#taylor swift timelines

[taylor-on-your-dash]

WRITING OF FOLKLORE & EVERMORE TIMELINE

DISCLAIMER: This post wants to showcase how Red by Taylor Swift came to be, what challenges and discoveries she made while making her fourth album, but most of all how curious, passionate and eager to learn she is.

Please, credit me if you take info from this timeline.

“I used to put all these parameters on myself like, ‘How will this song sound in a stadium? How will this song sound on radio?’ If you take away all the parameters, what do you make? And I guess the answer is... folklore.”

December 18, 2019: Taylor records my tears ricochet. On folklore: long pond sessions, she confirms that my tears ricochet was the first song written for TS8 and she knew right away that it would take the 5th spot on the track list.

“I found myself being very triggered by any stories, movies, or narratives revolving around divorce, which felt weird because I haven't experienced it directly. There's no reason it should cause me so much pain, but all of a sudden it felt like something I had been through. I think that happens any time you've been in a 15-year relationship and it ends in a messy, upsetting way. So I wrote "My Tears Ricochet" and I was using a lot of imagery that I had conjured up while comparing a relationship ending to when people end an actual marriage. All of a sudden this person that you trusted more than anyone in the world is the person that can hurt you the worst. Then all of a sudden the things that you have been through together, hurt. All of a sudden, the person who was your best friend is now your biggest nemesis, etc. etc. etc. I think I wrote some of the first lyrics to that song after watching Marriage Story and hearing about when marriages go wrong and end in such a catastrophic way. So these songs are in some ways imaginary, in some ways not, and in some ways both. It’s definitely one of the saddest songs on the album. Picking a ‘Track Five’ is sort of a pressurized decision but I knew from day one this was probably going to be it. It’s a song about karma, about greed, about how somebody could be your best friend and your companion and your most trusted person in your life and then they could go and become your worst enemy who knows how to hurt you because they were once your most trusted person. Writing this song, it kind of occurred to me that in all of the superhero stories the hero’s greatest nemesis is the villain that used to be his best friend. When you think about that, you think about how there’s this beautiful moment in the beginning of a friendship where these people have no idea that one day, they’ll hate each other and try to take each other out. I mean, that’s really sad and terrible.”

March 5-12, 2020: Band rehearsals for Lover Fest. The band rehearsed 32 songs and Taylor sings on a few.

March 11, 2020: Taylor lands in LA. She'll stay there for the whole lockdown until May 22nd.

March 19, 2020: The state of California issue a stay-at-home order. The lockdown starts. During the Eras Tour, Taylor says that she started writing songs with Jack soon after. It's possible that illicit affairs and august were two of the first songs, as Taylor confirmed that august was the first song she wrote for the Love Triangle. This first version of august doesn't include the bridge.

[Taylor about illicit affairs] This was the first album that I’ve ever let go of that need to be 100 percent autobiographical because I think I needed to do that. I felt like fans needed to hear a 'stripped from the headlines' account of my life and it actually ended up being a bit confining. Because there’s so much more to writing songs than just what you’re feeling and your singular storyline. And I think this was spurred on by the fact that I was watching movies every day, I was reading books every day, I was thinking about other people every day. I was kind of outside my own, personal stuff. I think that’s been my favorite thing about this album: that it’s allowed to exist on its own merit without it just being, ‘Oh, people are listening to this because it tells them something that they could read in a tabloid’. It feels like a completely different experience.

[Taylor about august] In my head, I’ve been calling the girl from ‘august’ either Augusta or Augustine. What happened in my head was: ‘cardigan’ is Betty’s perspective from 20 or 30 years later, looking back on this love that was this tumultuous thing. I think Betty and James ended up together. So in my head, she ends up with him but he really put her through it. ‘august’ was obviously about the girl that James had this summer with. She seems like she’s a bad girl, but really she’s not. She’s a really sensitive person who fell for him and she was trying to seem cool and like she didn’t care because that’s what girls have to do. And she was trying to let him think that she didn’t care, but she did and she thought they had something very real. And then he goes back to Betty. So the idea that there is some bad, villain girl in any type of situation who ‘takes your man’ is a total myth because that’s not usually the case at all. Everybody has feelings and wants to be seen and loved. And Augustine…that’s all she wanted.

[Taylor] I was really excited about "August slipped away into a moment of time/August sipped away like a bottle of wine." That was a song where Jack sent me the instrumental and I wrote the song pretty much on the spot; it just was an intuitive thing. And that was actually the first song that I wrote of the "Betty" triangle. So the Betty songs are "August," "Cardigan," and "Betty." "August" was actually the first one, which is strange because it's the song from the other girl's perspective. It would be safe to assume that "Cardigan" would be first, but it wasn't. It was very strange how it happened, but it kind of pieced together one song at a time, starting with "August," where I kind of wanted to explore the element of This is from the perspective of a girl who was having her first brush with love. And then all of a sudden she's treated like she's the other girl, because there was another situation that had already been in place, but "August" girl thought she was really falling in love. It kind of explores the idea of the undefined relationship. As humans, we're all encouraged to just be cool and just let it happen, and don't ask what the relationship is—Are we exclusive? But if you are chill about it, especially when you're young, you learn the very hard lesson that if you don't define something, oftentimes they can gaslight you into thinking it was nothing at all, and that it never happened. And how do you mourn the loss of something once it ends, if you're being made to believe that it never happened at all?

Taylor had previously written down the phrase ‘Meet me behind the mall’ in her phone years ago, wanting to write it into a song.

April 17, 2020: Lover Fest is cancelled. Taylor writes mirrorball and this is me trying shortly after.

MIRRORBALL

On folklore there are a lot of songs that reference each other or have lyrical parallels and one of the ones that I like is the entire song 'this is me trying' then being referenced again in ‘mirrorball,’ which is, ‘I’ve never been a natural, all I do is try’. Sometimes when I’m writing to an instrumental track I’ll push ‘Play’ and I’ll immediately see a scene set and this was one of those cases. I just saw a lonely disco ball, twinkly lights, neon signs, people drinking beer by the bar, a couple of stragglers on the dance floor. Sort of a sad, moonlit, lonely experience in the middle of a town you’ve never been. I was just thinking that we have mirrorballs in the middle of a dance floor because they reflect light, they are broken a million times and that’s what makes them so shiny. We have people like that in society, too. They hang there and every time they break it entertains us. And when you shine a light on them it’s this glittering, fantastic thing. But then, a lot of the time when the spotlight isn’t on them they’re just still there, up on that pedestal but no one is watching them. It was a metaphor for celebrity but it’s also a metaphor for so many people. Everybody has to feel like they have to be ‘on’ for certain people. You have to be different versions of yourself for different people. Different versions at work, different versions around friends. Different versions of yourself around different friends. A different version of yourself around family. Everybody feels that they have to be in some ways duplicitous and that’s part of the human experience. But it’s also exhausting. And you learn that every one of us has the ability to become a shapeshifter. But what does that do to us?

THIS IS ME TRYING

“I’ve been thinking about people who are either suffering through mental illness, addiction or who have an everyday struggle. No one pats them on the back every day but every day they are actively fighting something. There are so many days that nobody gives them credit for that and so, how often must somebody who’s in that sort of internal struggle wanna say to everyone in the room: ‘You have no idea how close I am to going back to a dark place.’ I had this idea that the first verse would be about someone who is in a life crisis and has just been trying and failing in their relationship, has been messing things up with people they love, has been letting everyone down and has driven to this overlook, this cliff, and is just in the car, going, ‘I could do whatever I want in this moment and it could affect everything forever.’ But this person backs up and drives home. The second verse is about someone who felt like they had a lot of potential in their life. I feel like there are a lot of mechanisms for us in our school days, in high school or college, to excel and to be patted on the back for something. And then a lot of people get out of school and there are less abilities for them to get gold stars. Then you have to make all these decisions and you have to pave your own way. There’s no set class course you can take. I think a lot of people feel really swept up in that. And so I was thinking about this person who is really lost in life and then starts drinking…and every second is trying not to.”

March/April 2020: the lakes was also done remotely, but written before Taylor started collaborating with Aaron, placing it between March and April 2020:

[Taylor] “We’d gone to the Lake District in England a couple years ago. In the 19th century you had a lot of poets like William Wordsworth and John Keats who’d spend a lot of time there. And there was a poet district, these artists that moved there. They were heckled for it and made fun of for being these eccentrics and kind of odd artists who decided that they just wanted to live there. I remember thinking, ‘I could see this.’ You live in a cottage and you got wisteria growing up the outside of it…of course they escaped like that. And they had their own community of other artists who’d done the same thing. I’ve always, in my career since I was probably about twenty, written about this cottage backup plan that I have. I have been writing about that forever. I went to William Wordsworth’s grave and just sat there and I was like, ‘Wow. He went and did it.’ And you kept writing but you didn’t subscribe to the things that were killing you. And that’s really the overarching thing that I felt when I was writing folklore: I may not be able to go to The Lakes right now – or to go anywhere – but I’m going there in my head. The escape plan is working.”

[Jack] On one of my favorite songs on folklore, “The Lakes,” there was this big orchestral version, and Taylor was like, “Eh, make it small.” I had gotten lost in the string arrangements and all this stuff, and I took everything out. I was just like, “Oh, my God!” We were not together because that record was made [remotely], but I remember being in the studio alone like, “Holy shit, this is so perfect.”

This version of the lakes was released on folklore's first anniversary.

April 24, 2020: For his birthday, Aaron Dessner goes on an Instagram Live where he plays a bunch of songs including “Gaite” aka “happiness” and “Stella”, like his daughter, aka “invisible string”

April 27-28, 2020: Taylor contacts Aaron Dessner and asks him to work with her. He sends her a folder of instrumental tracks he had recorded over the years. The first one that inspires Taylor is called “Maple” which will become cardigan. She sends back a voice memo, and right after, she posts a selfie on Instagram with the caption “Not a lot going on at the moment”. What a troll.

[Taylor] The song is about a long lost romance, and why young love is often fixed so permanently within our memories. When looking back on it, why it leaves such an incredible mark and how special it made you feel; all the good things it made you feel, all the pain that it made you feel... The line about feeling like you were an old cardigan under someone's bed, but someone put you on and made you feel like you were their favorite.

[Aaron] That’s the first song we wrote. After Taylor asked if I would be interested in writing with her remotely and working on songs, I said, “Are you interested in a certain kind of sound?” She said, “I’m just interested in what you do and what you’re up to. Just send anything, literally anything, it could be the weirdest thing you’ve ever done,” so I sent a folder of stuff I had done that I was really excited about recently. “cardigan” was one of those sketches; it was originally called “Maple.” It was basically exactly what it is on the record, except we added orchestration later that my brother wrote. I sent [the file] at 9 p.m., and around 2 a.m. or something, there was “cardigan,” fully written. That’s when I realized something crazy was happening. She just dialed directly into the heart of the music and wrote an incredible song and fully conceived of it and then kept going. It harkens back to lessons learned, or experiences in your youth, in a really beautiful way and this sense of longing and sadness, but ultimately, it’s cathartic. I thought it was a perfect match for the music, and how her voice feels. It was kind of a guide. It had these lower register parts, and I think we both realized that this was a bit of a lightning rod for a lot of the rest of the record.

[Taylor] “The quality that really confounded me about Aaron’s instrumental tracks is that to me, they were immediately, intensely visual,” Swift wrote in an email. “As soon as I heard the first one, I understood why he calls them ‘sketches.’ The first time I heard the track for ‘Cardigan,’ I saw high heels on cobblestones. I knew it had to be about teenage miscommunications and the loss of what could’ve been. I’ve always been so curious about people with synesthesia, who see colors or shapes when they hear music. The closest thing I’ve ever experienced is seeing an entire story or scene play out in my head when I hear Aaron Dessner’s instrumental tracks.”

Aaron Dessner shared a screenshot from when Taylor sent him back cardigan.

April 29-30, 2020: Taylor writes seven and peace. seven is the only song that was entirely recorded at Long Pond.

SEVEN

[Aaron] This is the second song we wrote. It’s kind of looking back at childhood and those childhood feelings, recounting memories and memorializing them. It’s this beautiful folk song. It has one of the most important lines on the record: “And just like a folk song, our love will be passed on.” That’s what this album is doing. It’s passing down. It’s memorializing love, childhood, and memories. It’s a folkloric way of processing.

PEACE

[Taylor] “I think this is a song that is extremely personal to me. There are times when I feel like with everything that’s in my control, I can make myself seem like someone who doesn’t have an abnormal life and I try that every day. It’s like, 'How do I make my friends, and family, and my loved ones not see this big elephant that’s in the room for our normal life?' Because I don’t want the elephant in the room. If you’re gonna be in my life I feel like there’s a certain amount that comes with it that I can’t stop from happening. I can’t stop from you getting a call in the morning that says, ‘The tabloids are writing this today.’ I can’t help it if there’s a guy with a camera two miles away with a telescope lense taking pictures of you. I can’t stop those things from happening. And so this song was basically like, ‘Is it enough? Is the stuff that I can control enough to block out the things that I can’t?' So it makes me really emotional to hear this song.

[Taylor] To know that a lot of people related to it who aren’t talking about the same things that I’m talking about. They’re talking about human complexity. It’s about someone who you wanna provide with peace, someone you love, so you want them to have as much peace in their life as possible and reconciling the fact that you might not be their best option for that. But is it still a deal they wanna take?

[Taylor to Paul McCartney] peace is actually more rooted in my personal life. I know you have done a really excellent job of this in your personal life: carving out a human life within a public life, and how scary that can be when you do fall in love and you meet someone, especially if you’ve met someone who has a very grounded, normal way of living. I, oftentimes, in my anxieties, can control how I am as a person and how normal I act and rationalize things, but I cannot control if there are 20 photographers outside in the bushes and what they do and if they follow our car and if they interrupt our lives. I can’t control if there’s going to be a fake weird headline about us in the news tomorrow.

[Aaron] “I wrote this, and Justin provided the pulse. We trade ideas all the time and he made a folder, and there was a pulse in there that I wrote these bass lines to. In the other parts of the composition, I did it to Justin’s pulse. Taylor heard this sketch and she wrote the song. It reminds me of Joni Mitchell, in a way — there’s this really powerful and emotional love song, even the impressionistic, almost jazz-like bridge, and she weaves it perfectly together. This is one of my favorites, for sure. But the truth is that the music, that way of playing with harmonized bass lines, is something that probably comes a little bit from me being inspired by how Justin does that sometimes. There’s probably a connection there. We didn’t talk too much about it [laughs]. The song “peace” — when she wrote that, it was just a harmonized bass and a pulse. She wrote this incredible love song to it that’s one vocal take.”

May 2020: Taylor and Aaron spend the entire month writing all the songs on folklore.

EXILE (FT. BON IVER)

Taylor and William Bowery, the singer-songwriter, wrote that song initially together and sent it to me as a sort of a rough demo where Taylor was singing both the male and female parts. It’s supposed to be a dialogue between two lovers. I interpreted that and built the song, played the piano, and built around that template. We recorded Taylor’s vocals with her singing her parts but also the male parts. We talked a lot about who she thought would be perfect to sing, and we kept coming back to Justin [Vernon]. Obviously, he’s a dear friend of mine and collaborator. I said, “Well, if he’s inspired by the song, he’ll do it, and if not, he won’t.” I sent it to him and said, “No pressure at all, literally no pressure, but how do you feel about this?” He said, “Wow.” He wrote some parts into it also, and we went back and forth a little bit, but it felt like an incredibly natural and safe collaboration between friends. It didn’t feel like getting a guest star or whatever. It was just like, well, we’re working on something, and obviously he’s crazy talented, but it just felt right. I think they both put so much raw emotion into it. It’s like a surface bubbling. It’s believable, you know? You believe that they’re having this intense dialogue. With other people I had to be secretive, but with Justin, because he was going to sing, I actually did send him a version of the song with her vocals and told him what I was up to. He was like, “Whoa! Awesome!” But he’s been involved in so many big collaborative things that he wasn’t interested in it from that point of view. It’s more because he loved the song and he thought he could do something with it that would add something.

[Taylor on exile] “Exile was a song that was written about miscommunications in relationships, and in the case of this song I imagine that the miscommunications ended the relationship - that they led to sort of the demise of this love affair. And now these two people are seeing each other out for the first time and they keep miscommunicating with each other, they can’t quite get on the same page, they never were able to. So even in their end, even after they’ve broken up they’re still not hearing each other, so we imagined that the beginning of it would be his side of the story, second verse would be her side of the story, and then the end would be sort of them talking over each other and not listening to the other, sort of like an argument. Yeah, I’m really stoked about how it turned out because it really does seem like this sort of tragedy of two people, two ships passing in the night.”

[Joe Alwyn] Alwyn doesn’t consider himself a musician or songwriter and insists that he is, in fact, an awful singer. He was merely “messing around” on the piano when Swift heard and walked over, intrigued. He had been singing the fully formed first verse to the song that became “Exile.”. “It was completely off the cuff, an accident,” he says, shrugging. “She said, ‘Can we try and sit down and get to the end together?’ And so we did. It was as basic as some people made sourdough.” I’d probably had a drink and was just stumbling around the house. We couldn’t decide on a film to watch that night, and she was like, ‘Do you want to try and finish writing that song you were singing earlier?’ And so we got a guitar and did that. I press him on this point — he wrote an entire verse to a Taylor Swift song without trying? “Who doesn’t walk around the house singing?” he asks. I explain that it’s unusual for hit songs to spring forth like that from non-musicians’ heads. He says he wasn’t trying to write to Swift’s personal sound but had been listening to a lot of the National.

[Aaron] It was Taylor’s idea to approach [Justin Vernon]. I sent him Taylor’s voice memo of her singing both parts, and he got really excited and loved the song and then he wrote the extra part in the bridge.

INVISIBLE STRING

[Taylor] When I first heard the track that [Aaron] sent me I thought, ‘I have to write something that matches it’. And pretty quickly I came upon the idea of fate. ‘Cause sometimes I just go into a rabbit hole of thinking about how things happen and I love the romantic idea that every step you’re taking, you’re taking one step closer to what you’re supposed to be, guided by this little invisible string. I wrote it right after I sent an ex a baby gift and I just remember thinking, 'This is a full signifier that life is great!'

[Aaron] That was another one where it was music that I’d been playing for a couple of months and sort of humming along to her. It felt like one of the songs that pulls you along. Just playing it on one guitar, it has this emotional locomotion in it, a meditative finger-picking pattern that I really gravitate to. It’s played on this rubber bridge that my friend put on [the guitar] and it deadens the strings so that it sounds old. The core of it sounds like a folk song. It’s also kind of a sneaky pop song, because of the beat that comes in. She knew that there was something coming because she said, “You know, I love this and I’m hearing something already.” And then she said, “This will change the story,” this beautiful and direct kind of recounting of a relationship in its origin.

MAD WOMAN

[Taylor] [“mad woman” has] these ominous strings underneath it and I was like, ‘Oh, this is female rage.' And then I was thinking the most rage provoking element of being a female is the gaslighting that happens. For centuries, we were just expected to absorb male behavior silently. And oftentimes, when we – in our enlightened and emboldened state – now respond to bad male behavior or somebody just doing something that’s absolutely out of line and we respond, that response is treated like the offense itself. There’s been situations recently with someone who’s very guilty of this in my life and it’s a person who makes me feel (or tries to make me feel) like I’m the offender by having any kind of defense to his offenses. It’s like I have absolutely no right to respond or I’m crazy. I have no right to respond or I’m angry. I have no right to respond or I’m out of line. So [Aaron] provided the musical bed for me to make that point that I’ve been trying so hard to figure out how to make…How do I say why this feels so bad?

[Aaron] That might be the most scathing song on folklore. It has a darkness that I think is cathartic, sort of witch-hunting and gaslighting and maybe bullying. Sometimes you become the person people try to pin you into a corner to be, which is not really fair. But again, don’t quote me on that [laughs], I just have my own interpretation. It’s one of the biggest releases on the album to me. It has this very sharp tone to it, but sort of in gothic folklore. It’s this record’s goth song.

EPIPHANY

[Taylor] I remember thinking, ‘Maybe I wanna write a sports story.’ Because I had just watched The Last Dance and I was thinking all in terms of sports, and winners, and underdogs. But actually, what I had been doing really frequently up until that point was I had been doing a lot of research on my grandfather who fought in World War II at Guadalcanal, which was an extremely bloody battle. And he never talked about it. Not with his sons, not with his wife. Nobody got to hear about what happened there. So my dad and his brothers did a lot of digging and found out that my granddad was exposed to some of the worst situations you could ever imagine as a human being. So I kind of tried to imagine what would happen in order to make you just never be able to speak about something. And when I was thinking about that I realized that there are people right now taking a twenty minute break in between shifts at a hospital who are having this kind of trauma happen to them right now, that they probably will never wanna speak about. And so I thought that this is an opportunity to maybe tell that story. I often feel that there have been times in my life where things have fallen apart so methodically, and I couldn’t control how things were going wrong, and nothing I did stopped it. I just felt like I’d been pushed out a plane and I was scratching on the air on the way down. I just felt like the universe was doing its thing. It was just dismantling my life and there was nothing I could do. And this is a weird situation where – ever since I started making music with [Aaron] – I felt like that was the universe forcing things to fall into place perfectly and there’s nothing I could do. It’s one of those weird things that makes you think about life a lot. This lockdown could’ve been a time where I absolutely lost my mind and instead I think this album was a real floatation device for both of us.

[Aaron] For epiphany, she did have this idea of a beautiful drone, or a very cinematic sort of widescreen song, where it’s not a lot of accents but more like a sea to bathe in. A stillness, in a sense. I first made this crazy drone which starts the song, and it’s there the whole time. It’s lots of different instruments played and then slowed down and reversed. It created this giant stack of harmony, which is so giant that it was kind of hard to manage, sonically, but it was very beautiful to get lost in. And then I played the piano to it, and it almost felt classical or something, those suspended chords. I think she just heard it, and instantly, this song came to her, which is really an important one. It’s partially the story of her grandfather, who was a soldier, and partially then a story about a nurse in modern times. I don’t know if this is how she did it, but to me, it’s like a nurse, doctor, or medical professional, where med school doesn’t fully prepare you for seeing someone pass away or just the difficult emotional things that you’ll encounter in your job. In the past, heroes were just soldiers. Now they’re also medical professionals. To me, that’s the underlying mission of the song. There are some things that you see that are hard to talk about. You can’t talk about it. You just bear witness to them. But there’s something else incredibly soothing and comforting about this song. To me, it’s this Icelandic kind of feel, almost classical. My brother did really beautiful orchestration of it.

BETTY

[Aaron] This one Taylor and William wrote, and then both Jack and I worked on it. We all kind of passed it around. This is the one where Taylor wanted a reference. She wanted it to have an early Bob Dylan, sort of a Freewheelin’ Bob Dylan feel. We pushed it a little more towards John Wesley Harding, since it has some drums. It’s this epic narrative folk song where it tells us a long story and connects back to “cardigan.” It starts to connect dots and I think it’s a beautifully written folk song.

[Taylor] I just heard Joe singing the entire fully formed chorus of ��betty’ from another room. And I was just like, ‘Hello.’ It was a step that we would never have taken, because why would we have ever written a song together? So this was the first time we had a conversation where I came in and I was like, 'Hey, this could be really weird, and we could hate this, so because we’re in quarantine and there’s nothing else going on, could we just try to see what it’s like if we write this song together?' So he was singing the chorus of it, and I thought it sounded really good from a man’s voice, from a masculine perspective. And I really liked that it seemed to be an apology. I’ve written so many songs from a female’s perspective of wanting a male apology that we decided to make it from a teenage boy’s perspective apologizing after he loses the love of his life because he’s been foolish.

[James] has lost the love of his life basically and doesn't understand how to get it back. I think we all have these situations in our lives where we learn to really, really give a heartfelt apology for the first time. Everybody makes mistakes, everybody really messes up sometimes and this is a song that I wrote from the perspective of a 17-year-old boy. I've always loved that in music you can kinda slip into different identities and you can sing from other people's perspectives. So that's what I did on this one," the superstar explained of the song's premise, before revealing, "I named all the characters in this story after my friends' kids... and I hope you like it!

[Joe Alwyn] I’d probably had a drink and was just stumbling around the house. We couldn’t decide on a film to watch that night, and she was like, ‘Do you want to try and finish writing that song you were singing earlier?’ And so we got a guitar and did that.” Initially, Alwyn didn’t want his name credited, anticipating that what he describes as the “clickbait conversation” would distract people from actually listening to the music. So he went by William Bowery as a nod to his music-composer great-grandfather and the Manhattan street.

[Taylor] With ‘betty,’ Jack Antonoff would text me these articles and think pieces and in-depth Tumblr posts on what this love triangle meant to the person who had listened to it. And that’s exactly what I was hoping would happen with this album. I wrote these stories for a specific reason and from a specific place about specific people that I imagined, but I wanted that to all change given who was listening to it. And I wanted it to start out as mine and become other people’s. It’s been really fun to watch.

THE LAST GREAT AMERICAN DYNASTY

[Taylor] When [Aaron] sent me the track to ‘the last great american dynasty’ I had been wanting to write a song about Rebekah Harkness since 2013, probably. I’d never figured out the right way to do it because there was never a track that felt like it could hold an entire story of somebody’s life and moving between generations. When I heard that [the track] I was like, ‘Oh my God, I think this is my opening. I think this is my moment. I think I can write the Rebekah Harkness story!' It has that country music narrative device.”

[Aaron] I wrote that after we’d been working for a while. It was an attempt to write something attractive, more uptempo and kind of pushing. I also was interested in this almost In Rainbows-style latticework of electric guitars. They come in and sort of pull you along, kind of reminiscent of Big Red Machine. It was very much in this sound world that I’ve been playing around with, and she immediately clicked with that. Initially I was imagining these dreamlike distant electric guitars and electronics but with an element of folk. There’s a lot going on in that sense. I sent it before I went on a run, and when I got back from the run, that song was there [laughs].She told me the story behind it, which sort of recounts the narrative of Rebekah Harkness, whom people actually called Betty. She was married to the heir of Standard Oil fortune, married into the Harkness family, and they bought this house in Rhode Island up on a cliff. It’s kind of the story of this woman and the outrageous parties she threw. She was infamous for not fitting in, entirely, in society; that story, at the end, becomes personal. Eventually, Taylor bought that house. I think that is symptomatic of folklore, this type of narrative song. We didn’t do very much to that either.

[Taylor] “Anyone who's been there before knows that I do 'The Tour,' where I show everyone through the house. And I tell them different anecdotes about each room, because I've done that much research on this house and this woman. So in every single room, there's a different anecdote about Rebekah Harkness. If you have a mixed group of people who've been there before and people who haven't, [the people who’ve been there] are like, "Oh, she's going to do the tour. She's got to tell you the story about how the ballerinas used to practice on the lawn.” And they'll go get a drink and skip it because it's the same every time. But for me, I'm telling the story with the same electric enthusiasm, because it's just endlessly entertaining to me that this fabulous woman lived there. She just did whatever she wanted.”

Dessner and Swift were working intensively and at high speed throughout 2020, so much so that on one occasion the producer sent the singer a track and went out for a run in the countryside around Long Pond. By the time he got back, Swift had already written ‘the last great american dynasty’ and it was waiting for him in his inbox.

Late May/Early June 2020: Taylor sends Aaron the last two folklore songs, the 1 and hoax.

[Aaron] “the 1” and “hoax,” the first song and the last song, were the last songs we did. The album was sort of finished before that. We thought it was complete, but Taylor then went back into the folder of ideas that I had shared. I think in a way, she didn’t realize she was writing for this album or a future something. She wrote “the 1,” and then she wrote “hoax” a couple of hours later and sent them in the middle of the night. When I woke up in the morning, I wrote her before she woke up in LA and said, “These have to be on the record.” She woke up and said, “I agree” [laughs]. These are the bookends, you know?It’s clear that “the 1” is not written from her perspective. It’s written from another friend’s perspective. There’s an emotional wryness and rawness, while also to this kind of wink in her eyes. There’s a little bit of her sense of humor in there, in addition to this kind of sadness that exists both underneath and on the surface. I enjoy that about her writing. The song [began from] the voice memo she sent me, and then I worked on the music some and we tracked her vocals, and then my brother added orchestration. There are a few other little bits, but basically that was one of the very last things we did. [Hoax] is a big departure. I think she said to me, “Don’t try to give it any other space other than what feels natural to you.” If you leave me in a room with a piano, I might play something like this. I take a lot of comfort in this. I think I imagined her playing this and singing it. After writing all these songs, this one felt the most emotional and, in a way, the rawest. It is one of my favorites. There’s sadness, but it’s a kind of hopeful sadness. It’s a recognition that you take on the burden of your partners, your loved ones, and their ups and downs. That’s both “peace” and “hoax” to me. That’s part of how I feel about those songs because I think that’s life. There’s a reality, the gravity or an understanding of the human condition.

[Taylor on the 1] I think, ‘I’m doing good, I’m on some new shit, been saying 'Yes' instead of 'No’ has a double meaning. Opening the album with that line applies to the situation that this song is written about where you’re updating a former lover on what your life is like now and trying to be positive about it. But it was also about where I am creatively. I’m just saying ‘Yes’, I’m just putting out an album in the worst time you could put one out, I’m just making stuff with someone who I’ve always wanted to make stuff with, as long as I’ve been a fan of The National. I’m just going to say 'Yes’ to stuff and it worked out.

[Taylor on hoax] The word ‘hoax’ is another one that I love. I love that is has an ‘x’ and the way it looks and sounds. I think with this song being the last one on the album it kind of embodied all the things that this album was thematically: confessions, incorporating nature, emotional volatility and ambiguity at the same time, love that isn’t just easy. And it’s the most symbolic and poetic thing, listing all these things that this person is to you. That line, ‘You know it still hurts underneath my scars from when they pulled me apart’ – anyone in my life knows what I’m singing about there but everybody has that situation in their life where you let someone in and they get to know you and they know exactly what buttons to push to hurt you the most. That thing where the scars healed over but there’s still phantom pain. I think the part that sounds like love to me is, ‘Don’t want no other shade of blue but you. No other sadness in the world would do.’ To me that sounds like what love really is. Who would you be sad with? And who would you deal with when they were sad? And like, gray skies every day for months, would you still stay?

[Aaron] We didn’t talk about [the meaning of the album] at first. It was only after writing six or seven songs, basically when I thought my writing was done, when we got on the phone and said, “OK, I think we’re making an album. I have these six other ideas that I love with Jack [Antonoff] that we’ve already done, and I think what we’ve done fits really well with them.” It’s sort of these narratives, these folkloric songs, with characters that interweave and are written from different perspectives. She had a vision, and it was connecting back in some way to the folk tradition, but obviously not entirely sonically. It’s more about the narrative aspect of it. I think it’s this sort of nostalgia and wistfulness that is in a lot of the songs. A lot of them have this kind of longing for looking back on things that have happened in your life, in your friend’s life, or another loved one’s life, and the kind of storytelling around that. That was clear to her. But then we kept going, and more and more songs happened. It was a very organic process where [meaning] wasn’t something that we really discussed. It just kind of would happen where she would dive back into the folder and find other things that were inspiring. Or she and William Bowery would write “exile,” and then that happened. There were different stages of the process.

May 21, 2020: As stated in the folklore: long pond sessions, Taylor started recording the vocals on this day. She also finishes august while in the vocal booth.

[Taylor] In my head, I’ve been calling the girl from ‘august’ either Augusta or Augustine. What happened in my head was: ‘cardigan’ is Betty’s perspective from 20 or 30 years later, looking back on this love that was this tumultuous thing. I think Betty and James ended up together. So in my head, she ends up with him but he really put her through it. ‘august’ was obviously about the girl that James had this summer with. She seems like she’s a bad girl, but really she’s not. She’s a really sensitive person who fell for him and she was trying to seem cool and like she didn’t care because that’s what girls have to do. And she was trying to let him think that she didn’t care, but she did and she thought they had something very real. And then he goes back to Betty. So the idea that there is some bad, villain girl in any type of situation who ‘takes your man’ is a total myth because that’s not usually the case at all. Everybody has feelings and wants to be seen and loved. And Augustine…that’s all she wanted.

She previously had written down the phrase ‘Meet me behind the mall’ in her phone years ago, wanting to write it into a song.

May 22-June 5, 2020: Taylor leaves LA and goes to Upstate New York to touch up some vocals (Betty), and shooting the photoshoot at Blake Lively and Ryan Reynolds' house. She also records Carolina at Long Pond. The song was recorded in one take using only instruments available before 1953.

[EW Interview] “I had this idea for the [Folklore album cover] that it would be this girl sleepwalking through the forest in a nightgown in 1830 [laughs]. Very specific. A pioneer woman sleepwalking at night. I made a mood board and sent it to Beth [Garrabrant], who I had never worked with before, who shoots only on film. We were just carrying bags across a field and putting the bags of film down, and then taking pictures. It was a blast. I'd done my hair and makeup and brought some nightgowns. These experiences I was used to having with 100 people on set, commanding alongside other people in a very committee fashion — all of a sudden it was me and a photographer, or me and my DP. It was a new challenge, because I love collaboration. But there's something really fun about knowing what you can do if it's just you doing it.”

[About Carolina] About a year & half ago I wrote a song about the story of a girl who always lived on the outside, looking in. Figuratively & literally. The juxtaposition of her loneliness & independence. Her curiosity & fear all tangled up. Her persisting gentleness & the world’s betrayal of it. I wrote this one alone in the middle of the night and then Aaron Dessner and I meticulously worked on a sound that we felt would be authentic to the moment when this story takes place. I made a wish that one day you would hear it. here The Crawdads Sing is a book I got absolutely lost in when I read it years ago. As soon as I heard there was a film in the works starring the incredible Daisy Edgar-Jones and produced by the brilliant Reese Witherspoon, I knew I wanted to be a part of it from the musical side. I wrote the song “Carolina” alone and asked my friend Aaron Dessner to produce it. I wanted to create something haunting and ethereal to match this mesmerizing story.

June 5, 2020: The Inner Circle posts the Oxford definition of the word folklore: “The traditional beliefs, customs, and stories of a community, passed through the generations by word of mouth.” adding “Taylor, your secret is safe with us.” later that day.

June 16, 2020: The Inner Circle posts the Oxford definition of the word cardigan: “A knitted sweater fastening down the front, typically with long sleeves. (Taylor, your secret remains safe with us. Here at the IC we are anxiously awaiting your big reveal)”

June-July 2020: During June and possibly early July, Aaron and Jon Low mix and master the album. It's a complicated process.

[Aaron] If there was trouble it started to be because of track counts. I probably only used 20 percent of what was actually recorded, ’cause we would try a lot of things, y’know. So, eventually the sessions got kinda crazy and you’d have to deactivate a lot of things and print things. But we got used to that. [...] I think the main thing was I wanted her vocals to have a more full range than maybe you typically hear, because I think a lot of the more pop oriented records are mixed a certain way and they take some of the warmth out of the vocal, so that it’s very bright and it kinda cuts really well on the radio. But she has this wonderful lower warmth frequency in her voice which is particularly important on a song like ‘seven’. If you carved out that mud, y’know, it wouldn’t hit you the same way. Or, like, ‘cardigan’, I think it needs that warmth, the kind of fuller feeling to it. It makes it darker, but to me that’s where a lot of emotion is.

[Aaron on the mixing process] In some instances, the final mix ended up being the never bettered rough mix, while other songs took far more work. “‘cardigan’ is basically the rough, as is ‘seven’. So, like the early, early mixes, when we didn’t even know we were mixing, we never were able to make it better. Like if you make it sound ‘good’, it might not be as good ’cause it loses some of its weird magic, y’know. But songs like ‘the last great american dynasty’ or ‘mad woman’, those songs were a little harder to create the dynamics the way you want them, and the pay off without going too far, and with also just keeping in the kind of aesthetic that we were in. Those were harder, I would say.

[Mixer Jon Low] In the beginning it did not feel real,” recalls Low. “There was this brand new collaboration, and it was amazing how quickly Aaron made these instrumental sketches and Taylor wrote lyrics and melodies to them, which she initially sent to us as iPhone voice memos. During our nightly family dinners in lockdown, Aaron would regularly pull up his phone and say, ‘Listen to this!’ and there would be another voice memo from Taylor with this beautiful song that she had written over a sketch of Aaron’s in a matter of hours. The rate at which it was happening was mind blowing. There was constant elevation, inspiration and just wanting to continue the momentum. “We put her voice memos straight into Pro Tools. They had tons of character, because of the weird phone compression and cutting midrange quality you just would not get when you put someone in front of a pristine recording chain. Plus there was all this bleed. It’s interesting how that dictates the attitude of the vocal and of the song. Even though none of the original voice memos ended up on the albums, they often gave us unexpected hints. These voice memos were such on a whim things, they were really telling. Taylor had certain phrasings and inflections that we often returned to later on. They became our reference points. “Taylor’s voice memos often came with suggestions for how to edit the sketches: maybe throw in a bridge somewhere, shorten a section, change the chords or arrangement somewhere, and so on. Aaron would have similar ideas, and he then developed the arrangements, often with his brother Bryce, adding or replacing instruments. This happened fast, and became very interactive between us and Taylor, even though we were working remotely. When we added instruments, we were reacting to the way my rough mixes felt at the very beginning. Of course, it was also dictated by how Taylor wrote and sang to the tracks.”

[Jon Low on the mixing process] Throughout the entire process we were trying to maintain the original feel. Sometimes this was hard, because that initial rawness would get lost in large arrangements and additional layering. With revisions of folklore in particular we sometimes were losing the emotional weight from earlier more casual mixes. Because I was always mixing, there was also always the danger of over mixing. “We were trying to get the best of each mix version, and sometimes that meant stepping backwards, and grabbing a piano chain from an earlier mix, or going three versions back to before we added orchestration. There were definitely moments of thinking, ‘Is this going to compete sonically? Is this loud enough?’ We knew we loved the way the songs sounded as we were building them, so we stuck with what we knew. There were times where I tried to keep pushing a mix forward but it didn’t improve the song — ‘cardigan’ is an example of a song where we ended up choosing a very early mix.

Fun fact, the released version of exile is the 41st mix. I can't link you a source, you just have to trust me on this one.

July 2020: While folklore is being finished, Taylor continues to write songs. The first two songs, that at first seem like Big Red Machine songs, are dorothea and closure.

[Aaron] A lot more of [evermore] was made from scratch. After Folklore came out, I think Taylor had written two songs early on that we both thought were for Big Red Machine, “Closure” and “Dorothea.” But the more I listened to them, not that they couldn’t be Big Red Machine songs, but they felt like interesting, exciting Taylor songs. “Closure” is very experimental and in this weird time signature, but still lyrically felt like some evolution of Folklore, and “Dorothea” definitely felt like it was reflecting on some character.

[Aaron on closure] Vernon provided the grainy beat that kicks off ‘closure’, one of two tracks on evermore that started life as a sketch for the second Big Red Machine album. “It was this little loop that Justin had given me in this folder of ‘Starters’, he calls them. I had heard that and been playing the piano to it. But I was hearing it in 5/4, although it’s not in 5/4. ‘Closure’ really opened everything up further. There were no real limits to where we were gonna try to write songs.”

In the Billboard interview above, Aaron says he thinks that Taylor wrote them after folklore was released, while in the Rolling Stone one he says they were written while finishing up the folklore mixes.

“I think I’d written around 30 of those songs in total,” Dessner recalls. “So when I started sharing them with Taylor over the months that we were working on Folklore, she got really into it, and she wrote two songs to some of that music.” One was “Closure,” an experimental electronic track in 5/4 time signature that was built over a staccato drum kit. The other song was “Dorothea,” a rollicking, Americana piano tune. The more Dessner listened to them, the more he realized that they were continuations of Folklore‘s characters and stories. But the real turning point came soon after Folklore‘s surprise release in late July, when Dessner wrote a musical sketch and named it “Westerly,” after the town in Rhode Island where Swift owns the house previously owned by Rebekah Harkness.

Dorothea is the only evermore song to have been recorded at Taylor's home studio in LA, she left LA 3 days after the release of folklore so Occam's razor, I'm guessing that the RS interview is the correct one and dorothea and closure were written in late June/early July, while the Folklorians were finishing up the album.

July 24, 2020: folklore is released, after being announced the day before.

August 6-18, 2020: To celebrate how well folklore was received, Aaron composes an instrumental track called Westerly, named after the town in Rhode Island where Taylor owns Holiday House. Taylor writes willow on it, then sends a voice memo to Aaron.

[Voice Memo] “Here's the Westerly one, written in Westerly!”

[Aaron] And I, sort of in celebration of Folklore, had written a piece of music that I titled “Westerly,” that’s where she has the house that she wrote “Last Great American Dynasty” about. I’ll do that sometimes, just make things for friends or write music just to write it, but I didn’t at all think it would become a song. And she, like an hour later, sent back “Willow” written to that song, and that sort of set [things in motion] and we just started filling this Dropbox again. It was kind of like, “What’s happening?”

There are so many stories I could share. When I sent Taylor the music for our song 'willow' — I think she wrote the entire song from start to finish in less than 10 minutes and sent it back to me. It was like an earthquake. Then Taylor said, 'I guess we are making another album.'

I liked opening the album with ['willow'] because I loved the feeling that I got, immediately upon hearing the instrumental that Aaron created for it. It felt strangely witchy, like somebody making a love potion, dreaming up the person that they want and desire, and trying to figure out how to get that person in their life. And all the misdirection, and bait and switch, and complexity that goes into seeing someone, feeling a connection, wanting them, and trying to make them a part of your life. It’s tactical at times, it’s confusing at times, it’s up to fate, it’s magical. It felt a bit magical and mysterious, which is what I want people to feel going into an album that was a collection of these stories that were going to take them in all kinds of directions. I just wanted to start them off with a setting of the vibe.

August/September 2020: Taylor writes no body, no crime, possibly while in London.

[Taylor] Working with the HAIM sisters on 'no body, no crime' was pretty hilarious because it came about after I wrote a pretty dark murder mystery song and had named the character Este, because she’s the friend I have who would be stoked to be in a song like that. I had finished the song and was nailing down some lyric details and texted her, 'You’re not going to understand this text for a few days but... which chain restaurant do you like best?' and I named a few. She chose Olive Garden and a few days later I sent her the song and asked if they would sing on it. It was an immediate 'YES.'

[Aaron] Taylor wrote that one alone and sent me a voice memo of her playing guitar — she wrote it on this rubber-bridge guitar that I got for her. It’s the same kind I play on “Invisible String.” So she wrote “No Body, No Crime” and sent me a voice memo of it, and then I started building on that. It’s funny, because the music I’ve listened to the most in my life are things that are more like that — roots music, folk music, country music, old-school rock & roll, the Grateful Dead. It’s not really the sound of the National or other things I’ve done, but it feels like a warm blanket. Taylor had specific ideas from the beginning about references and how she wanted it to feel, and that she wanted the Haim sisters to sing on it. We had them record the song with Ariel Reichshaid, they sent that from L.A., and then we put it together when Taylor was here [at Long Pond]. They’re an incredible band, and it was another situation where we were like, “Well, this happened.” It felt like this weird little rock & roll history anecdote.

[Aaron] [We realized evermore was going to end up being another album] after we’d written several songs, seven or eight or nine. Each one would happen, and we would both be in this sort of disbelief of this weird alchemy that we had unleashed. The ideas were coming fast and furiously and were just as compelling as anything on Folklore, and it felt like the most natural thing in the world. At some point, Taylor wrote evermore with William Bowery, and then we sent it to Justin, who wrote the bridge, and all of a sudden, that’s when it started to become clear that there was a sister record.

September 16- 23, 2020: Taylor and Jack go to Upstate New York to record the Long Pond Studio Session. She writes 'tis the damn season there on the 17th. Afterwards Taylor stays a few more days to record the bulk of the evermore vocals: willow, champagne problems, gold rush, 'tis the damn season, tolerate it, no body no crime, coney island, ivy, long story short, marjorie, closure, evermore, and it’s time to go.

After the Folklore: The Long Pond Studio Sessions, [Taylor] stayed for quite a while and we recorded a lot. She actually wrote 'tis the damn season when she arrived for the first day of rehearsal. We played all night and drank a lot of wine after the fireside chat — and we were all pretty drunk, to be honest — and then I thought she went to bed. But the next morning, at 9:00 a.m. or something, she showed up and was like, “I have to sing you this song,” and she had written it in the middle of the night. That was definitely another moment [where] my brain exploded, because she sang it to me in my kitchen, and it was just surreal. That music is actually older — it’s something I wrote many years ago, and hid away because I loved it so much. It meant something to me, and it felt like the perfect song finally found it. There was a feeling in it, and she identified that feeling: That feeling of... “The ache in you, put there by the ache in me.” I think everyone can relate to that. It’s one of my favorites.

[Aaron] She stayed after we were done filming and then we recorded a lot. It was crazy because we were getting ready to make that film, but at the same time, these songs were accumulating. And so we thought, “Hmm, I guess we should just stay and work.”

CHAMPAGNE PROBLEMS

[Taylor] Joe and I really love sad songs. He started that one and came up with the melodic structure of it. I say it was a surprise that we started writing together, but in a way it wasn’t cause we had always bonded over music and had the same musical tastes. He’s always the person who’s showing me songs by artists and then they become my favorite songs. ‘champagne problems’ was one of my favorite bridges to write. I really love a bridge where you tell the full story in the bridge. You really shift gears in that bridge. I’m so excited to one day be in front of a crowd, when they all sing, ‘She would’ve made such a lovely bride, what a shame she’s fucked in the head’. Cause I know it’s so sad, but it’s those songs like ‘All Too Well’. Performing that song is one of the most joyful experiences I ever go through when I perform live, so when there’s a song like ‘champagne problems’ where you know it’s so sad… I love a sad song, you know?

GOLD RUSH

During the willow live stream premiere, Taylor revealed that “gold rush” is Jack's favourite song and that it takes place inside a single daydream where you get lost in thought for a minute and then snap out of it.

[Jack] gold rush was a pretty different sound than what was on folklore. Even the movement in the chorus and some of the chord changes, they're very outside of the realm for what we've done together. We have different processes. Sometimes we sit in a room, sometimes she'll send me a song, sometimes I'll send her a track. That was one where I had the track going. And she did the classic thing where you send it to her, and a very short time later, she sent back a voice note with all of these brilliant ideas of what the song is.

'TIS THE DAMN SEASON

[Aaron] '‘tis the damn season' is a really special song to me for a number of reasons. When I wrote the music to it, which was a long time ago, I remember thinking that this is one of my favorite things I’ve ever made, even though it’s an incredibly simple musical sketch. But it has this arc to it, and there’s this simplicity in the minimalism of it, and the kind of drum programming in there, and I always loved the tone of that guitar. When Taylor played the track and sang it to me in my kitchen, that was a highlight of this whole time. That track felt like something I have always loved and could have just stayed music, but instead, someone of her incredible storytelling ability and musical ability took it and made something much greater. And it’s something that we can all relate to. [Note: The instrumental Aaron is talking about is called Ingrid and was written in 2013 when his daughter Ingrid Stella was born. It was released in 2018 on the album Songs Without Words.]

TOLERATE IT

[Taylor] When you watch a film or you read a book and there’s a character that you identify with, most of the time you identify with them because they’re targeting something in you that feels that you’ve been there. That’s why we relate to characters. When I was reading Rebecca by Daphne du Maurier I was thinking, ‘Her husband just tolerates her. She’s doing all these things, trying so hard to impress him and he’s just tolerating her the whole time.’ There was a part of me that could relate to that because at some point in my life I felt that way. So I ended up writing this song ‘tolerate it’ that’s all about trying to love someone who’s ambivalent.

[Aaron] When I wrote the piano track to 'tolerate it,' right before I sent it to her, I thought, 'This song is intense.' It’s in 10/8, which is an odd time signature. And I did think for a second, 'Maybe I shouldn’t send it to her, she won’t be into it.' But I sent it to her, and it conjured a scene in her mind, and she wrote this crushingly beautiful song to it and sent it back. I think I cried when I first heard it. It just felt like the most natural thing, you know? There weren’t limitations to the process. And in these places where we were pushing into more experimental sounds or odd time signatures, that just felt like part of the work.

CONEY ISLAND

[Taylor on coney island] “The story behind writing Coney Island - Aaron Dessner had sent me this track that he had created with his brother Bryce and I wrote the lyrics and the melody with William Bowery. I think I might have been coming from a place of somebody who’s been in a relationship for decades and wakes up one day and realizes that they have taken their partner completely for granted. So whether you wanna look at it from the perspective of somebody who’s in a new relationship or very long-standing relationship, I think it just really speaks to if people are trying to communicate but they’re two ships passing in the night, they’re trying to love each other but their signals are somehow missing each other - I just found that really interesting... and yeah, we’re really proud of this one. There were elements of it that immediately reminded me of Matt Berninger‘s vocal stylings and his writing, and I kind of targeted some of the lyrics of the second verse to sound sort of like what he might do - cause I hoped that he might sing on it. Because, you know, we already had two members of The National on the song, with Aaron and Bryce. So we got our wish and Matt sang on this song. I think he did an amazing job, I’m such a huge fan of the band and I’m really honored this was able to come together with The National.”

[Aaron on coney island] One key track on evermore, ‘coney island’, features all of the members of the National and sees Swift duetting with their singer Matt Berninger. “My brother [Bryce] actually originated that song,” says Aaron Dessner. “I sent him a reference at one point — I can’t remember what it was — and then he was sort of inspired to write that chord progression. Then we worked together to sort of develop it and I wrote a bunch of parts and we structured it. Taylor and William Bowery [the songwriting pseudonym of Swift’s boyfriend, actor Joe Alwyn] wrote ‘coney island’ and she sang a beautiful version. It felt kind of done, actually. But then I think we all collectively thought — Taylor and myself and Bryce — like this was the closest to a National song. Dessner then asked the brothers who make up the National’s rhythm section, drummer Bryan and bassist Scott Devendorf, to play on ‘coney island’. Matt Berninger, as he often does with the band’s own tracks, recorded his vocal at home in Los Angeles. “It was never in the same place, it was done remotely,” says Dessner, “except Bryan was here at Long Pond when he played. It was great to collaborate as a band with Taylor.”

MARJORIE

[Aaron] “Taylor’s family gave us a bunch of recordings of her grandmother,” Dessner explains. “But they were from old, very scratchy, noisy vinyl. So, we had to denoise it all using [iZotope’s] RX and then I went in and I found some parts that I thought might work. I pitch shifted them into the key and then placed them. It took a while to find the right ones, but it’s really beautiful to be able to hear her. It’s just an incredibly special thing, I think.”

EVERMORE

[Taylor] When Joe wrote the piano, I based the vocal melody on the piano, and we sent it to Justin, who then added that bridge. And Joe had written the piano part so that the tempo speeds up, and it changes. The music completely changes to a different tempo in the bridge. And Justin really latched onto that, and just 100% embraced it and wrote this beautiful sort of... The clutter of all your anxieties in your head, and they're all speaking at once. And we got the bridge back, and then I wrote this narrative of, 'When I was shipwrecked, I thought of you.' That sort of thing, where there was this beacon of hope, and then in the end, you realize the pain wouldn't be forever.

IT'S TIME TO GO

[Taylor] it’s time to go is about listening to your gut when it tells you to leave. How you always know before you know, you know?

Aaron Dessner, Jon Low, Stine Dessner and Taylor at Long Pond in September 2020.

October 6, 2020: Taylor and Paul McCartney get to chat for Rolling Stone. Taylor softly references tolerate it, ivy and willow.

Swift: I was reading so much more than I ever did, and watching so many more films. McCartney: What stuff were you reading? Swift: I was reading, you know, books like Rebecca, by Daphne du Maurier, which I highly recommend, and books that dealt with times past, a world that doesn’t exist anymore. I was also using words I always wanted to use — kind of bigger, flowerier, prettier words, like “epiphany,” in songs. I always thought, “Well, that’ll never track on pop radio,” but when I was making this record, I thought, “What tracks? Nothing makes sense anymore. If there’s chaos everywhere, why don’t I just use the damn word I want to use in the song?”

October 14, 2020: Jason Treuting records the glockenspiel on willow. (I got this date form the original willow stems)

October 28, 2020: Bryce Devendorf records the percussions on willow. (I got this date form the original willow stems)

October/November 2020: Aaron goes to see Justin Vernon in his home studio in Wisconsin, where they work on the album. Aaron writes the instrumental sketch to right where you left me before going on this trip.

[Aaron] I went to see Justin at one point — that’s the one trip I’ve made — and we worked together at his place on stuff. He plays the drums on “Cowboy Like Me” and “Closure,” and he plays guitar and banjo and sings on “Ivy,” and sings on “Marjorie” and “Evermore.” And then we processed Taylor’s vocals through his Messina chain together. He was really deeply involved in this record, even more so than the last record. He’s always been such a huge help to me, and not just by getting him to play stuff or sing stuff — I can also send him things and get his feedback. We’ve done a ton of work together, but we have different perspectives and different harmonic brains. He obviously has his own studio set up at home, but it was nice to be able to see him and work on this stuff.

November 4, 2020: Taylor shoots the evermore cover, the Red TV cover, and the EW photos.

November 7, 2020: Taylor films the willow music video.

November 20, 2020: Aaron records the bass on willow. (I got this date form the original willow stems)

November 25, 2020: Taylor is at Marcus Mumford's studio called Scarlet Pimpernel to finish evermore. They record vocals for two new songs, happiness and right where you left me, they touch up the vocals for coney island, they record Joe's piano on evermore the song, and Marcus records backing vocals on cowboy like me. She possibly stays more than one day.

Taylor has mentioned that you recorded “Happiness” just a week before the album was released. Was that something you guys wrote, recorded, and produced all at the last minute, or was it something you’d been sitting on for a while before you finally cracked the code? There were two songs like that. One is a bonus track called “Right Where You Left Me,” and the other one was “Happiness,” which she wrote literally days before we were supposed to master. That’s similar to what happened with Folklore, with “The 1” and “Hoax,” which she wrote days before. We mixed all the tracks here, and it’s a lot to mix 17 songs, it’s like a Herculean task. And it was funny, because I walked into the studio and Jon Low, our engineer here, was mixing and had been working the whole time toward this. And I came in and he’s in the middle of mixing and I was like, “There are two more songs.” And he looked at me like, “…We’re not gonna make it.” Because it does take a lot of time to work out how to finish them. But she sang those remotely. And the music for “Happiness” is something that I had been working on since last year. I had sang a little bit on it, too — I thought it was a Big Red Machine song, but then she loved the instrumental and ended up writing to it. Same with the other one, “Right Where You Left Me” — it was something I had written right before I went to visit Justin, because I thought, “Maybe we’ll make something when we’re together there.” And Taylor had heard that and wrote this amazing song to it. That is a little bit how she works — she writes a lot of songs, and then at the very end she sometimes writes one or two more, and they often are important ones.

[Taylor on cowboy like me] Take yourselves back to 2020, and I put out folklore, and I just kept writing. I thought, 'Let me make a sister album to folklore and call it evermore.' And so I started immediately. Aaron, Jack, and I were just writing remotely. And the challenge at the time was trying to figure out how to record things. Most studios were completely shut down due to Covid, understandably. I could not find a studio, essentially. So Aaron is like, 'Let me call around to see if there is anyone who is cool, and nice, and generous, and might be willing to offer up their home studio, if we do the right amount of testing, we're totally locked down, and quarantined.' And I was like, 'Okay, please, I really hope someone comes through.' And so he calls me ,'I have really really good news. Marcus Mumford said that you could record at his home studio.' So I first of all, I am so excited that he's saving us, because without this trip, we wouldn't have recorded five or six of the songs on evermore, which came from me getting in a car, driving six hours out into the country past thousands of beautiful sheep, to Marcus Mumford's beautiful house where he has a studio. So I got to do this, we get there, and the whole time I'm thinking, 'Okay, wouldn't it be so cool if he would sing on something?' Because I'm such a Mumford & Sons fan. I just think he's brilliant and has one of the most gorgeous voices in the world. So I'm like, 'Will he sing something, please?' But I didn't want to be weird about it, so I'm like, 'I wonder if fate will have him wander into the studio at the right time.' So sure enough, we're recording a song, and he wanders in at the perfect time and just kind of started humming a harmony. And I turned to him as if I hadn't been thinking of it the whole time, and I was like, 'Oh! You sound really good on that harmony! I wonder if you might sing on this song?' And he said, 'Yep, I would love to!' So essentially, because of Marcus Mumford we have a lot of the songs that probably we wouldn't have been able to put out evermore as quickly as we did. And we also have a gorgeous harmony on a song called 'cowboy like me.'

[Aaron] The music for happiness is something that I had been working on since last year. I had sang a little bit on it, too — I thought it was a Big Red Machine song, but then she loved the instrumental and ended up writing to it.

[Taylor] right where you left me is a song about a girl who stayed forever in the exact spot where her heart was broken, completely frozen in time.

Taylor at Scarlet Pimpernel Studios, and a signed sheet with cowboy like me lyrics which Taylor gave to Marcus Mumford.

December 3 & 4, 2020: Aaron works on willow for the final time, recording some synthesizers. (I got this date form the original willow stems)

[Aaron] On evermore, I would say willow was probably the hardest one to finish just because there were so many ways it could’ve gone. Eventually we settled back almost to the point where it began. So, there’s a lot of stuff that was left out of willow, just because the simplicity of the idea I think was in a way the strongest. It almost felt like a dare or something. We were writing, recording and mixing all in one kind of work stream and we went from one record to the other almost immediately. We were just sort off to the races. We didn’t really ever stop since April.

[Low] The final mix stage for evermore was “very short. There was a moment in the final week or so leading up to the release where the songs were developed far enough for me to sit down and try to make something very cohesive and final, finalising vocal volume, overall volume, and the vibe. There’s a point in every mix where the moves get really small. When a volume ride of 0.1dB makes a difference, you’re really close to being done. Earlier on, those little adjustments don’t really matter.

December 11, 2020: evermore is released.

With folklore, one of the main themes throughout that album was ‘conflict resolution’, trying to figure out how to get through something with someone, or making confessions, or trying to tell them something, trying to communicate with them. evermore deals a lot in endings of all sorts, shapes and sizes. All the kinds of ways we can end a relationship, a friendship, something toxic and the pain that goes along with that.

I have no idea what will come next. I have no idea about a lot of things these days and so I've clung to the one thing that keeps me connected to you all. That thing always has and always will be music. And may it continue, evermore.

[stillgotscars]

people, namely men, booing taylor for *checks notes* existing at a football game to support her boyfriend is disgusting and pathetic in itself, but it’s especially disturbing when the president of the united states is encouraging and perpetuating said harassment online by making several targeted posts about her on his own social media platform

[spicysighs]

Matty Healy + Taylor Swift Timeline

11/7/13: Matty talking about Taylor liking the band and being asked to tour with her.

1/21/14: Matty talking about Taylor liking the band. xx

3/31/14: Matty talks about being asked to tour with Taylor and turning it down. "That was cool. It’s like, ‘We can’t, but that is really nice, thank you very much.”

11/4/14: Matty is pictured wearing a deluxe 1989 album cover tee at his concert in Milwaukee.

11/8/14: Taylor reblogs the picture on tumblr and says they are her favorite band.

11/9/14: Taylor likes these two pictures of Matty wearing the 1989 t-shirt.

11/9/14: Taylor liked this gif-set of Matty talking about whether he’s a dog or cat person.

11/19/14: Selena Gomez, Taylor and other friends went to The 1975 show in LA. Video of them singing along to ‘The City.’

11/19/14: Taylor & Matty making a video for a fan. (Jamie’s daughter Kitty)

11/22/14: Matty follows Taylor on Twitter.

11/23/14: Taylor was pictured wearing a The 1975 band shirt.

11/23/14: Taylor likes these two posts of them wearing each others merch.

11/24/14: Matty dedicates ‘Robbers’ to Taylor. Supposedly he’s done this multiple times. xx

11/25/14: Taylor likes these Tumblr posts. And this picture of Matty.

11/26/14: Taylor likes this Tumblr post.

11/26/14: Matty likes Taylor’s post on Instagram.

11/26/14: Matty wearing the 1989 t-shirt again.

11/26/14: Matty talking about meeting Taylor "I met Taylor Swift, that was really nice." and when asked about possibly dating "I mean bloody hell, what am I going to do? Go out with Taylor Swift? She's a sensation, I wouldn't say no."

11/28/14: Taylor is rumored to have attended The 1975 show in Chattanooga, TN.  

11/29/14: Taylor likes this Tumblr post.

11/29/14: Matty signed this Polaroid for a fan, and the fan talking about the interaction.

11/29/14: Matty says he can’t kiss a fan because he’s taken.

12/2/14: Matty’s mom retweets this.

12/2/14: Matty likes Taylor’s Instagram post.

12/3/14: Matty about Taylor “Well, she’s amazing. She’s an amazing role model. And not only is she an incredible songwriter, she’s an incredible pop songwriter, which I think is even harder. I can’t speak highly enough about Taylor Swift.”

12/4/14: Taylor, Martha, Karlie and others went to The 1975 show in NYC. Where Matty dedicated ‘fallingforyou’ to her. Rumored that Matty missed the after-party and spent the night with Taylor. xx 

12/5/14: Taylor likes this Tumblr post about Matty singing ‘fallingforyou’ to her.

12/5/14: Matty’s tweet in response to articles about him and Taylor getting his name wrong.

12/6/14: Matty has a breakdown on stage in Boston, MA. In 2015 talking about the incident he says “There was girl stuff. There was family stuff. There was financial stuff. There was drug stuff.” 

12/6/14: Matty talking about a fan saying “I love you” to him. “What did I say to the poor fucking girl? ‘You don’t have the right to love me. You don’t know me. I love you but you don’t get to love me.’ Jesus. Can you imagine your favorite band shouting that at you? What a dickhead. What a horrible thing to say to a kid who fucking does love me.”

12/9/14: Matty at a show in NY “I was sad the other day as someone told me they loved me. And I said ‘No, you don’t. Not really.’ And today I told someone I loved them. And they said ‘No, you don’t.’ And it fucking sucks to hear that. Especially when you mean it. Don’t do that to someone. Don’t do what I did.”

12/14/14: Matty posts this on Instagram.

12/30/14: Matty deletes this Instagram post.

1/16/15: Matty denies dating rumors. Admits they exchanged numbers but “That didn’t really happen as much as it’d be amazing for me if it did, unfortunately it didn’t.”

2/25/15: They hangout at the BRIT Awards afterparty. (This weekend is when she met Calvin and they started dating)

2015: Matty & Halsey date and breakup.

11/15/15: Matty talks about Taylor in an interview “The things that surround her are like Barack Obama. I fell for her a little bit, but everyone falls for Taylor Swift” “The day after she’d been to a show of ours, someone sent me a screenshot of E! News with the headline ‘Who is Matt Healy?’ That freaked me out. I’m not ready to indulge in that world and I’m not ready to be judged by that world.”

12/8/15: Matty talks about reaching out to Taylor to have her in his music video.

Sometime in 2015: Matty & Gabriella Brooks start dating.

2/1/16: Matty talking about Taylor “She was a fan of the band and we just became friends, and we related to each other over how mental our lives were. But when you’re with people like Taylor, there are a million people flying around you the whole time, and this security guard is talking to that guy, and this guy is the new manager. I didn’t like the pace of it, because it makes me confused and I feel like I’m going to miss something. And being perceptive is one of the abilities that I like to think that I have.“

3/17/16: Matt Healy has suggested that dating Taylor Swift would have been "emasculating" for him because of her huge global fame.

3/18/16: Journalist who interviewed him writes an op-ed saying his words were misconstrued and "I saw an intelligent and liberal man wrestling with our culture’s gender roles."

3/19/16: He apologizes for said comments and calls Taylor "One of the most gracious, hard working, creatively gifted, and beautiful women that I have had the pleasure to meet."

6/1/16: Taylor & Calvin Harris breakup.

6/15/16: Taylor starts dating Tom Hiddleston.

8/17/16: Matty says he has Taylor’s number but “she’s probably changed her number by now.” And jokes “I keep texting her.”

8/30/16: Matty talks about Taylor on the BBCR1's Breakfast Show. They joke about Taylor doing jury duty.

9/6/16: Taylor & Tom Hiddleston breakup.

October 2016: Taylor & Joe Alwyn start dating.

10/27/16: Matty about Taylor in Rolling Stone “She came to our show, and you would have thought that Barack Obama had come out. I don’t know another person on the planet that would elicit that kind of reaction.”

11/11/16: Matty again denies he dated Taylor and says “She came to a show and we hung out. We fancied each other, but then we couldn’t have it go any further, because it would be like going out with Barack Obama.”

11/20/17: Podcast talking about Taylor & Matty.

12/3/18: Matty talking about his journal “It’s mainly stories that I write about my dreams of being in love with other popstars.”

12/4/18: Matty retweets a picture of Taylor.

8/28/19: Matty & Gabriella Brooks breakup.

9/23/19: Mentions wanting to produce an album for Taylor in an interview (at 13:48 & 32:00) “Taylor, if you ever want someone to help you set up the mics for your little acoustic record, just so you know, I’m there.”

9/23/19: Matty retweets and tags Taylor in a post quoting him saying he wants to produce an album for Taylor.

9/24/19: Matty tweets “Taylor Swift. With an acoustic guitar. Doing her ‘Nebraska’. Doing her ‘Blue’. Kill me.”

January 2020: Matty & FKA Twigs start dating.

2/12/20: Both attend the NME awards and hug. Beabadoobee (who Taylor is talking to in the video) about meeting Taylor that day “Taylor’s so ethereal, So badass, I was like ‘Holy shit!’ She was walking towards me and I’m like, ‘She’s going to Matty [The 1975] not me.’ And then she comes up to me and I’m like... I vomited in my mouth. I couldn’t believe it.”

2/20/20: Matty mentions seeing Taylor and wanting to work with her in an interview with Zane Lowe. “She was just stood behind me. I mean, I haven’t seen Taylor in years so it was actually a really nice room. But it, unfortunately, wasn’t the time for me to pitch my post-rock Joni Mitchell project.”

10/22/20: Deuxmoi posts these.

2021: Matty starts working with Jack Antonoff on The 1975′s upcoming album.  

November 2021: Taylor and Jack Antonoff start working on “Midnights.”

6/7/22: Matty & FKA Twigs breakup. 

8/9/22: Matty Healy shares Taylor Swift’s reaction to The 1975’s new album, with her saying “it’s so funny.” 

9/3/22: Matty says there will be no collab on Midnights. “I would love that! But unfortunately FAKE NEWS :(”

10/7/22: Matty tweets “You guys actually thought Taylor Swift was gonna have me on her album”

10/11/22: Matty on working with Taylor “Oh we’re not. We’d love to. Love to work with Taylor Swift. Love Taylor Swift, think she’s one of the best songwriters, but yeah, no we haven’t done that. We’d love to though.”

10/11/22: The 1975 discuss covering ‘Lover’ for the BBC live lounge.

10/12/22: Matty briefly mentions Taylor in a Zane Lowe interview (45:53).

10/18/22: Matty briefly mentions Taylor in a podcast (1:22:40) when talking about who they would like to see on the podcast. Interestingly enough her name seems to be cut from the video version of the podcast.

10/23/22: Matty posted on his Instagram to stream Midnights.

10/26/22: Matty posted he was listening to ‘Hey Stephen TV’ on his Instagram story

11/27/22: Matty said he worked on Midnights with Taylor but their versions didn’t make the cut (4:52). “We actually worked a bit on that, but then the version of it never came out.” “It was for reasons not to be criticized.”

12/21/22: Matty said ‘Chocolate‘ reminds him of Taylor “Tumblr, Doc Martens, Taylor Swift, the 1975”

‘Question…?’ Played in The 1975 pre-show playlist. (Don’t have dates because it happened multiple times)

1/12/23: Matty & Taylor before The 1975 show.

1/12/23: Taylor does a surprise performance at The 1975 show in London. Deuxmoi later claims they stayed up until 4 am talking (later confirmed in his profile with The New Yorker.)

1/12/23: Matty “I’m not kissing anybody in front of Taylor Swift, have some respect. in front of the queen? not happening"

2/2/23: Matty briefly mentions Taylor and the Ticketmaster situation (38:06)

February: Allegedly spent several days at a Los Angeles recording studio together.

3/15/23: Matty seen with Ana Salazar.

3/17/23: First show of The Eras Tour

3/22/23: Puff-piece comes out stating Joe and Taylor are ‘great together’ and ‘super supportive of her career’ and will be travelling to her ‘when he can’.

‘About You’ plays at the same time as the Lover MV has been playing on The Eras Tour pre-show playlist. (Don’t have dates because it happened multiple times)

3/29/23: Matty’s ex says “Things were going well until around March 29th then, out of the blue, he stopped replying to my messages and calls.”

3/31/23: Taylor changes The Eras Tour setlist from ‘Invisible String’ to ‘The 1’

4/7/23: Matty follows Taylor on Instagram.

4/7/23: Matty likes Taylor’s Instagram post.

4/8/23: Matty’s birthday.

4/8/23: It's announced Taylor and Joe have broken up.

4/8/23: Matty talking about love and how happy he is.

4/10/23: Matty deactivates his social media accounts.

4/10/23: Matty on why he deactivated “Everything happens in eras. The 1975 is a very eras band. And I think that the era of me being a fucking asshole is gonna come to an end.” and “I perform all the time and it’s my job and I love doing this, but I can’t perform off the stage any more as I just want to be a bloke.”

4/10/23: Matty says “Hey, I love you.” during ‘About You’.

4/10/23: Matty mouths “You know who you are.” and points during ‘About You’.

4/11/23: Matty “A call for something sincere and direct. That’s what we’re all looking for. That’s what I’m looking for. Maybe I’ve found it.. I’m feeling quite happy.” 

4/13/23: Deuxmoi says she got a tip that Matty & Taylor are dating. (19:16)

4/14/23: Matty cheering during ‘Me & You Together.’

4/14/23: Matty “Romance is nice when it works, this next song worked.” ‘fallingforyou’ starts playing “Oh it’s a different song, this song did not work.”

4/14/23: Before ‘About You’ “Ok, this is the one that worked.”

4/14/23: Matty mouthing “I love you” during ‘About You’ and saying “Fuck yeah, I win!” after it ends.

4/16/23: Matty’s “Yeah you will!” during ‘Happiness’ after the line, “I’m never gonna love again.”

4/19/23: Matty says “It takes bit to get here but its worth it” and “true story” before playing ‘Me & You Together.’

4/21/23: Matty plays a cover of ‘The Best of Me’ by The Starting Line. Take note of the lyrics.

4/24/23: Matty spoke about how he sees people listening to ‘She's American’ in three places: Manchester, Tokyo and Pennsylvania “that’s a whole other thing don’t worry about that.”

5/3/23: The Sun reports Matty and Taylor are dating and will go public with their romance at her shows in Nashville.

5/3/23: Matty introducing ‘Me and You Together song’, saying “I’ve got something real to tell you guys!”

5/3/23: Matty mouths “This is about you, you know who you are. I love you.” while playing ‘About You.’

5/3/23: Matty does a cover of ‘The Best of Me’ by The Starting Line again.

5/4/23: Matty introducing ‘Me and You Together song’, saying “So I’ve been trying to tell you guys” and “That’s right.”

5/4/23: Before playing ‘About You’ Matty mouths "This is why I'm happy. Who is it about? Who am I talking to?"

5/4/23: Matty is seen mouthing the words "I love you" before writing the letter T on the camera lens.

5/4/23: Matty saying “she sure is” before playing ‘She's American.’

5/4/23: Matty flies from Manila to Nashville. (Which is around a 20hr flight)

5/5/23: Matty at Taylor’s concert. Nashville night 1.

5/5/23: Taylor mouths “This is about you, you know who you are. I love you.” during ‘cardigan.’

5/6/23: Matty grabbing coffee accompanied by Taylors bodyguard after leaving Taylors condo.

5/6/23: Matty at Nashville night 2. xx

5/6/23: Matty & Taylor pictured arriving at Taylor’s condo together.

5/7/23: Matty at Nashville night 3.

5/11/23: Matty and Taylor spotted on a date with Jack Antonoff in NYC. More pictures here.

5/12/23: Matty at Philly night 1.

5/13/23: Matty at Philly night 2.

5/13/23: Taylor performs ‘This Love’ with no introduction.

5/14/23: Taylor plays a request of “Hey Stephen”, but doesn’t say who requested it.

5/14/23: Matty pictured at the VIP tent at The Eras Tour Philly night 3

5/15/23: Matty and Taylor pictured leaving a party at Electric Studios in NYC.

5/18/23: Article comes out saying Joe is 'distraught and slighted' over Taylor & Matty dating, saying he ‘trusted’ Taylor when she said they were just friends.

5/18/23 Matty entering Taylor’s NYC Apartment.

5/20/23: Matty’s ex talks about Matty and Taylor.

5/20/23: Taylor’s speech before playing ‘Question...?’  in Foxborough, MA. "I want you all to know that I've never been this happy before in my life. It’s not just with the tour, I just sort of feel like my life finally feels like it makes sense. And so I thought I’d play this song, which brings me a lot of happy memories."

5/20/23: Taylor plays ‘Question...?’ on night 2 in Foxborough, MA.

5/22/23: Matty dropping Taylor off at Electric Lady Studios.

5/24/23: Taylor and Matty leaving the Electric Lady Studios separately.

5/27/23: The Sun reports Matty and Taylor are moving in together.

5/29/23: Matty’s profile with The New Yorker comes out which includes multiple mentions of Taylor.

5/29/23: From The New Yorker “Healy found it annoying that, at a certain level of fame, celebrities can cultivate liberal auras while avoiding the risk of taking real political stands. (Swift, I thought, but didn’t say, seemed to be excepted from his critique.)”

5/29/23: From The New Yorker about Taylor & Matty dating “ Neither of their representatives would comment on the record, but I kept getting texts from people who knew them, and who insisted: this time, it’s real.”

6/5/23: Matty & Taylor reportedly break up.

6/6/23: People releases an article saying "There is no drama, and who knows what could happen again.” and "Taylor and Matty still care for one another but they are in the middle of world tours so both are incredibly busy. They've been friends for years and are still friends."

6/6/23: While discussing Taylor on his podcast (21:06) Zach Sang says "I'm like kind of friends with Selena Gomez. We've known each other for a very long time and we share a lot of close friends. And from what I heard like in the aura around Selena, Taylor was talking about Matty Healy like he was the one." 

6/11/23: Matty reactivates his Instagram.

6/11/23: Matty “You know what’s nice, playing songs in context“ before ‘Me and You Together song’

7/1/23: Matty mentions Taylor "I don’t wanna use this thing [the catwalk], it feels very democratic, it feels very… I mean Beyonce of course, Taylor, Machine Gun Kelly, whoever it may be… I don’t like it, it makes me feel exposed."

7/5/23: The Sun claims Matty & Taylor are back together and “want to make it work at all costs.”

7/5/23: People declines claims that they are together.

7/18/23: Matty briefly mentions Taylor “I speak about this a lot, the Tumblr times, the simpler days, the golden days. When it was just us and Taylor and Lana and Arctic Monkeys.”

7/22/23: Taylor removes ‘About You’ from The Eras Tour pre-show playlist.

8/7/23: Matty is seen with Meredith Mickelson at an airport in Hawaii.

August 2023: Taylor starts dating Travis Kelce.

September 2023: Matty starts dating Gabbriette.

December 2023: Multiple people receive miss prints of “1989 (Taylor’s Version)” which appears to show the song “Slut” originally featured The 1975.

4/19/24: Taylor releases her new album “The Tortured Poets Department” where many songs are believed to be about Taylor and Matty’s previous relationship. 

[lynnemariehedvig]

TECHNOLOGIES

United States of America

[likeadevils]

Midnights Timeline

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

If you don't want to read all that, check out this playlist of the album in order, or this playlist of her entire discography. WARNING: there is a very large chunk on the playlists that I have no information on (Maroon-Dear Reader).

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 off pure vibes and guesswork and is highly likely to change.

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

Renegade: March 7-15, 2021 (Confirmed)

Aaron: “I wrote the music [for Renegade] at some point after we finished [evermore], and sent it to her, because she was inspired by a llot of the Big Red Machine stuff we were working on. And she had already sung on Birch, a song that hasn't come out yet but is one of the major ones on the record. And I think she wanted to write a song for Big Red Machine. She very much feels like part of this community to me. So I wrote Renegade, the music, and sent it to her. And not unlike a lot of the things we've done together, one day I woke up to a voice memo from her and she had written this incredible song about how anxiety and fear get in the way of loving or being loved. And she was clearly thinking about Big Red Machine. And then we recorded her vocals and everything the week of the Grammys, when I was there in LA, and it was really nice to have something to think about that wasn't related to the Grammys - just to make music because you feel like making it." (transcript from jaimie)

High Infidelity and Would've Could've Should've: March 7-15, 2021 (Confirmed)

Aaron: [Would've Could've Should've], we wrote that song together, and recorded it while we were together in LA for the folklore Grammys. It goes back that far. And the same with High Infidelity. Those songs, we actually recorded in her house, the vocals, we recorded them then. And I just kept making music, and it was kind, after we had made folklore and evermore, I started to have ideas which I would share. And eventually, she obviously made most of Midnights with Jack, and it became something different. But High Infidelity, and Would’ve, Could’ve, Should’ve, and The Great War, and we made Hits Different with Jack and Taylor and I also, and it was great to be part of that record in that way. (transcript from @cages-boxes-hunters-foxes)

The Great War and Hits Different: between April-October 2021 (Speculation)

In the above quote talking about his songs on Midnights, Aaron says "Eventually, she obviously made most of Midnights with Jack, and it became something different," implying his stuff was written before the bulk of midnights in fall. He also says High Infidelity and Would've Could've Should've "[go] back that far," which implies they were some of the earliest stuff on Midnights, so it's safe to assume TGW and Hits Different come sometime afterwards.

Summer 2021: Jack has a session with Sounwave, Sam Dew, and Zoe Kravitz, where the instrumentals for Lavender Haze and likely Glitch are written

Rolling Stone interview with Sounwave: Before Antonoff began to work on Swift’s tenth album, he was cooking up tracks with Spears, Dew, and Zoë Kravitz [...] During a brainstorming session, the quartet put together a track that would eventually become “Lavender Haze.”

November 3 2021: It was announced that Joe has been cast in Stars at Noon, alongside Margaret Qualley, Jack Antonoff's then girlfriend now wife. Since Joe was parachuted into the film last minute, filming had already started, making it likely he left as soon as possible.

Taylor: We’d been toying with ideas and had written a few things we loved, but Midnights actually really coalesced and flowed out of us when our partners (both actors) did a film together in Panama. Jack and I found ourselves back in New York, alone, recording every night, staying up late and exploring old memories and midnights past.

November 8: Jack gets back from touring with Bleachers. Let the games begin.

Vigilante Shit: November 2021 (Speculation)

Vigilante Shit is the sole solo writing credit on the album, which implies it was written before her and Jack were holed up together 24/7. Also Scooter and his wife divorced in July. Beyond that there's no evidence this is early in the process, besides it making sense that Taylor wrote this alone, brought it to Jack, and then fell into a creative inferno.

Maroon, Anti-Hero, You're on Your Own Kid, Midnight Rain, Bejeweled, Labyrinth, Mastermind, Paris, and Dear Reader: November/December 2021 (Inferring)

I don't have enough info on the making of any of these songs to give them each their own little blurb, but if anything pops up I will update this post and reblog it letting y’all know.

Question..?: After November 21, 2021 (Inferring)

We know Rachel Antonoff, Dylan O'Brien, and Austin Swift were there the day they recorded it thanks to this behind the scenes footage of them recording the cheering vocals. Dylan was filming The Vanishings at Caddo Lake in Louisiana sometime between October 5 and November 20. I don't know exactly which dates he was filming-- he was in New York for All Too Well filming in late October and to attend the premiere on November 12, but since we know for sure he was in Louisiana on the 20th, I'm just gonna Occam's Razor it and say Question was written sometime after he got back from that.

You're Losing Me: December 5, 2021 (Confirmed)

December 17, 2021: Filming wraps on Stars at Noon, and with it the bulk of recording for Midnights.

Lavender Haze: Early 2022 (Speculation)

Lavender Haze, Snow on the Beach, and Karma are the only songs to have Henson Recording Studios credited (I can't find studio credits for the 3am tracks so there is possibly more on there). This could point to them all being recorded around the same time time, or it could be in reference to Jack and Sounwave's original recording sessions taking place at Hensen. I lean towards the former, since 1) it seems like the Winter 2021 sessions were mostly between Taylor and Jack, and the spring sessions have other collaborators, and 2) the tabloid rumors about Taylor and Joe getting engaged really started heating up in February 2022. On the other hand, Sounwave implies that there was a notable stretch of time between Lavender Haze and Karma, so I totally understand if you want to put it with the rest of the Winter 2021 sessions. Rolling Stone interview with Sounwave: A few months [after Jack and Sounwave wrote the instrumentals], Antonoff reached out to Spears, Dew, and Kravitz to see if he could pitch [Lavender Haze] to Swift, who loved it immediately. She wrote lyrics inspired by a Mad Men scene, numerous tabloid rumors and online gossip about her relationship status, and “1950s expectations.” “When Jack brought us in the hear for the first time, all our mouths dropped. She took it to a whole new world and made it her own. She created different pockets we did not hear.”

Glitch: Early 2022 (Speculation)

Rolling Stone interview with Sounwave: "Glitch,” one of the bonus songs on the Midnights (3am) edition, was born from the same studio session as “Lavender Haze.” I don't know if this means the instrumentals to Lavender Haze and Glitch were done in the same session, Taylor wrote the lyrics in the same session, or both. For the same reason as Lavender Haze, I lean towards this coming later in the process, as well as Glitch mentioning being together for six years, and in November 2021 Taylor and Joe had been together for a little over 5 years. That being said, Taylor could've assume the album was going to come out in 2022, and that she would stay with Joe until then, and bump up that date a bit. It's still very up in the air.

February 5, 2022: Taylor is photographed leaving Jack's house holding a keyboard.

Sweet Nothing: Spring 2022 (Inferring)

Joe is a co-write on this, meaning they likely wrote it after he got back from filming. It also mentions their trip to Ireland in 2021 and refers to it as "last July", implying it was written in 2022. While I was writing this timeline Taylor liked this post on twitter, implying that at least the second verse is in reference to Paul and Linda McCartney. The quote is from his poem Blessed, which you can read in this interview (TWs for death and cancer)

Bigger Than The Whole Sky: March 2022 (Inferring)

Claire Winter, a close friend of Taylor's, posts on Instagram that she miscarried. (I toyed with whether or not to add this, but seeing as Claire Winter made the information public herself, I decided to put it in. If she ever takes that Instagram post down, let me know and I'll delete this part.)

Snow on the Beach: April 1, 2022 (Inferring)

On April 1, Lana Del Rey posts a video on Instagram of Jack in the studio with an unidentified female voice in the background. Two days later she posts this photo, which Taylor and Jack both include in posts about Midnights/Snow on the Beach. Lana: Well, first of all, I had no idea I was the only feature [on that song]. Had I known, I would have sung the entire second verse like she wanted. My job as a feature on a big artist’s album is to make sure I help add to the production of the song, so I was more focused on the production. She was very adamant that she wanted me to be on the album, and I really liked that song. I thought it was nice to be able to bridge that world, since Jack [Antonoff] and I work together and so do Jack and Taylor. Taylor: And with Snow On The Beach, which features the genius Lana Del Rey, very lucky to have collaborated with her on that. And Dylan [O’Brien] was actually in the studio with me and Jack, because a lot of the time we record at his place, and Dylan was just hanging out, drinking wine with us, and listening to stuff, and he was just trying out the drum kit there. He wasn't serious. But we were drinking wine, and we were sort of like, 'We haven't recorded the drums for this one yet! See if you want to...' and he played the drums on the song. Sometimes it just happens like that. (transcript once again from jaimie)

Karma: Spring 2022 (Speculation)

Rolling Stone interview with Sounwave: The bubbly “Karma” came later [than Lavender Haze and Glitch], when Antonoff reached out to Spears for any other ideas he may have to contribute to the album and its synth-pop vision. “‘Karma’ was just a last-minute Hail Mary,” Spears says. “I remembered I was working with my guy Keanu [Beats] and had something that was too perfect not to send to her. As soon as I sent it, Jack was instantly like ‘This is the one. Playing it for Taylor now. We’re going in on it.’ The next day, I heard the final product with her vocals on it.”

April 19, 2022: Elle's interview with the Conversations with Friends cast is released, and when Joe is "asked if he hopes to continue writing songs, Alwyn simply says, “It’s not a plan of mine, no.”" It's possible this means Sweet Nothing was yet to be written, but I think it's more likely Joe was just denying in order to not create hype around a song that wasn't officially announced yet.

May 2022: Taylor teases Labyrinth lyrics in her NYU Commencement Speech and says m i d n i g h t very prominently on this instagram post, meaning by early summer she was likely confident in the album's name and which songs would make the tracklist.

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

[fcaruana]

"'franco' is for a girl" he's so

[seeminglyranch87]

Taylor and Travis Timeline

A relationship timeline of tay tay and killatrav for funsies

October 2016

October 2022

December 2022

February 2023

March 2023

April 2023

May 2023

June 2023

July 2023

August 2023 - part 1 // part 2

September 2023 - part 1 // part 2

October 2023 - part 1 // part 2 // part 3

November 2023 - part 1 // part 2

December 2023 - part 1 // part 2 // part 3

January 2024 - part 1 // part 2

February 2024 - part 1 // part 2

March 2024 - part 1 // part 2 // part 3

April 2024 - part 1 // part 2 // part 3

May 2024 - part 1 // part 2 // part 3

June 2024 - part 1 // part 2 // part 3

July 2024 - part 1 // part 2 // part 3

August 2024 - part 1 // part 2 // part 3

September 2024 - part 1 // part 2 // part 3 // part 4

October 2024 - part 1 // part 2 // part 3 // part 4

November 2024 - part 1 // part 2 // part 3

December 2024 - part 1 // part 2 // part 3 // part 4

January 2025 - part 1 // part 2 // part 3

February 2025 - part 1 // part 2

March 2025 - part 1

April 2025 - part 1

May 2025 - part 1

[sonknuxadow]

the sonic twitter takeovers are canon when they say something i like and not canon when they say something i dont like hope this helps

[beonthelookoutforbotnetsusa]

WATCH FOR FROZEN BOTNETS, THAT NO MATTER HOW OLD OR NEW ARE ALL CONSISTENTLY CONSISTENT WITH THE OTHER VERSIONS OF THEMSELVES, NO MATTER THEIR AGES. ESSENTIALLY SET IN VARIOUS WAYS TO NEVER EVOLVE OR CHANGE, THOSE TYPES OF BOTNETS ARE ESSENTIALLY ALWAYS JUDGED AS RETARDED IN TERMS OF CRIMINAL SOPHISTICATION BY TIME TRAVELING CRIMINALS OR TIME TRAVELING MILITARIES OR TIME TRAVELING RESOURCE PIRATES FROM OUTSIDE THIS CLUSTER OF GALAXIES, AND DUE TO THOSE JUDGEMENTS, CONSISTENTLY ATTRACT CRIMINALS FROM OUTSIDE THIS AREA TO DIRECT THEIR ATTENTIONS THIS DIRECTION, HOPING FOR EASY SCORES

[tuttle-did-it]

[taylor-on-your-dash]

Writing of 1989 Timeline

DISCLAIMER: This post wants to showcase how Red by Taylor Swift came to be, what challenges and discoveries she made while making her fourth album, but most of all how curious, passionate and eager to learn she is.

Please, credit me if you take info from this timeline.

1989 changed Taylor's career forever. If Red had just sprinkles of pop sounds, 1989 was marketed as a pure pop album from the get-go.

While many fans and critics kind of expected that, it seems like:

Taylor didn't have a clear direction from the start (except for the cohesiveness): “I wanted it to be a sonically cohesive album, and it ended up really being the first I’ve done since Fearless. I also wanted the songs to sound exactly how the emotions felt. I know that’s pretty vague, so I really didn’t know where it was going to go, but I knew that I wanted to work with the collaborators I had such crazy electricity with on Red, like Max Martin. I wanted to do some things that sounded nothing like what we had done before.”

She knew that she didn't want another Red: “When people say that they like one of my albums, like when people told me that Red was their favorite album I'd done, I didn't take that as, 'So, I should make that again'. I took that as, 'Great, awsome, now I wanna make them like this new album just as much if not more than the last album.' But I want them to like it for different reasons.”

She was worried about the change of direction of her music: “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.”

October 17, 2012: [From a Lover Journal] Taylor writes This Love in LA. This will be the last song produced by Nathan Chapman and the only one recorded in Nashville.

“The last time I wrote a poem that ended up being a song, I was writing in my journal and I was writing about something that had happened in my life – it was about a year ago – and I just wrote this really really short poem. It said, 'This love is good /this love is bad / this love is alive back from the dead / these hands had to let it go free / and this love came back to me.' And I just wrote it down, closed the book and put it back on my night stand […] All of a sudden in my head I just started hearing this melody happen, and then I realized that it was going to be a song.”

Handwritten lyrics:

November 18, 2012: Taylor meets Jack Antonoff and his band, fun., for the first time in Frankfurt, Germany, while at the MTV Europe Music Awards. They bond over 80s music.

January 4, 2013: Taylor is seen in a boat without Harry Styles, ready to return to LA from the Virgin Islands.

She will wear the same dress in the Out Of The Woods music video (and also in Look What You Made Me Do)

January 10, 2013: Taylor tweets "Back in the studio. Uh oh...". She will confirm that the song was All You Had To Do Was Stay on October 27, 2014 on Tumblr.

Candids here;

“There’s a song on my album called 'All You Had To Do Was Stay.' I was having this dream, that was actually one of those embarrassing dreams, where you’re mortified in the dream, you’re like humiliated. In the dream, my ex had come to the door to beg for me to talk to him or whatever, and I opened up the door and I went to go say, 'Hi,' or 'What are you doing here?' or something — something normal — but all that came out was this high-pitched singing that said, 'Stay!' It was almost operatic. So I wrote this song, and I used that sound in the song. Weird, right? I woke up from the dream, saying the weird part into my phone, figuring I had to include it in something because it was just too strange not to. In pop, it’s fun to play around with little weird noises like that.”

January 11, 2013: Taylor is seen again at Conway Studios, likely to continue working on All You Had To Do Was Stay.

January 15, 2013: Taylor posts a picture of herself in the studio, with the caption "Somewhere in LA". She'll later reveal that she was writing How You Get The Girl.

“The song ‘How You Get The Girl’ is a song that I wrote about how you get the girl back if you ruined the relationship somehow and she won’t talk to you anymore. Like, if you broke up with her and left her on her own for six months and then you realize you miss her. All the steps you have to do to edge your way back into her life, because she’s probably pretty mad at you. So it’s kind of a tutorial. If you follow the directions in the song, chances are things will work out. Or you may get a restraining order.”

March 6, 2013: Taylor is seen going to a studio in LA.

March 23, 2013: Taylor posts a picture of herself playing guitar, which might mean that she was working on a new song: "Pre show. Columbia, South Carolina". This could be either Wonderland, New Romantics or a vault song.

May 27, 2013: While in Rhode Island for the Memorial Day weekend, Jack plays Taylor an instrumental track that will later become I Wish You Would.

“'I Wish You Would’ is a song that I wrote with Jack Antonoff and it was the first song we ever worked on together. I think, for this song, we wanted to create a sort of John Hughes movie visual with pining and, you know, one person’s over here and misses the other person but is too prideful and won’t say it. Meanwhile this other person is here and missing the same person; they’re missing each other but not saying it. And I had this happen in my life and so I wanted to kind of narrate it in a very cinematic way where it’s like you’re seeing two scenes play out and then in the bridge you’re seeing the final scene, where it resolves itself. So it says, 'It’s a crooked love in a straight line down, makes you wanna run and hide but it makes you turn right back around.’ It kind of is like that dramatic love that’s never really quite where it needs to be and that tension it creates.”

[Voice Memo Intro Transcript] “This is another way I’ve written songs recently. This is a song I did with Jack Antonoff, and Jack is one of my friends and so 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, 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’. So this is another way of writing, it’s writing to track.”

[Secret Sessions] “Taylor said that she wrote ‘I Wish You Would’ a couple of months after her and Harry Styles broke up, and they decided to become friends again and she said this was the first time she had become friends with an ex, to the point where they were comfortable enough to talk about why the relationship didn’t work out. She said he told her about how, after they broke up, he bought a house literally one road adjacent to hers. Every day he would drive home, and accidentally turn into her street, and he told her how he just wanted to stop at her house and see her, but he never did. She said this song is about while he was in the car making the decision to get out the car and see her, she was sitting in her bedroom, wishing he would make the move and go back to her and just pitch up at her house. She compared it to a classic John Hughes movie where both parties want the same thing but neither has the guts to say anything. Honestly, she spoke so fondly of that relationship.” [this is from a secret sessioner and therefore it should be taken with a grain of salt]

Between May 28 and June 2, 2013: Taylor writes I Wish You Would. She settled in Rhode Island basically all summer, so it's possible that she went to Jack's studio in New York by car without being seen and especially photographed, cause I couldn't find any pictures with the same outfit. Conway Studios are also credited but it's possible that she recorded background vocals there. Taylor was in LA in late August.

June 7, 2013: During an interview at the CMA Music Festival, Taylor confirms that she has started writing her next album.

[Transcript by me] “[The new album] is starting, all the anxiety is starting and when the anxiety starts, then the writing happens right afterward usually. I like to write for about two years before I'm finished with an album because at this point I kind of know that whenever I read in the first year is going to get 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 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. It's harder to call people you don't know, it's harder to think of topics you haven't covered and think of new ways to say old emotions that everyone feels. I think one of the things that I'm happiest with in the last year is the acceptance level in country music for me experimenting and for me trying to evolve and challenge myself musically because I think it's never felt better to be on that stadium stage performing knowing that and so welcoming of change.”

July 13, 2013: After a show in New Jersey, Taylor has an interview with Rolling Stone, where she says that she has been writing a lot.

“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: 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.”

Somewhere around June and early September 2013: Taylor and Jack write Sweeter Than Fiction. No credits are available but we know that it's the second song on which Taylor and Jack worked, so that places it before I Wish You Would and Out Of The Woods.

In 2014, Lena Dunham (Jack's girlfriend at the time) posted this photo of Jack and Taylor working on the song at Jack's house.

September 15, 2013: Jack completes the instrumental track that will later become Out Of The Woods, after his show was cancelled.

[Jack Antonoff] “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.”

Somewhere around September and October 2013: Taylor writes Out Of The Woods.

Voice memo here;

[Jack Antonoff] Although Antonoff and Swift shared studio time for some of their other 1989 songs while working throughout 2014, “Out of the Woods” was completed as a long-distance collaboration. “She’s very natural -— when she gets an idea, it just happens very quickly. I would send her these tracks, and when an idea would happen, we’d be 5,000 miles apart or whatever, but she would start emailing me these voice notes like crazy and it would just be happening so quickly that there’d be this excitement. There’s a frantic feeling in the song,” he says. “What’s interesting about ‘Out of the Woods’ is that it doesn’t really let up. It starts with a pretty big anthemic vocal sample that’s me, and then there’s a drum sample that kicks in that’s kind of huge, and then you don’t really know how you’re going to get any bigger, but then the chorus hits and it just explodes even larger. And then the bridge hits, and it gets even more huge.“When I was working on the track, I was thinking a lot about My Morning Jacket,” Antonoff continues, “and how everything they do, every sound is louder than the last, and somehow it feels like everything is just f—ing massive. And that’s the feeling that I went for. It started out big, and then I think the obvious move would have been to do a down chorus, but the idea was to keep pushing.” Antonoff is excited to share the rest of his work with Swift on 1989, but he views “Out of the Woods” as a highlight on the project. “This song means a great deal to me. On a production level, on a writing level, Taylor’s lyrics and her melodies — there’s something very important about this song.”

[Jack Antonoff] “After 'I Wish You Would' and 'Sweeter Than Fiction', we did 'Out Of The Woods'. So it 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.”

“It kind of conjured up all these feelings of anxiety I had in a relationship where everybody was watching, everybody was commenting on it. You’re constantly just feeling like, ‘Are we out of the woods yet? What’s the next thing gonna be? What’s the next hurdle we’re gonna have to jump over?’ It was interesting to write about a relationship where you’re just honestly like, ‘This is probably not gonna last, but how long is it gonna last?’ Those fragile relationships... It doesn’t mean they’re not supposed to happen. The whole time we were having happy memories, or crazy memories, or ridiculously anxious times, in my head it was just like, ‘Are we okay yet? Are we there yet? Are we out of this yet?’”

“That line is in there because it's not only the actual, literal narration of what happened in a particular relationship I was in, it's also a metaphor. 'Hit the brakes too soon' could mean the literal sense of, we got in an accident and we had to deal with the aftermath. But also, the relationship ended sooner than it should've because there was a lot of fear involved. And that song touches on a huge sense of anxiety that was, kind of, coursing through that particular relationship, because we really felt the heat of every single person in the media thinking they could draw up the narrative of what we were going through and debate and speculate. I don't think it's ever going to be easy for me to find love and block out all those screaming voices.”

October 21, 2013: Sweeter Than Fiction is released. Big Machine was originally not on board with the release since they wanted a dormant period between album releases.

Late 2013: Taylor writes Bad Blood, after Katy Perry announces her Prismatic World Tour.

“For years, I was never sure if we were friends or not. She would come up to me at awards shows and say something and walk away, and I would think, ‘Are we friends,or did she just give me the harshest insult of my life?’ Then last year, the other star crossed a line. She did something so horrible. I was like, ‘Oh, we’re just straight-up enemies.’ And it wasn’t even about a guy! It had to do with business. She basically tried to sabotage an entire arena tour. She tried to hire a bunch of people out from under me. And I’m surprisingly non-confrontational – you would not believe how much I hate conflict. So now I have to avoid her. It’s awkward, and I don’t like it.”

“That was about losing a friend... But then people cryptically tweet about what you meant. I never said anything that would point a finger in the specific direction of one specific person, and I can sleep at night knowing that. I knew the song would be assigned to a person, and the easiest mark was someone who I didn’t want to be labeled with this song. It was not a song about heartbreak. It was about the loss of friendship.”

October 20 to 22, 2013: Taylor is in Cape Town (South Africa) shooting The Giver. One of the members of the cast is Alexsander Skarsgård. He is said to have inspired Wildest Dreams (or at least he's the most popular theory, as far as I know), because the music video is set in Africa and it features Clint Eastwood's son Scott as love interest, just like Alexsander is actor Stellan Skarsgård's son, but we don't actually know more about the song.

“I think the way I used to approach relationships was very idealistic. I used to go into them thinking, ‘Maybe this is the one – we’ll get married and have a family, this could be forever’. Whereas now I go in thinking, ‘How long do we have on the clock – before something comes along and puts a wrench in it, or your publicist calls and says this isn’t a good idea?’”

Note: Selena Gomez was present when Taylor wrote this song.

Handwritten lyrics:

November 19, 2013: Taylor records Blank Space. This is based on the wall behind her on an Instagram post from this day, the credits, and the behind the scenes clip.

Voice memo here;

Behind the Scenes here;

“Every few years, the media finds something they unanimously agree is annoying about me. 2012-2013 they thought I was dating too much, because I dated two people in a year and a half. ‘Oh, a serial dater. She only writes songs to get emotional revenge on guys. She’s a man-hater, don’t let her near your boyfriend.’ It was kind of excessive and at first it was hurtful, but then I found a little bit of comedy in it. This character is so interesting, though. If you read these gossip sites, they describe how I am so opposite to my actual life: I’m clingy, and I’m awful, and I throw fits, and there’s drama. An emotionally fragile, unpredictable mess. I painted a whole picture of this character. She lives in a mansion with marble floors, she wears Dolce & Gabbana around the house, and she wears animal print unironically. So I created this whole character and I had fun doing it.”

November 21, 2013: While at the American Music Awards, Taylor tells Billboard that she has around seven or eight songs ready.

[Transcript] “We got a lot already,” says Swift. “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.”

December 2013: Taylor meets Diane Warren and they write Say, Don't Go.

[Diane Warren to Rolling Stone] Warren, who typically writes on her own, says the two of them “sat down and wrote the song,” which was released Friday as one of 1989 (Taylor’s Version)‘s vault tracks, “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,” Warren says. “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.”

2013: Taylor writes New Romantics and Wonderland. Not much is known about these songs, except that they were both written in 2013.

[About New Romantics] “People will say, 'Let me set you up with someone', and I’m just sitting there saying, ‘That’s not what I’m doing. I’m not lonely. I’m not looking.’ They just don’t get it. I’ve learned that just because someone is cute and wants to date you, that’s not a reason to sacrifice your independence and allow everyone to say whatever they want about you. I’m not doing that anymore. It’d take someone really special for me to undergo the circumstances I have to go through to experience a date. I don’t know how I would ever have another person in my world trying to have a relationship with me, or a family.”

New Romantics handwritten lyrics:

Wonderland Handwritten lyrics:

January 1, 2014: Taylor records Say, Don't Go.

[Diane Warren to Rolling Stone] 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.”

January 6, 2014: Taylor decides to look for a house in New York.

[Lover Journal] LA. So I've decided I want to look at places in New York. I know I went through this phase months ago, but it has to mean something that i've circled back to it, right? You know what they say, if you love something let it go and if it comes back... blah blah blah. so I'm leaving the day after tomorrow. Dating is awful. Love is fiction/ a myth. I'm over it all.

January 21, 2014: Taylor sends Ryan Tedder the I Know Places Voice Memo.

January 22, 2014: [From the 1989 Booklet] Taylor and Ryan finish and record I Know Places.

“I had this idea of like, when you’re in love, along the lines of 'Out of the Woods’, it’s very precious, it’s fragile. As soon as the world gets ahold of it, whether it’s your friends or people around town hear about it... it’s kind of like the first thing people want to do when they hear that people are in love is just kind of try to ruin it. I kind of was in a place where I was like, ‘No one is gonna sign up for this. There are just too many cameras pointed at me. There are too many ridiculous elaborations on my life. It’s just not ever gonna work.‘ But I decided to write a love song, just kind of like, ‘What would I say if I met someone really awesome and they were like, hey, I’m worried about all this attention you get?’ So I wrote this song called ‘I Know Places’ about, ‘Hey, I know places we can hide. We could outrun them.’ I’m so happy that it sounds like the urgency that it sings.”

January 23, 2014: Taylor and Ryan Tedder write Welcome To New York. Ryan produces a demo in three hours. This demo is the one included in the album.

“I wanted to start 1989 with this song because New York has been an important landscape and location for the story of my life in the last couple of years. I dreamt and obsessed over moving to New York, and then I did it. The inspiration that I found in that city is hard to describe and to compare to any other force of inspiration I’ve ever experienced in my life. It’s an electric city.”

[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 the 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.”

Handwritten lyrics:

January 26, 2014: Night of the 56th Grammy Awards. Taylor delivers a legendary performance of All Too Well, but loses the Album Of The Year Award to Random Access Memory by Daft Punk. This will prompt Taylor to make a "sonically cohesive" pop album.

[Lover Journal] January 25th. LA. It's the middle of the night and I was at the Clive Davis Party tonight which means... the Grammys are tomorrow. Never have I felt so good about our chances. Never have I wanted something as badly as I want to hear them say 'Red' is the Album of the Year.

“It was the night of the Grammys this year. I remember going home and playing a lot of the new music I had recorded for some of my backup singers and one of my best friends. We were all sitting in the kitchen and I was playing them all this music, and they were just saying, ‘You know, this is very eighties. It’s very clear to us that this is so eighties.’ We were just talking and talking about how it’s kind of a rebirth in a new genre, how that’s a big, bold step. Kind of starting a part of your career over. When they left that night, I just had this very clear moment of, ‘It’s gotta be called 1989.’”

“I woke up one morning at 4 a.m. and I decided the album is called 1989. I’ve been making ‘80s synth pop, I’m just gonna do that. I’m calling it a pop record. I’m not listening to anyone at my label. I’m starting tomorrow. I liked the idea of collaborating. But with 1989 I decided to narrow down the list. It wasn’t going to be 10 producers, it was going to be a very small team of four or five people I always wanted to work with, or loved working with. And Max Martin and I were going to oversee it, and we were going to make a sonically cohesive record again.”

January 2014: Taylor writes You Are In Love. This is actually speculation but it's based on (1) Taylor going to NY in early January and (2) Jack Antonoff confirming that it was the fourth song they did and (3) it's the only Antonoff-produced song that is copyrighted in 2014. Based on the credits, I'm pretty sure that Taylor and Jack worked on the song separately, with Jack recording the instrumental at the Jungle City Studios in NY (which is a studio that Jack used in 2014 to record Bleachers' first album Strange Desire) and Taylor recording the vocals at Conway Studio in LA.

“I wrote it with my friend Jack Antonoff who’s dating my friend Lena. Jack sent me this song, it was just an instrumental track he was working on and immediately I knew the song it needed to be. And I wrote it as a kind of commentary on what their relationship has been like. So it’s actually me looking and going, ‘This happened and that happened, then that happened and that’s how you knew you are in love.’”

“I’ve never had that, so I wrote that song about things that Lena Dunham has told me about her and Jack Antonoff. That’s just basically stuff she’s told me. And I think that that kind of relationship — God, it sounds like it would just be so beautiful — would also be hard. It would also be mundane at times.”

“We first worked on that song together and realized we kind of have a good thing, and the next thing we did was ‘Sweeter Than Fiction,’ which was on the [One Chance] soundtrack, and after that we did ‘Out of the Woods’ and another song called ‘You Are in Love.’

January 26, 2014: At the Grammy's, Diane Warren reveals that she and Taylor wrote a song together (aka Say, Don't Go).

[Transcript] “I worked with Taylor Swift on a great song. I don't even know what she's done [for her next album], I'm excited about the one that we did, it's pretty cool.”

[Billboard 2016 Interview] “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.”

February 9, 2014: [From the 1989 Booklet] While in London, during the European leg of the Red Tour, Taylor and Imogen Heap write Clean in just 9 hours at Imogen's home studio. Taylor will sing the song just two times.

Voice memo here;

“'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. And you know how it is when you’re going through heartbreak. A heartbroken person is unlike any other person. Their time moves at a completely different pace than ours. It’s this mental, physical, emotional ache and feeling so conflicted. Nothing distracts you from it. Then time passes, and the more you live your life and create new habits, you get used to not having a text message every morning saying, ‘Hello, beautiful. Good morning.’ You get used to not calling someone at night to tell them how your day was. You replace these old habits with new habits, like texting your friends in a group chat all day, and planning fun dinner parties, and going out on adventures with your girlfriends, and then all of a sudden one day you’re in London and you realize you’ve been in the same place as your ex for two weeks and you’re fine. And you hope he’s fine. The first thought that came to my mind was – I’m finally clean.”

“'Clean' is the last song on the album for a lot of reasons, but mostly because it felt like the complication of this emotional process I’ve been going through for the last couple of years. You know, I feel like my personal life was really, really discussed, and criticized, and debated, and talked about to a point where it made me feel almost kind of tarnished, in a way. And the discussion wasn’t about music. It broke my heart that I had made an album that I was proud of, and I was touring the world, and playing sold-out stadiums, and still they managed to only want to talk about my personal life. At a certain point I felt a switch and it was at the end of recording this album that I began to feel like my life was mine again and my music was at the forefront again. I was living my life on my own terms and I really no longer cared what people were saying about me. That was when I started so see people talk less about the things that didn’t matter.”

“I had this metaphor in my head about being in this house, there’s been a drought but you feel like there’s a storm coming. Instead of trying to block out the storm you punch a hole in the roof and just let all the rain come in, and when you wake up in the morning, it’s washed away.”

[Imogen Heap] “We met at my studio in London. She had the bare bones of “Clean.” She had the lyric, the chorus and the chords. I thought it was brilliant.I was really writing the tiniest amount just to help her do what she does. I put some noises, 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 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. I knew she loved it. She said she loved it and her mum loved it. But I wasn’t sure it would be included on the album. But everyone felt it had something special. It came together really magically.”

Imogen's detailed blog entry about this songwriting session.

[Taylor about Imogen Heap] “The coolest thing about Imogen for me was that there was no one else in the studio. There was no assistant; there was no engineer. It was her doing everything.”

February 11, 2014: Taylor gets a haircut. (I'm including this for funsies)

February 15, 2014: Taylor, Max Martin and Shellback write Shake It Off.

Voice memo here;

[Lover Journal] LA. 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, 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 the 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.

[Max Martin during the lawsuit] “Shellback started out with a drumbeat. Shellback, Taylor, and I then collaboratively developed the melody and other lines of ‘Shake It Off’ to Shellback’s drumbeat. I did not write or provide any input into any lyrics in ‘Shake It Off,’ which were written entirely by Taylor.”

“I've had every part of my life dissected – my choices, my actions, my words, my body, my style, my music. When you live your life under that kind of scrutiny, you can either let it break you, or you can get really good at dodging punches. And when one lands, you know how to deal with it. And I guess the way that I deal with it is to shake it off.”

“The message in the song is a problem I think we all deal with and an issue we deal with on a daily basis. We don’t live just in a celebrity takedown culture, we live in a takedown culture. People will find anything about you and twist it to where it’s weird or wrong or annoying or strange or bad. You have to not only live your life in spite of people who don’t understand you, you have to have more fun than they do.”

February 19, 2014: Taylor, Max Martin, Shellback and Ali Payami write Style. This is the last song made for the album.

“I loved comparing these timeless visuals with a feeling that never goes out of style. It's basically one of those relationships that's always a bit off. The two people are trying to forget each other. So, it's like, 'All right, I heard you went off with her, and well, I've done that, too.' My previous albums have also been sort of like, 'I was right, you were wrong, you did this, it made me feel like this' – a righteous sense of right and wrong in a relationship. What happens when you grow up is you realize the rules in a relationship are very blurred and that it gets very complicated very quickly, and there's not a case of who was right or who was wrong.”

“This song is about those relationships that are never really done. You always kind of have that person, that one person who you feel might interrupt your wedding and be like, ‘Don’t do it cause we’re not over yet.'”

[Guitarist Niklas Ljungfelt] “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.”

1989 is officially done!

[Taylor On Ryan Seacrest] “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.”

February 19, 2014: While on tour, Ryan Tedder produces another three versions of Welcome To New York.

[Ryan Tedder interview] “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.”

March 22, 2014: Billboard reports that Taylor and Ryan Tedder have worked together in LA in January

March 24, 2014: [From a Lover Journal] Taylor moves to New York.

[Lover Journal] So in the last few weeks, I've completely moved into my apartment in Tribeca. That's right, I'm writing this from my new bed in my new place, watching Law and Order with Meredith. Strangely, I've never felt more busy.

May 1, 2014: 1989 Photoshoot.

Behind the scenes photo shared by the photographers Sarah Barlow and her husband Stephen Schofield.

May 29, 2014: [From a Lover Journal] Taylor chooses another photo for the cover, after having a nightmare of the previous one being not enough.

May 30, 2014: Taylor chooses the album cover.

[Lover Journal] Shanghai. So we got to China at around 2pm and I knew it would completely ruin me if I slept when i got to the hotel, so I decided to work out. WHY IS THIS PEN RUNNING OUT?! Just went to my purse and got my pen. 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, wandering 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 it within 10 seconds. The shot. The cover. It's a polaroid of me sitting against a beige wall with a blue seagull sweatshirt on. You can see my red lips but the photo cuts off my eyes. For 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. I played a sold out show in Shanghai tonight and the crowd was amazing. Tomorrow we go to Tokyo, where they'll have the whole ticker tape parade at the airport. Smile and wave...

Mid To Late 2014: Taylor and Jack write Now That We Don't Talk.

[Tumblr Music] "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 the song to sound like, and I just think it's, I think it's the shortest song I've ever had. 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."

Conclusive notes

What 1989 represented for Taylor:

“The 1980s was a very experimental time in pop music. People realized songs didn't have to be this standard drums-guitar-bass-whatever. We can make a song with synths and a drum pad. We can do group vocals for the entire song. We can do so many different things. And I think what you saw happening with music was also happening in our culture, where people were just wearing whatever crazy colors they wanted to, because why not? There just seemed to be this energy about endless opportunities, endless possibilities, endless ways you could live your life. And so with this record, I thought, 'There are no rules to this. I don't need to use the same musicians I've used, or the same band, or the same producers, or the same formula. I can make whatever record I want.'”

“In the past, I've written mostly about heartbreak or pain that was caused by someone else and felt by me. On this album, I'm writing about more complex relationships, where the blame is kind of split 50–50 ... even if you find the right situation relationship-wise, it's always going to be a daily struggle to make it work.”

Bonus: Secret Messages

Author's note: I wrote this timeline around 2 years ago. While I found some dates later on, this is 100% my research. If you use this timeline for your posts, research or whatever, PLEASE, credit me! I'd be very thankful. This is 2 years of work.

Links to my other Timelines:

Writing of Fearless Timeline

Writing of Speak Now Timeline

Writing of Red Timeline

My Spreadsheet with a timeline overview

Credits:

Most of the quotes have been copy-pasted from Taylor Swift Switzerland.

Taylor Swift Pictures for the candids.

Heather from Nerdy by Nature for the WTNY handwritten lyrics picture.

[haylorology]

This post is for Haylors only! If you are not a Haylor keep scrolling!!

Remember when this happened and we all swear something happened after?

I think this is it…

Can’t be about a new relationship bc,

[neverbeforeandneversince]

pls re-vote because I accidentally set my previous pill for just 1 day instead of a week so that’s my fault and results are obviously skewed. I’m a dumb baby.

[keepin-it-on-the-d-l]

And if I said Nick is currently and unknowingly making the same parental decisions as Glenn by being more of a friend to Taylor than an actual parental figure? What then?

[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

"Slut!": 2014 (Unknown)

Taylor: The song “Slut!” is a song we wrote for 1989 and in it, I kind of cheekily play on the discussions at that time of my life around my dating life. And that’s not the only time on 1989 that I’d done that, I’ve done that on “Blank Space” and when I came down to having to pick songs for the album, I think I though, “Okay, well, I’m going to choose ‘Blank Space’” and, unfortunately, had to make some tough decisions in terms of what to put on the tracklist. But I love this song because I think it’s really dreamy. And I always saw 1989 as a New York album, but this song, to me, was always California, and maybe that was another reason it didn’t make the cut, because sometimes, thematically, I just had these little weird rules in my head. But I’m so happy it’s finally going to be something you guys hear, because I have always been proud of it, I’ve always wanted it to come out into the world and now it is, so yay!

Suburban Legends: 2014 (Unknown)

Taylor hasn't talked about this song, and it was produced by Jack Antonoff, who she didn't schedule time in the studio with in the same way she did with Max Martin and Shellback, so there's not a lot to work with.

Is It Over Now?: 2014 (Unknown)

Similarly to Suburban Legends, Jack produced this, so there's no obvious point in time to point to. She has spoken briefly about it though. Taylor: “Is It Over Now” is a song I wanted to end the album with because I think it’s kind of a fun play on words of like, “Is the album over now?” I always saw this song as sort of a sister to “Out Of The Woods” and “I Wish You Would,” I kind of saw those songs as similar, so, unfortunately, when we were making these decisions of what to put on 1989 and what to leave behind, I had to make some tough choices, and now it doesn’t matter anymore because you guys are going to hear all the songs. I’m so happy this song is out. I really love the “let’s fast forward to three hundred takeout coffees later,” that session, I just feel like head banging to every time it comes on. Hope you agree.

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

[joesalw]

"Even statues crumble if they're made to wait"

These lyrics are awful! Not poetic at all. She really is pretentious. She's not even a reader. Lol

Is that a real lyric from ttpd? its giving wannabe failed poet's department💀