blackpool after Olympiacos loan terminated) another weird one, I don’t think Bowler is a bad player but this was done in a bit too much of a hurry. Dale Taylor (loan to Burton Albion), Loic Mbe Soh (loan to Guingamp), Aaron Donnelly (loan to Port Vale), Ateef Konate (loan to Oxford United), Brandon Aguilera (loan to Estoril) and Jordon Smith (loan to Huddersfield) all make sense as these players need game time. On more is Lewis O’Brien whose loan to Blackburn has still to be confirmed. Bit of a shame as he looked good but with Danilo, Mangala, Freuler, Yates, Lingard and now Shelvey his chances are going to be limited. Forest’s transfers this season have been wild and it is unprecedented to sign this many players. Its been a bit like when you pick your fantasy league team for the season and then after the first month you've got a much better idea of who is going to work out and what's needed so you play your free card and change a bunch of things. Some players clearly weren't Cooper’s idea or at least weren’t ticking the boxes for what he needed. The removal of the summers recruitment team followed by Dane Murphy leaving last month speaks volumes. Hopefully there is a more joined up approach with manager and director of football now. One thing though, Marinakis has made good on his promise to give Copper every chance with the players brought in.  ....... Update 02/02/2023: Add Andre Ayew (free agent). Cooper knows him well from his time at Swansea and its just until the end of the season. You're hoping that Cooper can work some man management skills and get the best out of him for the last half of the season.

[spinstrackingsystem]

Country Singer-Songwriter Brei Carter Releases Eclectic Debut Album Brand New Country

Country and southern pop singer-songwriter Brei Carter has released her debut album today, Brand New Country, available everywhere digitally on all major music platforms, or at linktr.ee/breicarter. Brand New Country features an eclectic collection of new and previously released music which Brei wrote and recorded with a diverse group of multi-genre music producers and songwriters, including Nashville veteran Curt Ryle (Taylor Swift, Pam Tillis, Brooks & Dunn) and Jason Wyatt (Kid Rock, Sweet Tea Trio), along with Atlanta based R&B/Hip-Hop music producers William Washington WLPWR (Eminem, Wiz Khalifa, Yellawolf) and Bridgetown (Mary J Blige, Neyo, Trey Songz), and St. Louis based pop and hip-hop producer SP Fredrick Perine (Baby Bam, JungleBrothers, Ball & Ro). Plus, Brand New Country features fan familiar favorites like the catchy chorus hook in “Gave Him A Girl,” or Brei’s timeless reworking of Charley Pride’s “Kiss An Angel Good Mornin,’” or her last single, the standoffish and feisty “Paybacks,” all of which have garnered her critical acclaim from country music tastemakers. Songs which the blossoming Nashville-based country recording artist has also crafted her very likable reputation on. “Stronger Than That” is Brei’s next single to country radio and the album’s current focus track that was produced by Jason Wyatt and co-written with Wayne Burton. Read the full article

[newmusicradionetwork]

Brei Carter Releases Eclectic Debut Album Brand New Country

Country and southern pop singer-songwriter Brei Carter has released her debut album today, Brand New Country, available everywhere digitally on all major music platforms, or at linktr.ee/breicarter. Brand New Country features an eclectic collection of new and previously released music which Brei wrote and recorded with a diverse group of multi-genre music producers and songwriters, including Nashville veteran Curt Ryle (Taylor Swift, Pam Tillis, Brooks & Dunn) and Jason Wyatt (Kid Rock, Sweet Tea Trio), along with Atlanta based R&B/Hip-Hop music producers William Washington WLPWR (Eminem, Wiz Khalifa, Yellawolf) and Bridgetown (Mary J Blige, Neyo, Trey Songz), and St. Louis based pop and hip-hop producer SP Fredrick Perine (Baby Bam, JungleBrothers, Ball & Ro). Plus, Brand New Country features fan familiar favorites like the catchy chorus hook in “Gave Him A Girl,” or Brei’s timeless reworking of Charley Pride’s “Kiss An Angel Good Mornin,’” or her last single, the standoffish and feisty “Paybacks,” all of which have garnered her critical acclaim from country music tastemakers. Songs which the blossoming Nashville-based country recording artist has also crafted her very likable reputation on. “Stronger Than That” is Brei’s next single to country radio and the album’s current focus track that was produced by Jason Wyatt and co-written with Wayne Burton. As her songs are typically known for, the song’s message is as timely as it is powerful, and is part of her life’s musical story book. “When Wayne and I wrote that song, I wanted to tell my story of what I went through growing up, how I felt,” Brei explained. “I wanted to share with the world that no matter what obstacles they were dealing with or going through, that they could make it. Stronger than that is a reminder that you’re tougher than you think and to believe in yourself regardless of what others think or say.” Since making her emergence into Nashville’s bustling music scene in 2016, Brei has quickly established herself as a smooth and sometimes edgy songstress whose single catalog has garnered praise from Billboard, Music Row Magazine’s Robert K. Oermann, St. Louis Magazine, Guitar Girl Magazine, and has landed her appearances on WoodSongs Old-Time Radio Hour, NewsMax-TV, RFD-TV, WSMV-TV and others. Carter’s infectious melodies also helped propel her onto the CMA Fest Spotlight Stage this past June, where she gave her first performance at a major music festival. Single name: “Stronger Than That” Album name: Brand New Country ISRC#: USHM82220253 UPC#: 198004229401 Release date: September 16, 2022 Album audio producers: Jason Wyatt, Curt Ryle, Bridgetown, SP Fredrick Perine, William Washington WLPWR Buy/Stream/Listen at linktr.ee/breicarter Track Listing, Producers & Songwriters:  - “Brand New Country” $ (Brei Carter, Shawn Hubbard) - “Smiling” * (Brei Carter, Josh Courson, Jason Wyatt) - “Roadmaps Of Memories” ^ (Curt Ryle, Hollie Jett) - “Kiss An Angel Good Mornin’” * (Ben James Peters) - “Cowboy Romeo” * (Brei Carter, Jason Wyatt, James Breedwell) - “Paybacks” * (Brei Carter, Jason Campbell, Terry Smith) - “Stronger Than That” * (Brei Carter, Wayne Burton) - “Country Choir” * (Corey Lee Barker, Shantell Odgen) - “Sippin On A Good Time” ^ (Curt Ryle, Kelsey Hart, Tony Mullins) - “Cowgirl” ^ (Brei Carter, Carli Vintaj) - “Here’s To Nowhere” * (Brei Carter, Corey Lee Barker) - “Propane” @ (Brei Carter, Misha Fair) - “Gave Him A Girl” * (Brei Carter, Mason Douglas, Jason Wyatt) - “Love Don’t Look Like This” ^ (Marilyn Crawley) - “Yours” * (Corey Lee Barker, Charley Woods) - “Ride In The Desert” featuring Josh Waters + (Brei Carter, SP Fredrick Perine, Shawn Hubbard) * = Produced by Jason Wyatt ^ = Produced by Curt Ryle + = Produced by SP Fredrick Perine @ = Produced by William Washington WLPWR $ = Produced by Bridgetown About Brei Carter: Emerging crossover country and southern pop recording artist Brei Carter is proof that sometimes faith, patience and time pays off. Growing up in Monroe, Louisiana with a solid, southern upbringing, Brei’s family raised her on several authentic southern staples: the Bible, Lone Star Missionary Baptist Church’s choir, Charley Pride, Loretta Lynn, Aretha Franklin, and no shortage of familial love and devotion. However, before she became the dynamic and vivacious country singer she is today, Brei was busy earning a Bachelors in Business from University of Louisiana in Monroe, a Masters in International Relations from Webster University, and a Doctorate in Theology from New Foundation Theological Seminary. She is also a proud Veteran of the U.S. Army, where she served as an enlisted soldier and as an officer. Having moved to Nashville soon thereafter, Brei has quickly established herself in the songwriters community as a smooth and sometimes edgy songstress who melds country, soul and southern pop into one fused style. Her first single at country radio “Gave Him A Girl” was immediately recognized as “cute and catchy” by country music journalist and historian Robert K. Oermann in his weekly DISClaimer review column for Music Row Magazine, where it eventually charted up to #71. With a growing catalog of new music, including her debut album Brand New Country, slated for a September 16 release, this young singer-songwriter is a welcome addition to the emerging new styles of the country music community. Brei Carter Contacts: Media / Publicity / PR: Jason W. Ashcraft | jwa@jwamedia.com | (615) 991-1125 Radio Promotion: Renee McClure | renee@grassrootspromotion.com | (615) 646-3912 Booking: booking@breicarter.com Read the full article

[newmusicweekly]

Country Singer-Songwriter Brei Carter Releases Eclectic Debut Album Brand New Country, With Powerful Focus Track & New Single “Stronger Than That”

Country and southern pop singer-songwriter Brei Carter has released her debut album today, Brand New Country, available everywhere digitally on all major music platforms, or at linktr.ee/breicarter. Brand New Country features an eclectic collection of new and previously released music which Brei wrote and recorded with a diverse group of multi-genre music producers and songwriters, including Nashville veteran Curt Ryle (Taylor Swift, Pam Tillis, Brooks & Dunn) and Jason Wyatt (Kid Rock, Sweet Tea Trio), along with Atlanta based R&B/Hip-Hop music producers William Washington WLPWR (Eminem, Wiz Khalifa, Yellawolf) and Bridgetown (Mary J Blige, Neyo, Trey Songz), and St. Louis based pop and hip-hop producer SP Fredrick Perine (Baby Bam, JungleBrothers, Ball & Ro). Plus, Brand New Country features fan familiar favorites like the catchy chorus hook in “Gave Him A Girl,” or Brei’s timeless reworking of Charley Pride’s “Kiss An Angel Good Mornin,’” or her last single, the standoffish and feisty “Paybacks,” all of which have garnered her critical acclaim from country music tastemakers. Songs which the blossoming Nashville-based country recording artist has also crafted her very likable reputation on.  “Stronger Than That” is Brei’s next single to country radio and the album’s current focus track that was produced by Jason Wyatt and co-written with Wayne Burton. Read the full article

[wonderconathome]

WonderCon@Home announces the winners of the 2021 Masquerade Costume Competition

Note that some winners are credited only by Tumblr accounts:

Best In Show: “Astra: Queen of the Frostborn”, a light-enhanced original design crafted by The Queen’s Armory.

Judges’ Choice: “Elphaba Act II Gown” from the Broadway musical Wicked, re-created in every detail by Shane Chandler (ShaneChandlerCostume).

Best Re-Creation: “The Ugly Stepsisters” A 2-person historical re-creation from Disney’s animated Cinderella, crafted by Devon Baker and Carrie-Lea Hoch (Komickrazi).

Best Original Design: “Cheshire Cat”, an original design inspired by Tim Burton’s Alice in Wonderland, designed and made by Nina London Cosplay.

Best Workmanship: “The Ur-Dragon” inspired by card art of the Magic: The Gathering game. Crafted by Kensadi Cosplay.

Best Presentation: “This Is Quarantine” a 2-person re-creation from The Nightmare Before Christmas, imitating famous paintings, crafted by Perditas Wardrobe.

Most Humorous: “The Infinity Gauntlet” An original design inspired by Avengers: Endgame, crafted by Adolfo “Ariel” Estandarte, (Ariel004).

The above winners will receive WonderCon@Home trophies, plus free attendee badges to WonderCon Anaheim 2022.  Also, the Best in Show winner Astra: Queen of the Frostborn will receive $500 in cash from Frank and Son Collectible Show, of the City of Industry, California.

Honorable Mentions:

Each of the 3 judges had a costume they liked very much but did not win.  Here then they are:

“Oscar François de Jarjayes from The Rose of Versailles”, a re-creation from a Japanese shōjo manga series, and crafted by Yugiri315.

“Elizabeth Swann from Pirates of the Caribbean: At World’s End”, re-created by Emily G. (GeekyGirlFashions).

“End Game Ironman” re-created from Avengers: Endgame, crafted by Capt Cash.

WonderCon gives a big thank-you to the contestants for all their work, to the guest judges for their time and expertise, to the Foglio’s for being our Masters of Ceremonies, and to Frank and Son Collectible Show for their generous support of the event!

Meet your 2021 WonderCon@Home Masquerade Judges:

Jennifer May Nickel

"What makes the art of Costume Design so thrilling is the opportunity to help tell a story and bring characters to life."

Jennifer May Nickel is a Costume Designer for Television and Film.  For television, Jennifer’s Costume Design credits include Neflix’s Cabin with Bert Kreischer and Taylor Tomlinson: Quarter-Life Crisis, the CW’s Containment, Fox’s What Just Happened??! with Fred Savage, Syfy's TV movie Miami Magma, the History Channel’s Legend of the Superstition Mountains, TLC’s TV movie The Secret Santa and Nickelodeon’s The Massively Mixed-Up Middle School Mystery.

Classically trained in theatre, Jennifer holds an MFA in Costume Design from Carnegie Mellon University and also studied in England at Oxford University (St. Edmund’s College: Myth and Ritual in Theatre). A proud member of the Costume Designers’ Guild Jennifer has won the Elizabeth Schrader Kimberly Costume Design Award, The Cecilia Cohen Award for Excellence in Theatre and The WCDAC Achievement Award.

Her more extensive bio can be found on IMDb.

Gigi “Fast Elk” Bannister

SFX Artist, Director, Producer, Actor, Director, Gigi "Fast Elk" Bannister (formerly Porter) has been in the film industry for over 35 years.  Better known for her practical special effects and production work, Gigi is comfortable on both sides of the camera. She's appeared in over a dozen films and television shows, and is a popular guest at horror conventions, film festivals, workshops and seminars. For several years she has donated time at San Diego Comic-Cons to assist Masquerade contestants with their special effects make-up needs.

Gigi is credited as a Producer on Don Coscarelli and David Hartman's "Phantasm V: Ravager" (2016) and Steve King's "One For the Road" (2011) (Night Shift Anthology). As a character actor, she's appeared in "Bloody Bloody Bible Camp" (2011), "Carnies" (2009), in "Small Town Saturday Night" (2009) (with Chris Pine, John Hawkes, Reggie Bannister, and Perry Anzilotti), and again in Don Coscarelli's "Bubba Ho-Tep" (2002) (Bruce Campbell, Reggie Bannister and Ozzie Davis), and many more. She has produced and directed on numerous projects including dozens of live events, fundraisers and seminars, six independent feature films, and six shows for television.

More information on Gigi can be found on IMDb.

Allan Lavigne

Costumer, make-up special effects artist, sculptor, and [MJ1] painter with 40+years with credits from Lucasfilm, Sony Pictures, Disney, and more, his costume fabrication work has been exhibited around the world in museums, film premieres and numerous conventions.  His Bronze Armory studio is in the San Francisco Bay Area where he creates, lectures, and teaches.  His newest exhibit of screen-accurate motion picture and television costume reproductions “The Batman Armory” will be re-opening soon at the San Francisco Cartoon Museum, requested by Warner Brothers to promote the new Batman encyclopedia: Batman: The Definitive History of the Dark Knight in Comics, Films and Beyond which Allan was technical advisor for. Formerly a top winner for many years in fan costuming at many conventions, including San Diego Comic-Con, he brings with him great insight from having learned and honed his costume skills as a contestant himself.

Additional information about Allan’s work can be found at https://thebronzearmory.com

[merp-blerp]

Albums I want to get the “Jagged Little Pill treatment” & why

My list of albums that could become stage musicals like Alanis Morissette’s Jagged Little Pill (without all the enbyphobia and lying to fans).

Electra Heart by MARINA/Marina and the Diamonds

The album is genius! The title character represents different archetypes of women in pop culture, House Wife, Beauty Queen, Homewrecker and Idle Teen. Maybe the hypothetical show could follow different characters who represent each archetypes till they die from an OD on sleeping pills (since Electra is canonically dead now & that’s how she died) and meet up in the afterlife. Or maybe follow one character throughout different stages in her life (which would be the archetypes, starting with idle teen, then beauty queen, then homewrecker, and lastly housewife) till she dies. Or maybe no one has to die. Either way “Fear and Loathing” would make a great finale song, either as the character(s) self-reflecting on their life and desiding to making a change, or self-reflecting on a life already lost forever.

The Family Jewels by MARINA/Marina and the Diamonds

For similar reasons for Electra Heart. This show could be about an overachiever who comes from a respected family that’s hiding dark secrets and goes through different traumas and has a breakdown, eventually seeing her achievements as the only thing that makes her worthy. I think maybe a male family member who she only refers to as “Hermit the frog” abused her sexually(?) when she turned seventeen without getting caught, causing her mind to break. She copes by using dirty humor, which her family disaproves of, and habits like smoking, drinking, partying, etc. She also has issues with an NLOG mindset, exhibited in the song “Girls”. She dreams of fame—it consumes her, since it would be the ticket out of her family and Hermit the frog, plus, success is her drug. But she's rejected. She eventually runs away to work on her dream without family issues in the way. I think the character does get the fame they want, but at the cost of losing their family and being lonely due to lack of friends. I admit I don't understand as much as I do with Electra Heart, but I think there's definitely a story there.

Folklore by Taylor Swift

Evermore by Taylor Swift

I think everyone and their grandma wants this, right? Taylor could write a musical for sure. I think these albums could possibly make one show. I think it would be funny if the show was called Woodvale because of all the conspiracys. I imagine “Woodvale” is the town Betty, Augustine, James, Inez, and maybe Dorothea and once Rebekah live (since so many songs mention a small town). I imagine it's a fishing community because why not. I want to make a more detailed and mapped out description of what I imagine this is one day.

Evelyn Evelyn by Evelyn Evelyn/Amanda Palmer and Jason Webley

This one is just asking to be adapted! It's all there! I actually think this would work better as an animated film. I've seen the idea of Tim Burton making this a stop motion picture thrown around by most and I think that's a great idea. A stage musical would be cool too.

Strange Trails by Lord Huron

This album is so good! It's such a shame that it's only known for “The Night We Met” & Thirteen Reasons Why. I love that song, but the whole album is great. I have a whole mapped out idea of the story of this album, but this post would be way too long (it might already be) so maybe I'll make it later someday. EDIT: so apparently there’s already a story attached to this album(?) If so that's cool. This album’s so epic and would make a great show I think.

Atlas: Enneagram by Sleeping at Last

If you don't know, the Enneagram is “a model of the human psyche which is principally understood and taught as a typology of nine interconnected personality types” (according to Wikipedia). If you want to know more I recommend Josh Keefe’s videos on it. He breaks it down pretty well. This show could be about nine people going through life. Each song is a solo from the person who represents that enneagram.

[anorclovesagnome]

(Finally getting to post some character building stuff on this blog, a promised!)

This counts for Sunday Gnomedays on my main site @rachelillustrates too, BUT I'm featuring it here because it was drawn with specific playlist-context in mind.

Full "Tock the Gnome" inspiration playlist notes here. Listen here 🖤

The songs in thought right now, though, are "Ready For It" and "Sparks Fly," both by Taylor Swift.

**These notes are for inspiration purposes only. No direct affiliation with Taylor Swift or her music is intended.**

So, starting with "Ready For It" -

I originally put it on the playlist with Onna in mind, since it seemed about someone being really sure about an attraction and being willing to wait.

BUT.

Upon more than a few more re-listens, I've realized it's about Tock herself. About that part of her that feels pulled to Onna immediately, and that willingness to wait. That surety.

The "killer" lyrics it starts with call to her being attracted to the "danger" Onna represents, immediately (though I feel like the song didn't mean that literally, that's how it resonates, sooooo...). Nodding to the "dangerous" nature assumed of Orcs in all most fantasy media, there, too.

"Younger than my exes but he act like such a man, so" - Onna is younger than anyone she's ever tried to love, since Orcs are much less long-lived than Gnomes. Taking that tongue-in-cheek.

The "island breeze" lyric speaks to the island of the Quest's driving legend, of course! AND following that thought, for the idea that Onna is, spiritually, the 'princess' she's seeking, especially if the Lowlands are already "like" that specific island.

"Me, I was a robber first time that he saw me / Stealing hearts and running off and never saying sorry / But if I'm a thief, then he can join the heist / And we'll move to an island-and / And he can be my jailer, Burton to this Taylor / Every lover known in comparison is a failure / I forget their names now, I'm so very tame now / Never be the same now, now" - Exactly how she was with other courtships before, until her ex Lorna (since Lorna did that TO her, then she stopped, and has considered herself guilty still in this respect ever since then). This is not to say that she meant to play people - far from it, she just falls in love super, super easily. And in writing these notes, part of me feels an echo of Jane/Rochester of "Jane Eyre" there - not that there's a "wild person" who needs to be tamed by a "chaste" one, but that there's something scattered and panicked and untethered within Tock (like Rochester) that longs, of her own volition, to be met on a more even level (like Jane does with Rochester, though that's cloaked in the tropes I've already mentioned. I could write a whole other post on Jane Eyre inspiration, so I'll stop there!). Plus, these words invite "him" to come on the "heist," and Tock has no intentions of totally settling down after this. She may think she'll find the Princess and go home to normal life, but adventure is in her nature and her future, and Onna will always follow her in that. So there's something there, I'm just not quite sure what it is yet.... absolutely more on that in the future.

AND the "games" lyrics speak to her playful nature about it. Like this sleeping part of her will test Onna, to see if it's true.

Now, on the other hand, "Sparks Fly" and Onna's perspective -

I originally put this on the playlist for the idea of falling in love, as much as they didn't mean to, in general. But if "Ready For It" is about Tock, this is clearly about Onna, almost in return.

Not that Tock has the "green eyes" mentioned in the chorus, but everything else just feels like the moment she meets her (and the rest of that afternoon).

And particularly, in regards to her romantic future:

"You touch me once and it's really something / You find I'm even better than you imagined I would be" - Of course, about her awareness of Tock's intentions with the theoretical Princess of the Quest.

"I'm on my guard for the rest of the world / But with you I know it's no good" - As I mentioned in her character-building information last week, Onna is usually awkward and very guarded around everyone, both new people and most people she already knows. But Tock has opened her up from the very first moment. And there are reasons for that - we'll be getting to them, soon.

"And I could wait patiently but / I really wish you would / Drop everything now..." - We're gonna get into this soon, but even in the face of Tock's hesitance (because of the idea of the Princess), Onna is sure already. She's not going to hesitate, except to figure out the best way to start following her heart, what is the right thing to do in pursuing someone of such a different culture. Orcish courtship and marriage is a LOT more direct than Gnomes,' which she knows vaguely about due to certain life experiences I can't reveal yet.

So she will have to take some time, coming up in the most current scene, to future that out before she moves forward. But it will be just a moment. Her course is already set ❤

Hope you enjoyed this breakdown of some of the inspiration for this queer Faerie love story! If you haven't checked it out yet, you can read it anytime here.

[howyougetthenerd]

Cowboy like me is a sister of ready for it?.

gotta be honest, I’ve never thought about this scenario but I can see it now. There are a couple of similarities, especially because they both hint at the beginning of the relationship, how different this is from the past ones and what kind of mark they both left in those who’ve been close to them. Plus they both imply the fact that there’s always a matter of money, coming from other “rich folks” that don’t understand the sweetest con

cowboy/bandit vs killer/robber

Oh, I thought This is gonna be one of those things Now I know I'm never gonna love again

I see how this is gonna go Touch me, and you'll never be alone I-Island breeze and lights down low No one has to know 

Perched in the dark Telling all the rich folks anything they wanna hear Like it could be love I could be the way forward Only if they pay for it You're a bandit like me Eyes full of stars Hustling for the good life Never thought I'd meet you here It could be love We could be the way forward And I know I'll pay for it

Knew I was a robber First time that he saw me Stealing hearts and running off and never saying sorry But if I'm a thief then He can join the heist And we'll move to an island-and And he can be my jailer Burton to this Taylor Every love I've known in comparison is a failure I forget their names now I'm so very tame now Never be the same now, now 

And the skeletons in both our closets Plotted hard to fuck this up And the old men that I've swindled Really did believe I was the one And the ladies lunching have their stories about When you passed through town But that was all before I locked it down

Wonder how many girls he had loved and left haunted But if he's a ghost then I can be a phantom Holdin' him for ransom Some, some boys are tryin' too hard He don't try at all though Younger than my exes but he act like such a man, so I see nothing better, I keep him forever Like a vendetta

[acoolchickouthere13]

March 30, 2018 sang at Bluebird Cafe in Nashville, Scott Bruchetta attends with her mom

April 13, 2018- *september cover* -Nashville

Late March-early May 2018-taylor has hot pink nails in the new record label(UMG) insta post. She also has hot pink nails at very beginning of Miss Americana documentary in her NY apartment. I just assume that these events happen within the same week. This means she signed with a new label 4-6 months after her contract with BMLG. She informed Bruchetta 7-9 months after. Windowsill interview?

April 25, 2018

I find it interesting she has a shirt that says “Lovers” but she apparently hadn’t written Lover yet, or ME!(“Lover”)

May 7th, 2018 Joe and Taylor post coordinating photos but they could’ve been taken forever ago and possibly not have seen each other for like 5 months

Reputation tour starts may 8th, 2018, and Joe was there(MA doc (42:30))

“Well, it started emerging pretty soon after I started filming. I started filming in 2018 during the reputation Tour. So when I started filming, she had just come back after this period of being away from the public eye for a year. She was just going back into the public eye, but trying to find a way to live in the public eye where she didn’t have to feed so much the opinions and the constant feedback from the entire world that’s not just feedback on her music, but it’s feedback on her as a person. And I think it’s pretty amazing how she’s maintained to hold onto her humanity and her sense of humor in the face of all that. So when I started filming, she hadn’t done an interview in three years. And no one had ever filmed with her in the studio before. So we began by just building trust, getting to know each other, and I think as the reputation tour became really successful, as she started working on the next album, she had regained this confidence and strength and she had a new perspective on things that led to her consciousness growing and developing in this really incredible way about politics, about feminism, culminating in her decision to speak out politically.”— Lana Wilson on how Miss Americana’s storyline began to emerge”

SB alerted all of the shareholders on Thursday, June 20th for an official shareholder’s call scheduled for Tuesday, June 25th, 2018. On the 6/25 call the shareholders were made aware of the pending deal with Ithaca Holdings and had 3 days to go over all of the details of the proposed transaction. We then had a final call on Friday, June 28th in which the transaction passed with a majority vote and 3 of the 5 shareholders voting ‘yes’ with 92% of the shareholder’s vote.

Out of courtesy, SB personally texted Taylor at 9:06pm, Saturday, June 29th to inform her prior to the story breaking on the morning of Sunday, June 30th so she could hear it directly from him [soooooo basically they waited until she was on tour to decide this, and the 20th she was out of country and the 25th she was returning to US]- here

I have a theory that the monologue of taylor when talking to her team and crying in the MA doc(35:17) is about the SB decision: “we’re people who got into this line of work because we wanted people to like us, ‘cause we were intrinsically insecure, because we liked the sound of people clapping ‘cause it made us forget how much we fee like we’re not good enough. And I’ve been doing this for 15 years, and it’s just, I’m tired of it. It just feels like it’s more than music now at this point. And just most days I’m like ‘okay.’ But then sometimes, I’m just like... it just gets loud sometimes.” : here and here

So, Taylor KNEW her work would be sold. But didn’t know it’d be to Scooby

June/July 2018 Soon You’ll Get Better PRODUCED, maybe written?(swift, antonoff)-it makes sense to me that SYGB is written here because it’s during filming of the MA doc, it’s with Jack, and it probably facilitated her to make healthier decisions in life and made her realize to leave her label soon. Also, in the Lover secret sessions she says, “when I wrote this one, I recorded it with Jack, and he was working, at the time, with the Dixie Chicks, making their new album. That's the band that made me wanna do this. There's a handful of artists that made me wanna do this. The Dixie Chicks taught me that you can have a strong female voice, saying whatever she wants in music, and experimenting with having a very feminine aesthetic, but very tough resilience to them. And their musicianship, the way that they played their instruments made me wanna play an instrument. Basically, I said to Jack, 'Can you please play this song for the Dixie Chicks? It's a really special song for me and my family, and they were such a big part of my life, and I wonder if maybe they can sing background vocals on it, or maybe even play on it if they wanted to.' And he played it for them, and they got really emotional hearing it, and wanted to sing on it and play fiddle and banjo on it too. So, the background vocals that you're hearing in this song are the Dixie Chicks, who I'm obsessed with."(x)- so December 2014 Andrea is diagnosed with cancer, April 2015 Taylor announces her mom has cancer, March 2016 Taylor posts a video of Kitty the dog(a dog Andrea says she got when she found out she had cancer), Andrea relapses during filming of MA doc, June 2018 SYGB is produced(maybe written?)

Returns to Reputation tour June 30th, 2018

June 2018 “I read a book about Richard Burton and Elizabeth Taylor recently, and how there was this crazy frenzy surrounding them. In the book, Elizabeth is quoted as saying, ‘It could be worse, we could be the Beatles.’(x) (...Ready For It)

July 2018

July 13, 2018

If we take her story as true, she probably finished the Cleveland show, she flew back to Nashville, couldn’t sleep, wrote Lover, then flew to NY to record with Jack- tells story in later interview here….but I think it was written before this time(June 2016)

Lover recorded July 18, 2018 -supposedly written a week before Karlie reveals engagement- “lover(CIWYW)” “magnetic(gorgeous)” --Jack says this song was written July 17, 2018, but “this is our place” makes me think it was written at Cornelia St. Plus, it was written in Nashville and she was in Cleveland July 17. “Laughing with my lover”(CIWYW)- heart eye tattoo. In an interview she says the song was all done in one day