#sygb

[minibeth]

when i’m writing solangelo but they don’t meet until chapter 5

[starsaroundmyscars]

In the tags, put the Taylor songs that make you cry

[abiglifeinsurancepolicy]

taylor swift had no right to put the lyrics “desperate people find faith, so now i pray to Jesus too” in Soon You’ll Get Better and then hit us straight away with False God

[godofsmallthings]

holy orange bottles each night i pray to you desperate people find faith so now i pray to jesus too is the most insane line in any taylor swift song ever i'm being so serious

[summersareknives]

soon you’ll get better is on my something in the orange playlist

[snowglobetay]

sometimes I wonder which one will be your last lie

[tesaurotaylorswift]

Soon You'll Get Better (feat. The Chicks)

TG: Lover [álbum]

TR: Feat.

Letra

[likeadevils]

simply too many responses to make a poll so we’re doing this the old fashioned way!! reblog and put in the tags a random tour prediction you have

[minibeth]

when i read chapter 4 of sygb (i wrote it) (y’all aren’t ready)

[heystephen]

.

[petruchio]

not to beat a dead horse but honestly the most annoying thing about lover is that there really is a great album in there if you look for it.

like first there’s the progression of light in the album. how we move from artificial with the “glow of the vending machine” and “the christmas lights (in) january” until all the light disappears while “i wake in the night/i pace like a ghost" and "i whisper in the dark." but somehow, light still manages to creep in even during the night: “the moon is high/like your friends were the night that we first met," until “the morning comes and you’re not my baby." still, the speaker holds out hope that the morning can bring the lover back, saying that “this ultraviolet morning light below tells me this love is worth the fight” so we end up in the daylight. in some ways, the whole album is an expansion of the single line "starry eyes sparking up my darkest night" from reputation. we see that line spiral out in real time as lover progresses.

and then there's everything that happens in cars (im drunk in the back of the car/we were in the backseat drunk on something stronger than the drinks in the bar/we can follow the sparks i’ll drive/cut the headlights, summers a knife/i want to drive away with you/show me a gray sky, a rainy cab ride) which in itself is revisiting something that occupies of so much of taylor's early work. so much of debut and fearless take place in cars (just a boy in a chevy truck/i was riding shotgun with my hair undone/in the passenger seat you put your eyes on me) because cars are one of the few places where a teenager can be afforded privacy. in some ways, extreme and isolating fame is a form of ongoing childhood (i never grew up, it's getting so old) (there's this thing people say about celebrities, that they get frozen at the age they got famous) and it's against this background that cars again take on that same significance as they did in adolescence.

and then there's all the repeated imagery of city streets and traffic lights (i’d never walk cornelia street again/i ask the traffic lights if it’ll be alright/he got my heartbeat skipping down sixteenth avenue/i'm new york city/you're the west village/as if the streetlights pointed in an arrowhead leading us home) because lover is a story about a person becoming a city and a city becoming a lover. welcome to new york -- but we are no longer talking about the city itself, because new york has become one with the object of lover's affection. so it's no wonder that the dead center of the album is cornelia street and dbatc. side a ends with cornelia street and side b begins with dbatc, because they're two sides of the same coin: it's the story of a physical place becoming so wrapped up with another person that the speaker realizes that if that person were to leave them, they could never experience in that place the same way again. "windows flung right open" turn into "i look through the windows of this love, even though we boarded them up." "we were a fresh page on the desk" turns into "if the story's over, why am i still writing pages?" the streetlights that once "pointed us home" now cannot even tell us if it's going to be alright anymore. while the speaker can "get mystified by how this city screams your name," they could just as easily "see you everywhere" because if it ends, "the only thing we share is this small town." if the lover leaves, the entire city will be ruined.

and that's the fear on which the whole album is centered. lover is not an album on love, but on anxiety. what do you do after you've realized that one person has the power to truly break you? that if they ever left you, the very city that once welcomed you, waited for you, and taught you "a new soundtrack" would be ruined forever by the mere memory of them? that's where we begin to understand lover: that anxiety. we start with so many questions: "i love you, ain't that the worst thing you ever heard?" "who could ever leave me darling? but who could stay?" in this context, "can i go where you go? can we always be this close?" is not just romantic, it's an indication of this same terror. the speaker isn't confident enough to know that they can be together -- they still feel the need to ask. lover being placed so early on the tracklist indicates that it's a song that still comes from a place of anxiety.

at some point, we find a false confidence: i think he knows and paper rings lay out a vision of love that sounds almost simplistic again. we don't need anyone but each other, "i ain't gotta tell him i think he knows" and "i like shiny things but i'd marry you with paper rings." the speaker tries to let go of the anxieties of cruel summer and the archer, but too soon, that cornelia street fear creeps in again. and so the speaker decides that the love must hold something false in it: "we might just get away with it" but "it's a false god." and eventually, inevitably, everything falls apart. and the speaker, so angry with themself for letting it happen again, returns to the questions we found earlier on the album: "why'd i have to break what i love so much?" there's an apology, and an acceptance that there has to be a stable friendship in order to make this work: "it's nice to have a friend" to have someone to "call my bluff," to admit that "you've been stressed out lately, yeah, me too." the lovers are able to be honest with each other here, to apologize, because they've built up a foundation of friendship underneath all the drama and anxiety and intensity of feeling we saw earlier in the album.

so after all this, when we finally reach the end, the realization is not that the love or the lover themselves is grand or beautiful or anything really. the realization is that the anxiety itself is what will ruin things: that's why the album ends with the lines "you gotta step into the daylight and let it go. just let it go." because after all this anxiety and stress and questioning, the only answer is to simply let it go. for the speaker to accept that the love is more important than the fear: "i want to be defined by the things that i love, not the things that i'm afraid of." and so the album ends, not with a statement of love for another person, but with a declaration about the self: i just think that you are what you love.

[the-gayest-tree-you-ever-did-see]

taylor swift stop rewriting history challenge 2024

[wavesoutbeingtossed]

the shaky voice and deep breath before singing the second part of the last chorus of Soon You'll Get Better 😭

[godofsmallthings]

i can't believe there are people out there ranking epiphany last in their folklore rankings