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All 125 Taylor Swift Songs, Ranked From Worst to Best

By NATE JONES April 30, 2019

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Vulture

#taylor swift #rankings #reputation #music

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thatsavvy · 2 years ago

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Glee: 115, "The Power of Madonna"; April 20, 2010

Glee: 115, “The Power of Madonna”; April 20, 2010

Hm this show is always such a puzzle wrapped in an enigma when it comes to the titles. We DON’T start with “last time on Glee”, which is interesting, I guess. We instead start with Sue monologuing about even saying the name “Madonna” makes her feel powerful. She’s continuing to blackmail Figgins into demanding that Madonna’s greatest hits get played over the PA system every morning, because it’s…

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#glee #glee recap #glee review #gleecap

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magica-pseudoacademica · 6 years ago

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Christianity - Articles

Last edited 2020-05-14

Anton, A. E. “’Handfasting’ in Scotland.”The Scottish Historical Review 37, no. 124 (October 1958): 89-102.

Bailey, Michael D. “From Sorcery to Witchcraft: Clerical Conceptions of Magic in the Middle Ages.” Speculum 76, no. 4 (2001): 960-990.

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Boer, Roland. “Religion and Socialism: A. V. Lunacharsky and the God-Builders.” Political Theology 15, no. 2 (March 2014): 188-209.

Boyd, Lydia. “The gospel of self-help: Born-again musicians and the moral problem of dependency in Uganda.” American Ethnologist 45, no. 2 (May 2018): 241-252.

* Bylina, Stanisław. “The Church and Folk Culture in Late Medieval Poland.” Acta Poloniae HIstorica 68 (1993): 27-42.

* Campagne, Fabián Alejandro. “Witches, Idolaters, and Franciscans: An American Translation of European Radical Demonology (Logroño, 1529 - Hueytlalpan, 1553).” History of Religions 44, no. 1 (August 2004): 1-35.

* Chakraborty, Suman. “Women, Serpent and Devil: Female Devilry in Hindu and Biblical Myth and its Cultural Representation: A Comparative Study.” Journal of International Women’s Studies 18, no. 2 (January 2017): 156-165.

Chatman, Michele Coghill. “Talking About Tally’s Corner: Church Elders Reflect on Race, Place, and Removal in Washington, DC.” Transforming Anthropology 25, no. 1 (April 2017): 35-49.

* Cianci, Eleonora. “Maria lactans and the Three Good Brothers: The German Tradition of the Charm and Its Cultural Context.” Incantatio 2 (2012): 55-70.

Collins, David J. “Albertus, Magnus or Magus? Magic, Natural Philosophy, and Religious Reform in the Late Middle Ages.” Renaissance Quarterly 63, no. 1 (2010): 1-44.

* Daǧ‎taş, Seçil. “The Civilizations Choir of Antakya: The Politics of Religious Tolerance and Minority Representation at the National Margins of Turkey.” Cultural Anthropology 35, no. 1 (2020): 167-195.

* Díaz, Mónica. “Native American Women and Religion in the American Colonies: Textual and Visual Traces of an Imagined Community.” Legacy: A Journal of American Women Writers 28, no. 2 (2011): 205-231.

* Draper, Scott and Joseph O. Baker. “Angelic Belief as American Folk Religion.” Sociological Forum 26, no. 3 (September 2011): 624-643.

* Elder, D. R. “’Es Sind Zween Weg’: Singing Amish Children into the Faith Community.” Cultural Analysis 2 (2001).

Elisha, Omri. “Dancing the Word: Techniques of embodied authority among Christian praise dancers in New York City.” American Ethnologist 45, no.3 (August 2018): 380-391.

* Fanger, Claire. “Things Done Wisely by a Wise Enchanter: Negotiating the Power of Words in the Thirteenth Century.” Esoterica 1 (1999): 97-132.

Friedner, Michele Ilana. “Vessel of God/Access to God: American Sign Language Interpreting in American Evangelical Churches.” American Anthropologist 120, no. 4 (December 2018): 659-670.

* Galman, Sally Campbell. “Un/Covering: Female Religious Converts Learning the Problems and Pragmatics of Physical Observance in the Secular World.” Anthropology & Education Quarterly 44, no. 4 (December 2013): 423-441.

* Henderson, Frances B. and Bertin M. Louis, Jr. “Black Rural Lives Matters: Ethnographic Research about an Anti-Racist Interfaith Organization in the United States.” Transforming Anthropology 25, no. 1 (April 2017): 50-67.

* Herzig, Tamar. “The Demons and the Friars: Illicit Magic and Mendicant Rivalry in Renaissance Bologna.” Renaissance Quarterly 64, no. 4 (2011): 1026-1058.

* –. “Witches, Saints, and Heretics: Heinrich Kramer’s Ties with Italian Women Mystics.” Magic, Ritual, and Witchcraft 1, no. 1 (2006): 24-55.

* Hobgood-Oster, Laura. ��Another Eve: A Case Study in the Earliest Manifestations of Christian Esotericism.” Esoterica 1 (1999): 48-60.

* Jakobsson, Sverrir. “Mission Miscarried: The Narrators of the Ninth Century Missions to Scandinavia and Central Europe.” Bulgaria Medievalis 2 (2011): 49-69.

* Johanson, Kristiina. “The Changing Meaning of “Thunderbolts.” Folklore 42 (2009): 129-174.

* Kulik, Alexander. “How the Devil Got His Hooves and Horns: The Origin of the Motif and the Implied Demonology of 3 Baruch.” Numen 60 (2013): 195-229.

* Láng, Benedek. “Characters and Magic Signs in the Picatrix and Other Medieval Magic Texts.” Acta Classica Universitatis Scientiarum Debreceniensis 47 (2011): 69-77.

* Nelide, Romeo, Olivier Gallo, and Giuseppe Tagarelli. “From Disease to Holiness: Religious-based health remedies of Italian folk medicine (XIX-XX century).” Journal of Ethnobiology and Ethnomedicine 11, no. 50 (June 2015).

* Oak, Sung-Deuk. “Competing Chinese Names for God: The Chinese Term Question and Its Influence upon Korea.” Journal of Korean Religions 3, no. 2 (October 2012): 89-115.

* Ostling, Michael. “The Wide Woman: A Neglected Epithet in the Malleus Maleficarum.” Magic, Ritual, and Witchcraft 8, no. 2 (Winter 2013): 162-170.

Perlmutter, Jennifer R. “Knowledge, Authority, and the Bewitching Jew in Early Modern France.” Jewish Social Studies 19, no. 1 (Fall 2012): 34-52.

Ramirez, Michelle and Margaret Everett. “Imagining Christian Sex: Reproductive Governance and Modern Marriage in Oaxaca, Mexico.” American Anthropologist 120, no. 4 (December 2018): 684-696.

Robbins, Joel. “Keeping God’s distance: Sacrifice, possession, and the problem of religious mediation.” American Ethnologist 44, no. 3 (August 2017): 464-475.

* Russell, Caskey. “Cultures in Collision: Cosmology, Jurisprudence, and Religion in Tlingit Territory.” The American Indian Quarterly 33, no. 2 (Spring 2009): 230-252.

* Stryz, Jan. “The Alchemy of the Voice at Ephrata Cloister.” Esoterica 1 (1999): 133-159.

* Vaz da Silva, Francisco. “Cosmos in a Painting - Reflections on Judeo-Christian Creation Symbolism.” Cosmos: The Journal of the Traditional Cosmology Society 26 (2010): 53-78.

* –. “The Madonna and the Cuckoo: An Exploration in European Symbolic Conceptions.” Comparative Studies in Society and History 46, no. 2 (2004): 273-299.

* Versluis, Arthur. “Western Esotericism and The Harmony Society.” Esoterica 1 (1999): 20-47.

* Yamauchi, Edwin M. “Magic in the Biblical World.” Tyndale Bulletin (1983): 169-200.

#reference

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travelonlinetipsofficial · 3 years ago

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Hong Kong Sightseeing: 10Best Sights Reviews

New Post has been published on https://www.travelonlinetips.com/hong-kong-sightseeing-10best-sights-reviews/

Hong Kong Sightseeing: 10Best Sights Reviews

The whole of Hong Kong is a sight to see: myriad skyscrapers set around one of the world’s most dramatic natural harbors make for an intriguing panorama by day or night, at dawn or dusk, noon or midnight.

Some of Hong Kong’s sights have been constructed on purpose, others have just grown up of their own accord. Madame Tussauds is a slightly unusual sight, but it’s as much fun observing the reactions of the local visitors as it is marveling at the waxworks of the rich and famous. And the Goldfish Market is pure Hong Kong – right in the heart of the city, a thriving sub-culture that’s right on the street.

And – get this – many of Hong Kong’s sights charge no admission at all, or just a couple of bucks. Stroll along Sai Kung’s Seafood Street for as long as you want, and it won’t cost you a red cent. Star Ferry and the Happy Valley Racecourse must rank as two of the world’s cheapest attractions.

Not all of Hong Kong’s major sights are in town – hop aboard the ferry or the cable car to see the Big Buddha at the Po Lin Monastery on Lantau Island, or wind your way out to the east of Hong Kong for a stroll around the old fishing port of Sai Kung and its buzzing seafood street.

Photo courtesy of Hong Kong Tourism Board

The gods of literature and the military are celebrated here in one of the oldest temples in Hong Kong. Built in the 1840s, you’ll find two unique chairs inside that were once used to carry these deities through the city during festivals. Former visitors have left sticks of incense over the years, which are now hanging from the ceiling; you can still buy one in hopes of fulfilling a wish, while a fortune teller runs a brisk business to one side of the temple. Man Mo is very much on the tourist trail, but with very good reason, and handy for antique shopping along Hollywood Road.

Recommended for Sightseeing because: Man Mo’s traditional architecture makes for a delicate contrast with the surrounding (rather dull) skyscrapers.

Ed’s expert tip: Fans of the Oscar-winning film “Love is a Many Splendored Thing” will recognize Man Mo which was the backdrop for several scenes.

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blairwarbler · 2 years ago

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Glee TV Jayma Mays Emma Pillsbury 19 Rare Unpublished Wardrobe Photos Ep Madonna (x)

#source: glee #ebay #jayma mays #115 the power of madonna

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gorgxoxus · 5 years ago

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Ranking episodes:

1. Wonder-ful

2. 100

3. New Directions

4. The quarterback

5. I do

6. Furt

7. Sexy

8. A wedding

9. Guilty pleasures

10. Original song

11. Prom queen

12. Duets

13. Theatricality

14. Love, love, love

15. Jagged little tapestry

16. Sadie Hawkins

17. I kissed a girl

18. Sweet dreams

19. Preggers

20. Never been kissed

21. New York

22. Dance with somebody

23. The rocky horror glee slow

24. Silly love songs

25. Pilot

26. Hell-o

27. Born this way

28. Hold onto sixteen

29. Nationals

30. Grilled cheesus

31. The break up

32. Diva

33. Laryngitis

34. The power of Madonna

35. Dynamic duets

36. Girls (and boys) on film

37. City of Angels

38. 2009

39. Big brother

40. Heart

41. Rumours

42. Blame it on the alcohol

43. Special education

44. Showmance

45. Throwdown

46. I am unicorn

47. Asian F

48. Sectionals

49. Journey to regionals

50. Funeral

51. Extraordinary merry Christmas

52. Michael

53. The role you were born to play

54. All or nothing

55. Homecoming

56. The first time

57. Dreams come true

58. New New York

59. Home

60. Vitamin D

61. Props

62. Mattress

63. Wheels

64. Ballad

65. Choke

66. The substitute

67. On my way

68. Yes/ no

69. Glee actually

70. Prom-a-saurus

71. Transitioning

72. Naked

73. Saturday night-glee-ver

74. A Katy or a gaga

75. Frenemies

76. Old dogs, new tricks

77. Grease

78. The hurt locker part 2

79. We built this glee club

80. Bash

81. Movin’ out

82. Swan song

83. The new Rachel

84. Britany 2.0

85. Funk

86. A night of neglect

87. Goodbye

88. Tested

89. Previously unaired Christmas

90. Loser like me

91. The Rhodes not taken

92. Thanksgiving

93. Opening night

94. What the world needs now

95. Britney/Brittany

96. Child star

97. Trio

98. The untitled Rachel Berry Project

99. Lights out

100. The purple piano project

101. Mash off

102. The sue Sylvester shuffle

103. Comeback

104. Puppet master

105. A very glee Christmas

106. Bad reputation

107. Back-up plan

108. Shooting stars

109. The end of twerk

110. Audition

111. The Spanish teacher

112. Mash-up

113. Feud

114. Make over

115. Dream on

116. Hairography

117. Pot o gold

118. Tina in the sky with diamonds

119. The rise and fall of sue Sylvester

120. The hurt locker part 1

121. Acafellas

#my opinions #glee

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madeinpop · 6 years ago

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Made In PoP™ ǁ eventi Rock in Veneto dal 21 al 27 Febbraio 2019 ǁ stagione 16 ǁ

Ciao Made-In-PoPpers, giorni intensi, giorni decisivi, ma se voi fate parte di una band o siete un one/man/band iscrivetevi all'Arezzo Wave, ne vale la pena, tutte le info qui: https://www.arezzowave.com/concorso-arezzo-wave-band-2019/ CHECcO & LoRIS «Sostenete la Musica, Andate ai Concerti» ► Made In PoP segnala ◄ ᴥ SABATO 2 MARZO ᴥ VINILE Club via Capitano Alessio 92 ROSÀ (Vi). gli incredibili DOWNTOWN BOYS (SUBPOP Records) + BRUUNO + LAST NITE Party meets LAMETTE Party per i balli. https://www.facebook.com/events/361818257729861/ ► SETTIMANA ◄ ► GIOVEDÌ 21 Febbraio ᴥ TIPOTECA ITALIANA via Canapificio 3 CORNUDA (Tv) serata LYNFA che vedrà la presenza dell'artista olandese JOZEF Van WISSEM un Burroughs postmoderno del liuto, in apertura il giovane cantautore PINO NUVOLA. ᴥ Osteria VECCHIA CENEDA via del Fante 37 VITTORIO Veneto (Tv) in versione semi acustica gli ottimi SUPERFEED dream folkpop capitanati dall'icona Donna Katya. ᴥ ECLETTICO WILSON via Martiri Libertà 32 VITTORIO Veneto (Tv) ospite il cantante chitarrista e violoncellista friulano MASSIMO SILVERIO. ᴥ YOKELZ piazza Marconi 1 TREBASELEGHE (Pd) al Plan B i suoni power blues e le atmosfere seventies dei ZEE ZEE QUEEN. ᴥ HOCH HOLLE via S.Andrea PADERNO del Grappa (Tv) folk e country di matrice west coast per MATT The DRIFTER. ᴥ Biblioteca CIVICA piazza IV Novembre 48 MARTELLAGO (Ve) dalle 21 seconda data della rassegna "Volumi Sonici", con il progetto musical/poetico IL SEME dell'ABBRACCIO ovvero il musicista Nico De Giosa e la cantante Alessandra Trevisan. ᴥ POMOMERO osteria creativa via Castelletto 84 MAROSTICA (Vi) indie folk per il giovane cantautore olandese BANNER. ᴥ EL CABALLITO via Pastrengo 17 BUSSOLENGO (Vr) irish folk contaminato dal bluegrass per gli ALBAN FÙAM. ᴥ Teatro NUOVO piazza Viviani 10 VERONA evento con una delle figure più carismatiche della musica africana cantemporanea, FATOUMATA DIAWARA dal Mali. ► VENERDÌ 22 Febbraio ᴥ BISTROCK via Rometta 13/L San MARTINO di Lupari (Pd) in versione acustico il rock aternative degli ZAGREB. ᴥ GOTO STORTO via Villanova 8a TREBASELEGHE (Pd) a presentare le canzoni del suo primo disco DODO accompagnato dalla sua band. ᴥ Circolo OLOL JACKSON via Annibale da Bassano 3 PADOVA dalle 19.30 aperitivo con IL CORO delle CICALE progetto folk di salvaguardia del patrimonio veneto/friulano. ᴥ Osteria dei GIUSTI via Comunale Camino 46 ODERZO (Tv) ottima occasione per ascoltare il duo BURNING SOFA canzoni struggenti per cuori affranti (ma non solo). ᴥ Spazio MAVV via Gelsolino 43 VITTORIO Veneto (Tv) presentazione disco per i fratelli DaRos COSE DI FAMIGLIA, accompagnati da Andrea Fontana, sonorità new folk. ᴥ EDEN Cafè via XV Luglio TREVISO da Tel Aviv electro-pop-soul per il raffinato duo PHOTOTAXIS. ᴥ La STAZIONETTA borgo Pieve 109 CASTELFRANCO Veneto (Tv) in versione acustico tornano dopo un lungo silenzio i DISFUNZIONE. ᴥ KRACH Club via Madonna 3 MONASTIER (Tv) triplete rock nel friday night con WICKED SILENCE, ANCESTRALYA e OLD 7 YEARS. ᴥ MATTOROSSO via Piave 108 MONTEBELLUNA (Tv) genuino rockin'blues dalla Toscana con il quartetto The FULLERTONES. ᴥ NOVAK via Castellana 59f SCORZÈ (Ve) prima serata del weekend Italian Affair, sul palco il grande GRAHAM DAY & the FOREFATHERS (Uk) a seguire sixties djset Harry Vogel (Monaco) Massimo dal Pozzo (Misty Lane) Renato Trafano (Samp) Federico Roman (Naonian). ᴥ Osteria Al PONTE corso Silvio Trentin 20 San DONÀ di Piave (Ve) infiammerà l'atmosfera il duo bolognese The JACKSON POLLOCK garage punk da Bologna. ᴥ MORION Laboratorio Occupato salizada S.Francesco de la Vigna VENEZIA fresca miscela di blues, funky e reggae per i coinvolgenti AL & JAY and the STONECRAZY. ᴥ MOTORCYCLE Club via Commercio 15 VICENZA festa di compleanno con concerto grande per l'ottima ARIANNA ANTINORI. ᴥ Osteria S'CIAVINARO via Pertini 15 VOLPINO di Zimella (Vr) live speed roots, country e rockabilly per il duo JACK LaMOTTA. ᴥ COHEN Pub via Scarsellini 9 VERONA rock strumentale e acustico per la formazione dei ZUGABE. ᴥ Colorificio KROEN via Pacinotti 19 Zai VERONA serata stoner con il power trio Mr. BISON supportato per l'occasione dagli HYPERWÜLFF e dagli A FOREST MIGHTY BLACK. ᴥ Club IL GIARDINO via Cao di Prà 82 LUGAGNANO di Sona (Vr) dirompente rockblues per il duo bresciano SUPERDOWNHOME in rampa d lancio per il proprio tour europeo. ᴥ Osteria Ai PRETI interrato Acqua Morta 27 VERONA il rock a bassa fedeltà con retrogusto west coast del quintetto HOLY FATHERS. ᴥ MUSICA ATTIVA il programma radio che promuove la musica indipendente veneta dalle 21 alle 23 ogni quindici giorni ormai da molti anni, con intensità, in studio per l'intervista A RED IDEA progetto drampop veneziano, per ascoltare la diretta o 94 MHz o in streaming http://www.radiogammacinque.it/ ► SABATO 23 Febbraio ᴥ ALTROQUANDO Osteria Musicale via Corniani 32 SANT'ALBERTO di Zero Branco (Tv) serata THREE BLACKBIRDS con protagoniste due eccellenze della scena alt veneta, il CAPITANO MERLETTI e DNEZZAR, alfieri dell'etichetta PiPaPoP records, poliedrici cantautori folk. ᴥ AL BUSCAGLIONE via Marsala 50 PADOVA a presentare la sua ultima fatica "Shkodra Elektronike" tra musica tradizionale e avanguardia elettronica KOLE LACA, tastierista del TdO e dei 2Pigeons. ᴥ BAHNOHF Live via Sant'Antonio 34 MONTAGNANA (Pd) in collaborazione con Botteghe Barranco il grande Fabio Testoni ovvero DANDY BESTIA degli SKIANTOS, ci saranno pure gli UNCLEDOG (alt rock) e MANICA (cantautorato bizzarro). ᴥ BLACK LOTUS Pub via Cardinale Agostini 109 San MARTINO di Lupari (Pd) serata punk powerpop con le band FRATELLI RAPINA e MITROPA EXPRESS. ᴥ La STANZA ass.culturale via Leopardi 25 San MARTINO di Lupari (Pd) si esibirà qui con il suo cantautorato semplice GIUSEPPE VIO, ospite la cantante LUNA Civettini. ᴥ Circolo NADIR piazza Gasparotto 10 PADOVA world music per il quartetto ZEPHYROS poetiche raffinate per piccoli racconti musicali. ᴥ GRIND HOUSE via Longhin 37 PADOVA dalle 21 episodio III per la serata Saintless con il punkrock intenso degli italorussi SVETLANAS capitanati da OLGA, inoltre sul palco CONFINE, SPLEEN FLIPPER, DOUBLE ME, EGOCIDE e gli ZËNE. ᴥ GEKYGIO via ALberese TREMIGNON di Piazzola di Brenta (Pd) stasera l'energica cantautrice SAMANTHA GIORDANO e il suo progetto live "ON". ᴥ Osteria da TOCCHETTO via Risorgimento 27 MONTEBELLUNA (Tv) È un Brutto Posto dove Vivere organizza questa serata di sonorità drone/noise/postrock con i progetti 124C41+ (Terni) e KA (duo Bolo). ᴥ IL PRINCIPE IN BICICLETTA via Castellana San VITO di Altivole (Tv) da Mantova postpunk/shoegaze per l'interessante trio SUBMEET. ᴥ KRACH Club via Madonna 3 MONASTIER (Tv) "L'Alieno di Dio" ultimo libro di Salvatore CACACE messo in musica con i MOLOTOV del CIELO, suoneranno anche i THUNDER GODZILLA e NIKK & the BAD BOYS. ᴥ CORNER LIVE via Ungheresca Nord 115 VARAGO di Mareno di Piave (Tv) voce potente e graffiante per LISA MANARA che porta il suo progetto "L'Urlo dell'Africanità". ᴥ GOTHIKA fiera di SANTA LUCIA di Piave (Tv) all'interno della fiera Gothic e Steampunk del Triveneto dalle 19 suoneranno VALENTE (Dischi Soviet) TYING TIFFANY e Madame SADOWSKY + djset Sepolcro Zero Alex del Duca e Federica Velvet. ᴥ LO SFIZIO via Comunale 72 FAÈ di Oderzo (Tv) folk & blues da osteria per il collettivo LA CANTINACCIA. ᴥ CLUB 27 via Romanina 29 CASTELFRANCO Veneto (Tv) genuino rockin'blues dalla Toscana con il quartetto The FULLERTONES. ᴥ La STAZIONETTA borgo Pieve 109 CASTELFRANCO Veneto (Tv) in collaborazione con Sweet Noise, inaugurazione della mostra fotografica di Massimo PORCELLI dal titolo UNPLUGGED, esposta anche a NYC. ᴥ NASTY BOYS via Pellicciao 4 TREVISO a festeggiare il compleanno dell'iconica figura di Johnny CASH sul palco saliranno i teutonici JOHNNY TROUBLE. ᴥ OLD SALOON Birreria via Feltrina 19 PEDEROBBA (Tv) serata hard'n'heavy con i gruppi SILVERBONES, PHOENIX RAGE e PLEONEXIA. ᴥ NOVAK via Castellana 59f SCORZÈ (Ve) seconda serata Italian Affair, si parte il pomeriggio al LIGHTHOUSE Pub via Noalese Sud 2 NOALE (Ve) con sixties djset, poi in serata al Novak con live per i mitici The BAROUN FOUR (garage/beat/Uk) + sixties djset Rob Bailey (Londra) Henry (Milano) Marc Brucker (Francoforte) e Robert Boogaloo. ᴥ BANCHINA SICK Fest via Banchina Molini MARGHERA (Ve) evento noise/grind/punx con le band MOSHPITS, XMYS S ERIX, EDDIEXMURPHYS e i BANCHINA TERRORISTS. ᴥ ARGO16 via delle Industrie 27 parco tecnologico VEGA MARGHERA (Ve) con la collaborazione di Pulse evento elettro-psych con i liveset dei bravissimi WARIAS e in versione trio GODBLESSCOMPUTERS. ᴥ REVOLVER Club via JF Kennedy 39 San DONÀ di Piave (Ve) una band mito della stagione hair metal degli anni '80 sarà qui sul palco, ENUFF Z'NUFF, in apertura i LAST GREAT DREAMERS. ᴥ VINILE Club via Capitano Alessio 92 ROSÀ (Vi) evento NIGHTBREEZE, sul palco, dalla Turchia, il celebratissimo duo SHE PAST AWAY dark wave a seguire gli ottimi djset per EMY, WHIPPING Boy e DJB. ᴥ Circolo MESA via L.Da Vinci 50 ALTE di Montecchio Maggiore (Vi) serata in collaborazione con la VELTE Crew per la presentazione del disco di TRIFLE combo allstar di punkrockers vicentini, con loro sul palco ZACHARY (punk romagnolo) e The FROG (duo punk metal della bassa veronese) + Velte djset. ᴥ BOCCIODROMO via A.Rossi 198 VICENZA serata doom/sludge/black metal/stoner coordinata da Orion Agency con protagonisti i FORGOTTEN TOMB, in apertura MEGATHERIUM e The BLACK LODGE. ᴥ SOTTOSOPRA Pub via Roma 24 TREGNAGO (Vr) serata organizzata dal Pozzo dei Dannati con le band alternative rock FLYING DISK, GOLDEN HEIR SUN e NØEN. ᴥ FA BEMOLLE borgo Madonna di Pol PASTRENGO (Vr) serata hard'n'heavy con le band LAST CENTURY, SVANZICA e RECOVERY MIND. ᴥ Bar the BROTHERS via Olimpia GREZZANA (Vr) questa sera sul palco il cantautore GIULIO WILSON molto acclamato e apprezzato dai colleghi come Capossela e altri. ᴥ COHEN Pub via Scarsellini 9 VERONA dal Texas arrivano Keegan Mc INROE & Matt TEDDER tra blues folk e country. ᴥ The FACTORY via Garibaldi 37 CASTEL d'AZZANO (Vr) serata pirotecnica con il duo ERADIUS che festeggiano il proprio disco con live e dodici artisti che rivisitano la copertina del disco, a supporto il post grunge dei bresciani HUNTERNAUT e i locals KIOWA. ᴥ Club IL GIARDINO via Cao di Prà 82 LUGAGNANO di Sona (Vr) a presentare il loro ultimo disco "L'Ultimo Grande Eroe" ci saranno i SONOHRA. ᴥ JACK the RIPPER via Nuova 9 RONCÀ (Vr) festa di presentazione disco "Time Flies when you're Drunk" per i punkrockers ALL COASTED, con ospiti i cagliaritani SECOND YOUTH. ► DOMENICA 24 Febbraio ᴥ PUNKY REGGAE Pub via Barbarigo 15 LIEDOLO di S.Zenone degli Ezzelini (Tv) dalle 17:00 aperitivo multicolore con il sound frizzante per AL & JAY and the STONE CRAZY (funky reggae) e i palermitani FURIOUS GEORGIE psychfolk. ᴥ CA' San BARTO via Boscalto 50 RESANA (Tv) dalle 17 torna KICK the WEEK, alla quinta stagione in questa nuova location, ci saranno i live per BRAIN of MAGGOT metalcore e SUNPOCRISY post/progressive. ᴥ CENTRO STABILE di CULTURA via Leogra 4 S.VITO di Leguzzano (Vi) dalle 18 la fantastica cantautrice PATRZIA LAQUIDARA, e la sua band, che presentarà il suo recente bellissimo disco. ᴥ Cso DJANGO via Monterumici 11 TREVISO torna il mercato Genuino Clandestino con produttori e artigiani locali dalle 10, tra le varie attività alle 18 ci sarà il live del bravo FEYDAN. ᴥ ARGO16 via delle Industrie 27 parco tecnologico VEGA MARGHERA (Ve) dalle 18 Carnebal folk sesta edizione con i duo DAVID & LORIS e AIRBOXES (Guus Herremans e Bert Leemans) per il ballo in maschera. ᴥ KRACH Club via Madonna 3 MONASTIER (Tv) dalle 19 aperitivo rock alternative con i potenti locals IL DALLAS e da Ferrara i DEVOCKA wave/noise/alternative. ᴥ HOME Rock Bar via Fonderia 73 TREVISO dalle 19 concerto unplugged con il bravissimo ULISSE SCHIAVO. ᴥ GROOVE via Martiri Libertà 8 LUGO di Vicenza (Vi) per l'Acoustic Sunday ospite sarà COLOUR of RICE ovvero Rani jappo-svizzera con canzoni che arrivano al cuore. ᴥ Osteria AL CASTELLO via Rossi A. 15 CHIUPPANO (Vi) dalle 19 aperitivo con presentazione dell'ultima fatica "Shkodra Elektronike" tra musica tradizionale e avanguardia elettronica per KOLE LACA, tastierista del TdO e dei 2Pigeons.. ᴥ LUCKY BREWS via Vecchia ferriera 123 VICENZA aperitivo cantautorale alla birreria artigianale con MANUELA PADOAN. ᴥ BRÄUSTÜBERL MÜNCHEN via Aroldi 35 MONTEFORTE d'Alpone (Vr) dalle 19 aperitivo in levare con i locals TLA per proseguire con i grandi ospiti OLLY (Shandon) & the MAGNETICS. ᴥ CA'SANA Cibo Arte Cultura via SS. Fabiano Sebastiano 13 PADOVA dalle 19 in collaborazione con LegAmbiente per raccolta fondi, dopocena live per la brava Chiara PATRONELLA accompagnata da Nereo FIORI. ᴥ Spazio NADIR contrà Santa Caterina 20 VICENZA ore 20:30 l'associazione culturale ARTuro presenta CRUDELIO band folkrock ispirata dal teatro-canzone. ᴥ Cso PEDRO via Ticino PADOVA ore 21 evento perticolarissimo, ci sarà la registrazione dal vivo del disco per The FIFTH che verrà regalato ai partecipanti, esperienza transensoriale coordinata da quelli di PDsychedelia. ► LUNEDÌ 25 Febbraio ᴥ IL VIZIO Pub via san Biagio 17 PADOVA dal Texas arrivano Keegan Mc INROE & Matt TEDDER tra blues folk e country. ► MARTEDÌ 26 Febbraio ᴥ nulla da fare? fatevi una cultura, leggete un libro. ► MERCOLEDÌ 27 Febbraio ᴥ LANTERNA del DOGE via Tiveron 28 SANT'ALBERTO di Zero Branco (Tv) dal Texas arrivano Keegan Mc INROE & Matt TEDDER tra blues folk e country. ᴥ OLD SALOON Birreria via Feltrina 19 PEDEROBBA (Tv) ospite qui stasera il grande chitarrista MATTHEW MILLS, in apertura il giovane Davide LO SURDO. • https://telegram.me/madeinpop/ • https://www.facebook.com/Shyrec/ • https://www.facebook.com/threeblackbirdsfree/ • https://www.facebook.com/NewsletterMadeinpop/ • http://shyrec.bandcamp.com/

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thesiouxzy · 7 years ago

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Bands I've Seen Live

My entire being’s relationship with music is like a plant’s with water. 🌱🚰 If I don’t listen to music every day I start to wilt. It’s my escape, my motivation, my inspiration, my soul soother, my partner, my memory reel, my everything.

————————————

Bands I’ve Seen Live

Listed as they came into my head (I’m listing well/semi-well known bands only)…

1. Prince (Many times! Including rehearsals & after party shows)

2. Beastie Boys

3. Morrissey

4. Jane’s Addiction

5. Evan Dando (with & without Juliana Hatfield)

6. The The

7. James Brown

8. Sly & the Family Stone

9. Ice T

10. Sugarcubes

11. Pixies

12. Weezer

13. Bob Dylan

14. Born Ruffians

15. Cranberries

16. Vampire Weekend

17. Neil Young

18. Pearl Jam

19. DEVO

20. Red Hot Chili Peppers

21. The Rolling Stones

22. Sting

23. KISS

24. Harry Connick Jr.

25. Al Green

26. English Beat

27. Lisa Lobe

28. Matt & Kim

29. Cut Copy

30. Liza Minnelli

31. Deee Lite

32. B-52s

33. Hall & Oates

34. Hole

35. Juliana Hatfield

36. Tokyo Police Club

37. Siouxsie & the Banshees

38. Living Colour

39. Tripping Daisy

40. Sonic Youth

41. Animal Collective

42. Cypress Hill

43. Beck

44. Porno for Pyros

45. Erasure

46. Pet Shop Boys

47. Rollins Band

48. Ra Ra Riot

49. Mighty Mighty Bosstones

50. Chicago

51. P Funk (George Clinton and the Parliament-Funkadelic)

52. Jerry Lee Lewis

53. Motley Crue

54. Shelter

55. Medeski Martin & Wood

56. Black Crowes

57. Aerosmith

58. Concrete Blonde

59. Tesla

60. Merle Haggard

61. Cat Power

62. Dizzee Rascal

63. Chromeo

64. Poison

65. Michael McDonald

66. David Byrne

67. Warrant

68. James Taylor

69. Charlatans UK

70. Pantera

71. Skid Row

72. Foo Fighters

73. David Sedaris

74. Adam Sandler

75. Kids in the Hall

76. Jimmy Fallon

77. Kevin Smith

78. Butthole Surfers

79. Violent Femmes

80. Amos Lee

81. Metric

82. Ben Lee

83. Dramarama

84. The Origin

85. Faster Pussycat

86. Christopher Cross

87. Q-Tip w/DJ Shadow

88. Doug E. Fresh

89. Pavement

90. Midnight Oil

91. Wynton Marsalis

92. Lady Kier (DJ set)

93. Galactic

94. They Might Be Giants

95. Girl Talk

96. Smashing Pumpkins

97. Pauly Shore

98. Average White Band

99. Lisa Lampanelli

100. Robert Randolph & the Family Band

101. Fishbone

102. Blink 182

103. Franz Ferdinand

104. Public Enemy

105. The National

106. Holy Fuck

107. The Hold Steady

108. JP Incorporated

109. The Courteeners.

110. of Montreal

111. Ninjasonik

112. Flaming Lips

113. Black Keys

114. Styx

115. Beach House

116. Dum Dum Girls.

117. Janelle Monae

118. Neon Indian

119. LCD Soundsystem

120. Sleigh Bells

121. Joan Jett & the Blackhearts

122. Yeasayer

123. M.I.A

124. Thievery Corporation

125. Phoenix

126. Kishi Bashi

127. Cee Lo Green

128. Morris Day & the Time

129. Porter Robinson

130. Two Door Cinema Club

131. Calvin Harris

132. Patti Smith

133. !!!

134. TV on the Radio

135. James Murphy (DJ set)

136. Deadmau5

137. Empire of the Sun

138. Stevie Wonder

139. Iron & Wine

140. Randy Newman

141. Arcade Fire

142. Elbow.

143. Skrillex

144. Wanda Jackson

145. Fleet Foxes

146. Surfer Blood

147. Kurt Vile

148. The Cure

149. Van Halen

150. Kool & the Gang

151. Death Cab for Cutie

152. The Cult

153. The Squeeze

154. The Beach Boys

155. Madonna

156. Avicii

157. Die Antwoord

158. Iggy & the Stooges

159. Rufus Wainwright

160. Thundercat

161. Father John Misty

162. Gotye

163. The Shins

164. M83

165. Jack White

166. Afghan Whigs

167. Florence & the Machine

168. Tegan & Sara

169. LP

170. Poliça

171. Crystal Castles

172. Bootsy Collins

173. New Order

174. Insane Clown Posse (Disclaimer: friend bought tickets & I went as a favor! ;)

175. The Smithereens

176. The Jon Spencer Blues Explosion

177. Leon Russell

178. Adam Ant

179. Washed Out

180. MGMT

181. Robin Thicke

182. Sky Ferreira

183. CHVRCHES

184. Black Joe Lewis

185. Icona Pop

186. Yip Deceiver

187. Eddie Money

188. Moby

189. Alvvays

190. The Decemebrists

191. Bill Hader

192. Marc Maron

193. Psychedelic Furs

194. Tenacious D

195. Neil Hamburger

196. Puddles Pity Party

197. Super Dave Osborne

198. Parrot Stelar

199. Michael Monroe (Hanoi Rocks)

200. Mac Sabbath (with Clownvis)

201. Peter Murphy

202. Chris Robinson Brotherhood

203. Ambrosia

204. Midge Ure

205. The Revolution (as in Prince & the Revolution)

206. Tears for Fears

#music #bands i've seen live #siouxzy #concerts #bands #live shows

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todaydreambelievers · 8 years ago

Text

Top Twenty Survey Results

Okay guys -- I have the results of your Survey!

While I’m not that surprised by the results there are a few interesting things to observe...

After the first 8 - the percentage of people voting for an episode drops below the majority. You guys may be Klainers - but what you enjoy with the rest of your episodes is incredibly varied.

The average number of votes an episode got was 41 (14.9%)

Only 20 Episodes had 0 votes

The longest stretch between 0s was between Wonderful-The Hurt Locker pt. 2

Season 2 has the most difference between high ranked episodes and low ranked episodes.

Season 1 had the most number of ‘0′ vote episodes with 6. Season 2 was second with 5.

Average vote per episode per season:

Season 1 - 25 Season 2 - 66 Season 3 - 43 Season 4 - 31.5 Season 5 - 49.1 Season 6 - 44

Total Votes: 276

Original Song (2x16) - 219 (79.3%)

The First Time (3x05) - 207 (75%)

Never Been Kissed (2x06) -190 (68.8%)

Born This Way (2x18) - 162 (58.7)

New New York (5x14) - 161 (58.3%)

Love, Love, Love (5x01) - 157 (56.9%)

Dreams Come True (6x13) - 154 (55.8%)

Prom Queen (2x20) - 150 (54.3%)

The Quarterback (5x03) - 121 (43.8%)

Silly Love Songs (2x12) - 115 (41.7%)

Blame It On the Alcohol (2x14) - 113 (40.9%)

2009 (6x12) - 108 (39.1%)

Dance With Somebody (3x17) - 108 (39.1%)

Tested (5x16) - 107 (38.8%)

I Do (4x14) - 105 (38%)

Big Brother (3x15) - 100 (36.2%)

Grilled Cheesus (2x03) - 96 (34.8%)

Dynamic Duets (4x07) - 94 (34.8%)

Preggers (1x04) - 94 (34.1%)

The Break Up (4x04) - 91 (33%)

A Wedding (6x08) - 89 (32.2%)

The Purple Piano Project (3x01) - 81 (29.3%)

Pilot (1x01) - 77 (27.9%)

The Hurt Locker pt. 2 (6x05) - 71 (25.7%)

Theatricality (1x20) - 68 (24.6%)

Micahel (3x11) - 66 (23.9%)

Guilty Pleasures (4x17) - 64 (23.2%)

Furt (2x08) - 64 (23.2%)

Duets (2x04) - 62 (22.5%)

Extraordinary Merry Christmas (3x10) - 54 (19.6%)

Old Dogs, New Tricks (5x19) - 53 (19.2%)

The Power of Madonna (1x15) - 53 (19.2%)

The Untitled Rachel Berry Project (5x20) - 52 (18.8%)

Girls and Boys on Film (4x14) - 51 (18.5%)

Nationals (3x21) - 51 (18.5%)

Puppet Master (5x07) - 50 (18.1%)

Sexy (2x15) - 50 (18.1%)

Laryngitis (1x18) - 50 (18.1%)

Bash (5x15) - 49 (17.8%)

Movin’ Out (5x06) - 48 (17.4%)

Loser Like Me (6x01) - 46 (16.7%)

Hold Onto 16 (3x08) - 45 (16.3%)

Journey to Regionals (1x22) - 45 (16.3%)

A Very Glee Christmas (2x10) - 43 (15.6%)

Glee, Actually (4x10) - 41 (14.9%)

Wheels (1x09) - 37 (13.8%)

Vitamin D (1x06) - 34 (12.3%)

Shooting Star (4x18) - 33 (12%)

Diva (4x13) - 33 (12%)

Asian F (3x03) - 33 (12%)

Goodbye (3x22) - 32 (11.6%)

Wonderful (4x21) - 31 (11.2%)

On My Way (3x14) - 31 (11.2%)

Glease (4x06) - 30 (10.9%)

New York (2x22) - 30 (10.9%)

Sectionals (1x13) - 30 (10.9%)

Trio (5x10) - 27 (9.8%)

A Katy or a Gaga (5x04) - 27 (9.8%)

Thanksgiving (4x08) - 27 (9.8%)

The Rocky Horror Picture Show (2x05) - 26 (9.4%)

Transitioning (6x07) - 25 (9.1%)

The Hurt Locker pt. 1 (6x04) - 24 (8.7%)

100 (5x12) - 23 (8.3%)

Sadie Hawkins (4x11) - 22 (8%)

Heart (3x13) - 22 (8%)

Jagged Little Tapestry (6x03) - 21 (7.6%)

Homecoming (6x02) - 21 (7.6%)

New Directions (5x13) - 21 (7.6%)

Swan Song (4x09) - 21 (7.6%)

Rumours (2x19) - 21 (7.6%)

Props (3x20) - 20 (7.2%)

Promasaurus (3x19) - 20 (7.2%)

City of Angels (5x11) - 17 (6.2%)

Saturday Night Gleever (3x16) - 16 (5.8%)

I Kissed a Girl (3x07) - 16 (5.8%)

Mash Off (3x06) - 16 (5.8%)

The Sue Sylvester Shuffle (2x11) - 16 (5.8%)

Hello (1x14) - 16 (5.8%)

Previously Unaired Christmas (5x08) - 15 (5.4%)

Ballad (1x10) - 15 (5.4%)

Opening Night (5x17) - 14 (5.1%)

Frenemies (5x09) - 14 (5.1%)

Choke (3x18) - 14 (5.1%)

Special Education (2x09) - 14 (5.1%)

Britney/Brittany (2x02) - 14 (5.1%)

Home (1x16) - 14 (5.1%)

We Built This Glee Club (6x11) - 13 (4.7%)

Dream On (1x19) - 13 (4.7%)

The New Rachel (4x01) - 12 (4.3%)

All or Nothing (4x22) - 11 (4%)

Naked (4x12) - 10 (3.6%)

Mash Up (1x08) - 10 (3.6%)

The Back Up Plan (5x18) - 9 (3.3%)

Tina in the Sky with Diamonds (5x02) - 9 (3.3%)

Makeover (4x03) - 9 (3.3%)

I Am Unicorn (3x02) - 9 (3.3%)

The End of Twerk (5x05) - 8 (2.9%)

Britney 2.0 (4x02) - 8 (2.9%)

Mattress (1x12) - 8 (2.9%)

Yes/No (3x10) - 7 (2.5%)

Bad Reputation (1x17) - 7 (2.5%)

The Rise and Fall of Sue Sylvester (6x10) - 0

Child Star (6x09) - 0

What The World Needs Now (6x06) - 0

Lights Out (4x20) - 0

Sweet Dreams (4x19) - 0

Feud (4x16) - 0

The Role You Were Born to Play (4x05) - 0

The Spanish Teacher (3x12) - 0

Pot o Gold (3x04) - 0

Funeral (2x21) - 0

Night of Neglect (2x17) - 0

Comeback (2x13) - 0

The Substitute (2x07) - 0

Audition (2x01) - 0

Funk (1x21) - 0

Hairography (1x11) - 0

Throwdown (1x07) - 0

The Rhodes Not Taken (1x05) - 0

Acafellas (1x03) - 0

Showmance (1x02) - 0

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interstellarinfinity · 6 years ago

Text

I found another one of these

I found another questionnaire from a few years back so imma answer it now again (and I only answered ones that changed lmao)

1: Full name

Then: Madison Now: Madison

2: Age

Then: 16 Now: 19

3: 3 Fears

Then: thunderstorms, spiders, school Now: spiders, death, ending up alone

4: 3 things I love

Then: bands, books, God Now: Ivan, my sisters, music

5: 4 turns on

Then: don’t get turned on but… intelligence, good hair, beautiful eyes, sense of humor Now: Hands, lustful eyes, sweatpants, and this is super specific but Ivan has a grey shirt that makes me go nUTS for some reason

6: 4 turns off

Then: smells weird, rude, obnoxious, bad taste in clothes Now: rude, attention seeker, constantly correcting, thinks they’re always right

7: My best friends

Then: mikie, hannah, ellen, tom, lauren Now: Sophi, Ivan, my sisters

8: Sexual orientation

Then: straight/asexual Now: bisexual and not ace

9: My best first date

Then: haven’t had a good first date Now: my first date with Ivan (it was a breakfast date!!!)

10: How tall am I

Then: 5′1 Now: 5′1 & 3/4

11: What do I miss

Then: a lot of things Now: Ivan, my lyco friends, DPA, Ivan, Sophi, Ivan, Ivan, did I mention Ivan?

12: What time were I born

Then: 8:20 P.M. Now: 8:10 p.m. (I asked my mom and I was wrong before wtf)

13: Favourite color

Then: pink Now: pink

14: Do I have a crush

Then: YES Now: yeah cause bf

15: Favourite quote

Then: I have many Now: The greatest value in life comes from loving yourself for who you are

16: Favourite place

Then: Disney World Now: wherever Ivan is

17: Favourite food

Then: thin mints Now: mac and cheese and nugs

18: Do I use sarcasm

Then: yes Now: ofc

19: What am I listening to right now

Then: take flight by lindsey stirling Now: La Llorona from Coco (I can’t stop listening to the album help)

20: First thing I notice in new person

Then: hair Now: how they act with others

21: Shoe size

Then: 61/2-7 Now: 7

22: Eye color

Then: greenish/hazelish Now: they change a lot but primarily green

23: Hair color

Then: dirty blonde Now: dark blonde/red/brown

24: Favourite style of clothing

Then: sweater, leggings, combat boots Now: t-shirt, capri jeans, and converse/toms

25: Ever done a prank call?

Then: no Now: omg when I’m drunk yes

27: Meaning behind my URL

Then: starry night cause I love space, niall bc niall Now: idk it sounded cool

28: Favourite movie

Then: big hero 6 Now: Coco

29: Favourite song

Then: moon trance Now: I Miss Those Days by the Bleachers

30: Favourite band

Then: one direction Now: one direction

31: How I feel right now Then: happy Now: tired

32: Someone I love

Then: *** Now: Ivan

33: My current relationship status

Then: single as a pringle Now: happiest relationship I’ve ever been in

34: My relationship with my parents

Then: fantastic Now: fantastic (surprise)

35: Favourite holiday

Then: christmas Now: halloween

36: Tattoos and piercing i have

Then: none Now: traditional ear piercing

37: Tattoos and piercing i want

Then: cartilidge piercing and the cancer constellation tattooed somewhere Now: just the cancer constellation tattoo and a rose tattoo bc sorority

38: The reason I joined Tumblr

Then: it sounded fun Now: it sounded fun

39: Do I and my last ex hate each other?

Then: no Now: he can go to hell

40: Do I ever get “good morning” or “good night ” texts?

Then: heck no Now: heck yeah

41: Have I ever kissed the last person you texted?

Then: no Now: nope

42: When did I last hold hands?

Then: back in january with my ex Now: two weeks ago with Ivan :(

43: How long does it take me to get ready in the morning?

Then: like 20 minutes Now: if I’m not trying, 10. if i’m trying, an hour max

44: Have You shaved your legs in the past three days?

Then: no Now: nope but I NEED TO LADOINFAD

45: Where am I right now?

Then: my couch Now: my bed

46: If I were drunk; can’t stand, who’s taking care of me?

Then: no one i don’t get drunk Now: either my big or Ivan cause they’ve both had to do it

47: Do I like my music loud or at a reasonable level?

Then: reasonable level Now: both depending on mood

48: Do I live with my Mom and Dad?

Then: my mom yes Now: my mom yes

49: Am I excited for anything?

Then: disney world in 11 days Now: for Ivan to come back from Mexico

50: Do I have someone of the opposite sex I can tell everything to?

Then: yes Now: yes

51: How often do I wear a fake smile?

Then: 1/8 of the time Now: never

52: When was the last time I hugged someone?

Then: today Now: a few days ago

53: What if the last person I kissed was kissing someone else right in front of me?

Then: i wouldn’t care Now: there will be blood

54: Is there anyone I trust even though I should not?

Then: no Now: no idea

55: What is something I disliked about today?

Then: i have a migraine Now: people suck at work

56: If I could meet anyone on this earth, who would it be?

Then: lindsey stirling Now: niall horan

57: What do I think about most?

Then: someone Now: Ivan

58: What’s my strangest talent?

Then: picking up stuff with my toes (WTFFFFFF) Now: forgetting everything I’ve learned from a semester in an hour

59: Do I have any strange phobias?

Then: i’m afraid of thunderstorms Now: i have trypophobia? does that even count?

60: Do I prefer to be behind the camera or in front of it?

Then: in front of it Now: still in front but I enjoy photography

61: What was the last lie I told?

Then: … Now: that i don’t have sex LMAO

62: Do I perfer talking on the phone or video chatting online?

Then: neither Now: facetime!

63: Do I believe in ghosts? How about aliens?

Then: ghosts yes, aliens maybe Now: both

64: Do I believe in magic?

Then: i like to think it exists somewhere Now: there’s magic in love tbh

65: Do I believe in luck?

Then: not really Now: not sure tbh

66: What’s the weather like right now?

Then: sunny and breezy Now: cloudy night

67: What was the last book I’ve read?

Then: the elite Now: i’m in the middle of turtles all the way down

68: Do I like the smell of gasoline?

Then: yes Now: yup

69: Do I have any nicknames?

Then: maddio Now: maddio, mads, poopsy (thanks Ivan)

70: What was the worst injury I’ve ever had?

Then: almost breaking two of my fingers on two seperate occasions Now: ripping both my knees open, my hand, and my cheek

71: Do I spend money or save it?

Then: spend it Now: SPEND IT HOLY SHIT I CAN’T SAVE FOR SHIT

72: Can I touch my nose with a tounge?

Then: no Now: nope

73: Is there anything pink in 10 feets from me?

Then: yes my blanket Now: my jolly rancher plush (work perks)

74: Favourite animal?

Then: penguin Now: penguin

75: What was I doing last night at 12 AM?

Then: sleeping Now: probably watching youtube

76: What do I think is Satan’s last name is?

Then: no last name, he’s like madonna Now: doofensmirtz

77: What’s a song that always makes me happy when I hear it?

Then: i have many Now: hold on forever by rob thomas

78: How can you win my heart?

Then: just be kind and be honest with how you feel Now: same as before (wow past me had some wisdom)

79: What would I want to be written on my tombstone?

Then: idk Now: i got no idea

80: What is my favorite word?

Then: don’t have one Now: ?

82: If the whole world were listening to me right now, what would I say?

Then: *middle finger emoji* Now: fix yourself and love everyone

83: Do I have any relatives in jail?

Then: idk maybe one in tennessee Now: LIKE 5 IN TENNESSEE LMAOOOO

84: I accidentally eat some radioactive vegetables. They were good, and what’s even cooler is that they endow me with the super-power of my choice! What is that power?

Then: reverse time Now: stop time for everything around you and the people you’re with

85: What would be a question I’d be afraid to tell the truth on?

Then: idk Now: anything about my sex life if my mom asked

86: What is my current desktop picture?

Then: 1d concert picture Now: collage of my friends and family and me boy

87: Had sex?

Then: no Now: HELL YEAH

88: Bought condoms?

Then: no Now: yup

89: Gotten pregnant?

Then: no Now: nope

90: Failed a class?

Then: no Now: ALMOST LMAO

91: Kissed a boy?

Then: yes Now: yupp

92: Kissed a girl?

Then: no Now: when i’m drunk i do lmao

93: Have I ever kissed somebody in the rain?

Then: i wish Now: yeeeeees

94: Had job?

Then: no Now: i have two right now

95: Left the house without my wallet?

Then: yes Now: i literally did this on the way to work the other day lMAO

96: Bullied someone on the internet?: no

97: Had sex in public?

Then: hell no Now: oops

98: Played on a sports team?: sorta

99: Smoked weed?

Then: no Now: hehehehhehe yeah

100: Did drugs?: no

101: Smoked cigarettes?: no

102: Drank alcohol?

Then: like sips but not a whole glass or shot or anything Now: YUP I LIKE THE ALCHY

103: Am I a vegetarian/vegan?: no

104: Been overweight?: yes

105: Been underweight?: yes

106: Been to a wedding?: yes

107: Been on the computer for 5 hours straight?: yes

108: Watched TV for 5 hours straight?: yes

109: Been outside my home country?

Then: no Now; does canada count

110: Gotten my heart broken?: yes

111: Been to a professional sports game?

Then: yes Now: just went to my second one last fall!

112: Broken a bone?: No

113: Cut myself?: yes

114: Been to prom?: yes

115: Been in airplane?: yes

116: Fly by helicopter?: no

117: What concerts have I been to?

Then: one direction/5sos twice Now: 1d, 5sos, lindsey stirling, twenty one pilots

118: Had a crush on someone of the same sex?

Then: ;) Now: uh yeah

119: Learned another language?

Then: halfway Now: ALMOST HALFWAY WITH SPANISH AGH

120: Wore make up?

Then: i wear it everyday Now: i fucking love makeup

121: Lost my virginity before I was 18?

Then: no Now: lost it AT 18

122: Had oral sex?

Then: no Now: hell fucking yeah

123: Dyed my hair?

Then: no Now: a lot in the past 6 months lmao

124: Voted in a presidential election?: no

125: Rode in an ambulance?: no

126: Had a surgery?: yes

127: Met someone famous?: no

128: Stalked someone on a social network?: yes

129: Peed outside?: yes

130: Been fishing?: yes

131: Helped with charity?: yes

132: Been rejected by a crush?

Then: not yet thank god Now: yup it sucks

133: Broken a mirror?

Then: no Now: i didn’t but my roommates bf broke mine lmao

134: What do I want for birthday?

Then: many things Now: my boy :(

135: How many kids do I want and what will be their names?

Then: one kid, a girl, named aristotle Now: a girl and a boy and idk names

136: Was I named after anyone?: no

137: Do I like my handwriting?: sometimes

138: What was my favourite toy as a child?: my skip it

139: Favourite Tv Show?

Then: house of anubis Now: stranger things

140: Where do I want to live when older?

Then: in a city Now: anywhere that’s not the USA

141: Play any musical instrument?

Then: viola and piano Now: viola, violin, piano, ukelele

142: One of my scars, how did I get it?

Then: falling on the conastoga trail while attempting to exercisse Now: burnt my arm cooking

143: Favourite pizza toping?: extra cheese

144: Am I afraid of the dark?: yes

145: Am I afraid of heights?: no

146: Have I ever got caught sneaking out or doing anything bad?

Then: no Now: not yet

147: Have I ever tried my hardest and then gotten disappointed in the end?: yes

148: What I’m really bad at

Then: giving advice Now: focusing

149: What my greatest achievements are

Then: ??? Then: landing my past three jobs, being a part of a sorority, maintaining a 2.5 gpa

150: The meanest thing somebody has ever said to me

Then: that I’m annoying and a bitch Now: that i ruined their life

151: What I’d do if I won in a lottery

Then: buy EVERYTHING Now: pay off my loans then go travel the world

152: What do I like about myself: my eyes

154: Something I fantasise about

Then: a lot of thing Now: being with Ivan forever

#holy SHIT THAT TOOK FOREVER #WOW #my post #about me

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