#promo music no copyright

[lackadaisycats]

Hey Tracy! Have you heard about the new Ai called Sora? Apparently it can now create 2D and 3D animations as well as hyper realistic videos. I’ve been getting into animation and trying to improve my art for years since I was 7, but now seeing that anyone can create animation/works in just a mare seconds by typing in a couple words, it’s such a huge slap in the face to people who actually put the time and effort into their works and it’s so discouraging! And it has me worried about what’s going to happen next for artists and many others, as-well. There’s already generated voices, generated works stolen from actual artists, generated music, and now this! It’s just so scary that it’s coming this far. 

Yeah, I've seen it. And yeah, it feels like the universe has taken on a 'fuck you in particular' attitude toward artists the past few years. A lot of damage has already been done, and there are plenty of reasons for concern, but bear in mind that we don't know how this will play out yet. Be astute, be justifiably angry, but don't let despair take over. --------

One would expect that the promo clips that have been dropping lately represent some of the best of the best-looking stuff they've been able to produce. And it's only good-looking on an extremely superficial level. It's still riddled with problems if you spend even a moment observing. And I rather suspect, prior to a whole lot of frustrated iteration, most prompts are still going to get you camera-sickness inducing, wibbly-wobbly nonsense with a side of body horror.

Will the tech ultimately get 'smarter' than that and address the array of typical AI giveaways? Maybe. Probably, even. Does that mean it'll be viable in quite the way it's being marketed, more or less as a human-replacer? Well…

A lot of this is hype, and hype is meant to drive up the perceived value of the tech. Executives will rush to be early adopters without a lot of due diligence or forethought because grabbing it first like a dazzled chimp and holding up like a prize ape-rock makes them look like bleeding-edge tech geniuses in their particular ecosystem. They do this because, in turn, that perceived value may make their company profile and valuations go up too, which makes shareholders short-term happy (the only kind of happy they know). The problem is how much actual functional value will it have? And how long does it last? Much of it is the same routine we were seeing with blockchain a few years ago: number go up. Number go up always! Unrealistic, unsustainable forever-growth must be guaranteed in this economic clime. If you can lay off all of your people and replace them with AI, number goes up big and never stops, right?

I have some doubts. ----------------------

The chips also haven't landed yet with regards to the legality of all of this. Will these adopters ultimately be able to copyright any of this output trained on datasets comprised of stolen work? Can computer-made art even be copyrighted at all? How much of a human touch will be required to make something copyright-able? I don't know yet. Neither do the hype team or the early adopters.

Does that mean the tech will be used but will have to be retrained on the adopter's proprietary data? Yeah, maybe. That'd be a somewhat better outcome, at least. It still means human artists make specific things for the machine to learn from. (Watch out for businesses that use 'ethical' as a buzzword to gloss over how many people they've let go from their jobs, though.)

Will it become industry standard practice to do things this way? Maybe. Will it still require an artist's sensbilities and oversignt to plan and curate and fix the results so that it doesn't come across like pure AI trash? Yeah, I think that's pretty likely.

If it becomes standard practice, will it become samey, and self-referential and ultimately an emblem of doing things the cookie-cutter way instead of enlisting real, human artists? Quite possibly.

If it becomes standard industry practice, will there still be an audience or a demand or a desire for art made by human artists? Yes, almost certainly. With every leap of technology, that has remained the case. ------------------ TL;DR Version:

I'm not saying with any certainty that this AI blitz is a passing fad. I think we're likely to experience a torrential amount of generative art, video, voice, music, programming, and text in the coming years, in fact, and it will probably irrevocably change the layout of the career terrain. But I wouldn't be surprised if it was being overhyped as a business strategy right now. And I don't think the immensity of its volume will ever overcome its inherent emptiness.

What I am certain of is that it will not eliminate the innate human impulse to create. Nor the desire to experience art made by a fellow soul. Keep doing your thing, Anon. It's precious. It's authentic. It will be all the more special because it will have come from you, a human.

[likeadevils]

1989 Timeline

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

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

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

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

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

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

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

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

Without further ado...

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

This Love: Oct 17, 2012 (Confirmed)

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

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

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

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

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

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

January 11, 2013: Taylor is photographed outside Conway again

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

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

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

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

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

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

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

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

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

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

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

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

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

Sweeter Than Fiction: Summer 2013 (Speculation)

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

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

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

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

Out Of The Woods: September 14 2013 (Inferring)

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

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

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

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

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

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

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

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

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

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

Blank Space: October 26, 2013 (Inferring)

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

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

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

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

Bad Blood: Fall 2013 (Speculation)

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

New Romantics: Fall 2013 (Speculation)

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

Wildest Dreams: Fall 2013 (Speculation)

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

Wonderland: Fall 2013 (Speculation)

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

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

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

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

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

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

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

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

You Are In Love: Jan 2014 (Inferring)

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

I Know Places: Jan 22, 2014 (Confirmed)

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

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

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

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

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

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

Clean: Feb 9, 2014 (Confirmed)

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

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

Shake It Off: Feb 15, 2014 (Confirmed)

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

February 18, 2014: Taylor is photographed entering Conway Studios

Style: Feb 19, 2014 (Confirmed)

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

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

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

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

May 30, 2014: Taylor writes in her diary:

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

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

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

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

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

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

[davekat-sucks]

I stayed away from the fandom for years. Can you summarize for me how Hussie (and some of his "friends") became such hated figures in this fandom? I know very little about what happened with Sarah Z's video and the drama of homestuck reddit vs kate mitchell

Andrew Hussie and WhatPumpkin had tried to sue Sarah Z for libel because of her critique on the shitty sequel that is Homestuck 2. It didn't help that HS2 was put on a long hiatus since December 25, 2020. He sent her a most unprofessional email like he would. But it wasn't until later on that it was revealed that Homestuck 2 was actually a money laundering scheme by Andrew Hussie to pay off his debts towards Viz Media. He lied to his freelance artists, claiming they are working on the project to help bring the series back to its full glory. The most funny part is that Hussie had tried to pitch Homestuck^2 to Viz Media and they rightfully REJECTED this and told him it was the bad idea. But he didn't listen. Andrew Hussie then decided to leave his name out of Homestuck, any future projects relating to it, including the HIveswap game that he Kickstarted and had misued the money, to live off with his money on IP alone. As for the Homestuck Reddit vs Kate Mitchell, besides the whole fact that Kate Mitchell is controversial for making lots of questionable remarks, takes, and had LITERALLY ADVERTISED HER NUDES ON HER PERSONAL ACCOUNT THAT WAS USED TO TALK TO HOMESTUCK FANS, she and Hussie had found out that Makin, the head of Homestuck Community Reddit and Discord, had created Homestuck.net. Which is an archive site for all things Homestuck media related. From art assets, fan games, music resources, and of course, Patreon exclusive posts for Homestuck^2. It was back in the early 2020s, way before the hiatus and Hussie cutting himself off. Andrew Hussie, Kate Mitchell, and others in WhatPumpkin like Aysha, are upset at them. Thinking they are infringing copyright in preserving some of the lost sprite art and other materials related to the series. There was rumors someone, not sure if it was WhatPumpkin or some random defender of Hussie, had accused Homestuck Community Discord, was sharing CHILD PORN, which was untrue. Andrew Hussie had sent emails to the mods and Makin, requesting the latter step down from his position and let Hussie and WhatPumpkin take control of the Discord. He also asked question about the mods sexuality for the sake of 'gender and sex composition'. Of course by the end, it failed and Makin is still around. I don't think it's been made public on either Twitter or Tumblr, as it is just kept within the Discord server itself. But they had release the email transcripts in a PDF file about all this. Of course, Makin isn't too much of a saint either as he accused the artist (HONE) for 'normalizing' the characters and plagiarizing a fan edit, not realizing who it was that made all the Homestuck Requiem promo art and that it was made WAAAAY before Pesterquest was out and approved by Viz Media themselves. He would then find out who it was and backpedaled, likely not having directly apologizing to HONE. The way I see it is two tards fighting each other. Wanna view the PDF file? (˵ •̀ ᴗ - ˵ ) ✧ I have been meaning to document some of the controversies and drama within the Homestuck series. Be it from Hussie, Whatpumpkin, and any other major incident. From how one Homestuck musician got kicked out for accusing Hussie on mistreatment of his music team to spending $10k on an office in New York to work on Hiveswap, it would be a history of all the things that had happened behind the scenes with evidence to back it up.

[sageistri]

https://www.tumblr.com/sageistri/754107899877457920/from-what-ive-seen-kths-are-bringing-up-how?source=share

Expecting pjms to care about Tae who still ended up getting more promo than Jimin is like expecting kths to not insert themselves into every situation and make it about their useless fave. Why the hell should we care? It's not like kths are out here trying to build solidarity against that awful company. All they want to do is whine and cry about how Jimin's more privileged with zero evidence. Betraying how salty you are about Jimin being more successful does not constitute an issue for anyone outside of kth circles.

Trying to pretend that someone's advertisement shilling a product he doesn't even like has any relation to Jimins concept in his album is laughable - just as laughable as acting like he has copyright over the word slow dance especially after he literally used their unit song title for his solo single. Should we then call V a copycat because Hobi did nail art before or say that he has no originality because his album art is basically a rip off of new jeans? If Jimin does a jazz song in the future, you'll probably start crying again too. It's pathetic to have so few achievements that you have to claim sole dominion over hair colours and makeup and entire music genres. It's not like layover has much of a concept anyway beyond sad, boring and dog.

Methinks that anon it is you who should get out of the echo chamber. Maybe get a job to see what constitutes actual intellectual property, what constitutes inspiration and what constitutes fans desperately clawing onto anything for some type of relevance.

Lmao

[escapedaudios]

Hello hello! My merch shop is officially back and moved to Fourthwall. I've been dissatisfied with Spring's product quality for a while, hadn't made any new merch for a long time. New products are up, including some embroidered Fickburger employee gear (from My Greasefire Life) and some new New Jersey Rats merch! I'm offering a discount code good for the first week of the shop's grand re-opening. Use promo code KINOMATIC for 20% off until July 21st!

All my profits go back into the channel to pay for copyrighted music, professional sound effects, art commissions etc.

[moregraceful]

Fic WIP ask meme, panopticon version

bc I did not find an ask meme that gave me the juice.

If tordotcom (or a similar publisher) were promoing your WIP on Twitter, what tropes would they use to hook people?

What is one line from your WIP that would be ripped out of context and put in web weaves on Tumblr?

What scene in your WIP would cause Booktok to go nuclear? (Good or bad!)

Is there a part of your WIP that Twitter would try to cancel you for?

What is one moment in your WIP that Instagram artists would cleverly create art for in a iykyk kind of way? What kind of art (digital, physical etc) would they make?

If Publisher's Weekly announced that your WIP had been acquired by a publishing house, what would the acquiring agent say about it? What are the publishing details? [PW's book deals examples.]

If a librarian were trying to promote your WIP to patrons, what themed display would they put it on to draw readers and/or what themed IG reel would they list it on? (For ex: Book Riot's library display ideas; maistorybooklibrary's themed book recommendations.)

If your WIP had its own Spotify Daylist (or similar music streaming service of your choice), what would it be titled and what are a few of the songs on it?

If someone made a hype reel for your WIP, what scenes, shots, or moments would it include and what would be the music that plays over it?

What is one statement you would like to make about the heart and soul of your WIP, but it appeared an interview in a magazine read solely by New York literati, thus ensuring no one who matters sees your statement and is able to carry it with them in as they read?

[RPF sicko question:] What would your favorite athlete/celebrity/creator/etc say about your WIP that indicated they had at least skimmed the Wikipedia page, if not read the first chapter, before they were asked to comment on it?

[Media franchise sicko question:] Your WIP is called into question for copyright issues. What elements of your WIP would you present in the case that showcases its transformative nature?

[boringkate]

Your Personal Hell video is probably finest creative pieces on the internet. I hope you don't mind that I may have just gotten off to it... and I'm going to do it again.

Thank you!!!

For anyone wondering what they're talking about: It's an OBVIOUSLY NSFW little PMV I slapped together like a year ago using a Kim Petras song and a bunch of my promo clips. You can watch it at the link bellow.

I wish I could justify doing more junk like that, but it's not really monetizable. I try not to use copyrighted music in my stuff + the ad revenue that you get from pornhub is abysmal (which is why the handful of things I've posted on there are all junk lol) + any clips I'd use to make PMVs already work just as well as promotional material on their own.

If you're a tgirl tho and you make music that would be appropriate for a PMV and you'd be cool with me using it in a PMV then hit me up! I'll consider it!

Also if you liked that then go buy my scene "Inhale Again"! It's not exactly the same, but you might like it too!

[lokisasylum]

I warned ya'll...

I warned ya'll about the company pushing shipping dynamics to benefit ONE member. And as the days tick by the worse its gonna get.

One of these ship dynamics would make one member look bad, and the other like the good guy.

That if you weren't gonna grow a thicker skin and be here for JIMIN, to tap out and KEEP YOUR MOUTHS SHUTS.

But all it took was 2 awkward vlive interactions for some of you to turn against Jimin, slip into my DMs and start questioning everything.

One of you even called Jimin a "hoe" for "letting the company take advantage of him". (And of course it had to be a shipper, because only shippers use derogatory terms that men use towards women for him).

And this is how I know that a lot of you are either too young or too ignorant to understand how this industry works. This is KPOP industry, this ain't American music industry where artists rebel (once they've made money for themselves of course) if they don't like how their label pulls shit on them.

In KPOP you are BOUND BY A CONTRACT and until that contract ends you don't do what you want entirely ("Oh but their solo promos--" yes they had some say in it, but the company still has to approve or not in the end).

And if you've shown signs of not wanting to sign/renew for mistreatment, unfairness between yourself and other co-workers, ect... they will destroy you (like they are doing with Jimin through all those articles downplaying his achievements and comparing him to j/k to make it look like he didn't do well on his own).

The company OWNS YOU until that contract expires entirely.

Why do you guys think Jimin asked during last year's Festa if it would feel okay to keep referring to "their fans" as "Army" during solo era, since Army is for BTS?

Because Bighit Labels/HYBE has copyright/trademark over everything that has to do with BTS; from their group name, image, songs, fandom name--ITS ALL UNDER HYBE'S NAME. The company OWNS it all.

And if one or more should consider going full SOLO they can't use any of it. Unless they pull a GOT/7, and slowly start buying back all their trademarks from the og company before leaving it for a new label.

This is why we've been fighting sun up and sun down that there is no ot7 during solo era, there is no "army" in solo era; EVERYONE IS A SOLO STAN BY ASSOCIATION BECAUSE NO ONE IS FULLY SUPPORTING ALL 7 MEMBERS.

Even the new CEO of HYBE had THIS to say about fandoms:

[madomagitransparent]

Magireco Media Masterlink

https://docs.google.com/spreadsheets/d/1Km-seD0w6MuR5Feyu3BjbAGijp1Qodnc33zFH0YE_RM/edit#gid=1590573897

This link is a collection of links to various non-game Magia Record works:

Main Story Manga (including English)

Another Story Manga (including English)

Comic Anthology

Anime Guidebooks

Magia Archive

Magirepo (book release with extra commentary and illustrations)

Posters from the Megami Magazine

The Stage Play

Anime (including bonus material like promos and creditless OPs)

Music (Music Collection vol.1&2, anime OSTs, single releases like Ennsou)

F4 FanFes 2021′s Magia Record segment

Twitter promos

Most of those links are from Nyaa, though a decent amount offers direct links as well.

I also made a back-up MediaFire folder with most of those (skipping the anime and music for storage/copyright flagging reasons). However, I would prefer its usage to be limited to situations like original links expiring or a lack of seeds on Nyaa. People who originally uploaded these often put a lot of money and time into those, and I do not wish to take away from them.

EDIT: The folder was moved to Google Drive instead due to its superior download speeds, storage capabilities and free full-folder downloads (MediaFire requires a premium account for the second). The MediaFire link will continue to work, however it will likely *not* be updated. The Google Drive resource has already been expanded with F4 Fanfes 2021, anime season 1 booklet/box scans and music.

For other sources, make sure to also check out this earlier Tumblr post of mine, which also links more general PMMM resources and Magia Record game asset mirrors, though it is significantly more chaotic.

Currently missing positions:

NewType magazine scans

Febri vol. 44 scans

Booklet/box scans for anime seasons 2&3

10th Anniversary Book volumes 1-3 (they are PMMM-centric, though they contain *some* Magia Record content)

The transformation artbooks

[withered-rose-unbreakable-lotus]

CAN WE TAKE A MOMENT-no sit down-CAN WE TAKE A MOMENT TO ADDRESS HOW HIROTO IS SO FUCKING CHILL ABOUT SOME THINGS OTHERS AREN'T? Listen, when Alice Nine were doing their Nico Nico program, Number Sixxes right and left recorded that and reuploaded on youtube and we'd often lose so much to copyright SO much! And some were even kind enough to translate stuff and they kept losing their channels! And now Hiroto comes and shares a recording of one of those videos saying it made him laugh rewatching that and I'm like HOW MANY TIMES DOING SHIT LIKE THAT WOULD HAVE BEEN EXCUSED IF IT WASN'T FOR STUPID PSC CAUSE THEY FUCKING GET IT! Let me tell you sth, when your favorite artists do stuff like that and they are funny and they create memories for you, it is pretty normal to want to keep them no? This shit was normal in the 80s and 90s and all the way to 2005. It was after then that people started going crazy over copyright with everything. Like, I get that you want to protect your music cause you get paid for that, but broadcasts like those were free in the first place, they didn't get paid to do those, so why was it so bad if fans wanted to keep them and share them with those who happened to not watch, or who wanted to have the chance to rewatch after the archive deadline was over? I'm sure Hiroto had saved several of his favorite vkei moments on tape from TV once too so I'm so glad that's his reaction to all that. Hell, Alice Nine don't even care about their big fanbase online that posted all of their songs and mvs cause they did translations on them and they understood it was done for promo.

And about the last one, to be fair, Diaura are pretty chill with translations on their songs too. I knew sb who was a big Gumin fan and uploaded all their songs, all their mvs on YT (even mvs they themselves didn't upload for years) with translations. And Diaura reached out to him and instead of telling him please take all that down etc, they gave him 1 month access to their fanclub for free. *shrugs* Go figure.

[sandyshoreofficial]

ALBUM CREDITS + THANKS!

Composer - sandy shore Producer - sandy shore Lead Sound Engineer - sandy shore Album Mastered by - BandLab Technologies Copyright 2024 sandy shore

I want to give a big thanks to my record label, Ishamael Records, for all the support and love that they've given me! Also, I wanted to thank you guys for the support and the likes I've gotten recently, it really means a lot (especially for the Tales of Tar Valon promo posts!) ALSO, thanks to Unchained Music for the music distribution!

[literallysatanofficial]

I know this is probably a long shot, but I was looking on the wayback machine and (as I suspected) there are a bunch of now-deleted trailers for season 7 that don't exist anywhere online as far as I can tell (they do now!). "The Weight of the World" is the only one still on YouTube, but "The Gift of Giving", "Wings", "A Miracle Encounter", "Me", and "Leaves" -- while they are still linked on the wiki -- are completely dead, and not archived on the wayback machine aside from their thumbnails in this snapshot from 2012. I'd love to start an archive (I have one for WWDITS, but IASIP is significantly harder to manage due to its age) so if any of you guys have come across any archive.org compilations (the only one I know of is this one, but they're mainly DVD extras) or have any Google drives or anything, please let me know. It seems like someone's gone wild with copyright striking recently (it's Disney on my end, but not sure if that's Canada-specific) and like 90% of the extras have been completely obliterated.

UPDATE: Someone on reddit compiled all of the season 7 promos (lower quality than I'd like, but they're not too bad), and there are individual dailymotion links as well. "The Gift of Giving", "Wings", "A Miracle Encounter", and "Me". I believe "Leaves" is still missing, but it's hard to tell which is which.

More stuff I'm hoping to find mirrors for under the cut:

Archive of Paddy's Pub Blog; everything seems to be locked behind a broken age restriction button. I'm specifically interested in checking out the "Dennis' Erotic Memoirs" section (not the episode) or anything written by Dennis on the blog, but if anybody can figure out how to bypass the age restriction in earlier captures or has a mirror of the site before it was taken down that'd be even better.

Extras, promos, behind the scenes specials for all seasons. There seem to be quite a few for S1 out there still because it's mostly included on the DVD, but there are a couple that seemingly aired on TV that actually feature cut scenes. This one here has extra footage of Mac and Carmen, as well as Dennis in his day man costume without the codpiece. I have a feeling that there may be similar "outtakes" or alternate/extended scenes in other deleted videos.

Any additional scenes from the unaired pilot (I believe all we have is pulled from this behind the scenes footage, but worth a shot).

A high quality rip of the season 9 bloopers. I did manage to dig up an unwatermarked version from the wayback machine, but it's extremely low quality.

High quality version of the promotional music video "Going Back to Philly"; there's a relatively HQ version on YouTube that's been cut up, and a full LQ version, but it would be great to have a full HQ version. FOUND ONE!

Anyone willing to rip DVD/Bluray extras from their own copies. I can only find partial archives of S1-6's DVD extras, with some from later seasons being uploaded to YouTube at one point, but the majority of the links are dead now. I'm planning on buying a full set of DVDs/Blurays myself at some point, but they're either extremely expensive or extremely hard to find, so it'll probably take some time.

[dilf-in-peril]

I was asked a while ago about what's available on the ROH Honor Club and I got the subscription and can answer now.

I only checked the older shows, and it's a bit dire. They have 1 show for 2002, 8 for 2003, 4 for 2004 and 34 for 2005. I don't know if they are still working backwards on digitilizing the older stuff though.

The way they've done this it's not one file per event as they were released but cut up in match clips, so not including ads and pre recorded promos. The clip order also appears to be randomized.

For the clips I've seen they did however include all of the post match angles and in ring promos. For example the CM Punk vs Mike Kruel match on ROH Stalemate 2005, listed as 4 minutes long on cagematch, is actually a 30 minute video which includes a Punk and Bobby Heenan in ring promo, a brawl with Jimmy Rave and Punk getting brutalized.

Also funny thing about them manually clipping the matches... on ROH Best Of American Super Juniors Tournament 2005 there's a backstage promo from Punk after he got his stomach cheese grated that they show one minute into an unrelated match. Whoever was clipping the matches decided the match is over when Punk's promo interrupts it (which is also not included). It's a ten minute match. The clip is one minute. Get Punk'd I guess.

When downloaded videos are 654x480* 3.41 mbps 30 frames/s, which does not sound a lot but the quality is slightly better than some of the dvd rips you find floating around on youtube and bilibili. (*it's got a couple lines of black border)

Due to copyright reasons, I assume, the audio is muted whenever music plays, this makes entrances a lot less fun because I can't tell if my little guys are getting booed or cheered, I can't hear commentary, and it is especially annoying when entrance music plays during an angle.

Their search function is about as bad as WWE's. Searching "CM Punk Jimmy Rave" for example yields zero results, whereas searching individual names brings up their clips.

So yeah, it's not very good, but if you need to see these two seconds of Punk looking at the camera like saints look at god, and you want three more frames and ten more pixels it's worth it.

If you just want to watch the wrestling there are more complete collections out there for free.

[jechristine]

Yes! I didn’t see anyone talk about it, that was 💯 Harry lol

Harry Holland seems like an idiot, tbh, despite the superior grammar. I’m thinking about that time he uploaded his promo videos with copyrighted music💀