#Christopher Caldwell

[haveyouseenthismovie-poll]

[justinspoliticalcorner]

Zack Beauchamp at Vox:

The Republican party is going in two directions on race at the same time. Electorally speaking, the modern GOP has never been so diverse. Each of the past two elections, and most available 2024 polling, reveals the GOP making real inroads with Black and (especially) Latino voters. These gains shouldn’t be overstated — Democrats still dominate among non-whites as a whole — but they are real. But at the elite level, conservative intellectuals and operatives are developing a new doctrine of white identity politics. And it’s already shaping the Trump administration’s plans for a second term. A new book on “anti-white racism” — The Unprotected Class, by Claremont Institute fellow Jeremy Carl — illustrates this trend clearly.

Its April release went unheralded outside conservative circles, but it received laudatory attention inside them. Tucker Carlson praised it as “outstanding”; leading activist Chris Rufo described it as a “must-read.” Nate Hochman, a former speechwriter for Florida Gov. Ron DeSantis, called it “the most important thing you read this year.” Carl got friendly interviews on Donald Trump Jr.’s web show and on Fox News during primetime. Carl’s book centers on the claim that “anti-white racism is the most predominant and politically powerful form of racism in America today.” What mainstream scholars of race call “white privilege” is, in his view, a series of “informal evanescent cultural legacies.” By contrast, anti-white discrimination “is increasingly legal and formal.” This discrimination is, for Carl, primarily the product of a pernicious ideology popular among elites (nonwhite and white alike). “Anti-white racism is the all-but-official ideology of our ruling regime,” he writes — and they have acted in such a way as to ensure that whites are increasingly shunted to the bottom of America’s social hierarchy.

Carl’s arguments for this view resemble a funhouse mirror version of American racial history: roughly the same series of events, but with the roles of victim and perpetrator reversed.

[...]

Carl’s version of white identity politics is hardly isolated on the intellectual right. He cites two other prominent book, by New York Times contributor Christopher Caldwell and think tanker Richard Hanania, to argue that the legal roots of anti-white racism were created by the legislative victories of the civil rights movement. Their accounts align on the idea that the basic structure of anti-discrimination protections — including the Civil Rights Act of 1965 — needs to be overhauled or repealed entirely. Of course, conservatives have complained about “reverse racism” for decades. What’s new is not just the aggressiveness of Carl’s claims and others like them, but their direct connection to radical policy proposals — and the fact that people in positions of power appear to be listening.

The MAGA movement is based on White victimhood and entitlement that plays up the “anti-White racism” while ignoring other forms of racism that have historically dominated American society (anti-Black, anti-Latino, anti-Asian, etc.).

[ladysnowangel]

Currently reading.

[moviestillsforthesoul]

Prospect (2018)

[301-302]

Prospect (Christopher Caldwell & Zeek Earl | 2018)

[zmkccommonplace]

Only 29 per cent of adults were “unpartnered” in 1990, 38 per cent are today.

[whentheshotpretty]

Prospect (2018)

[milliondollarbaby87]

The Net (1995) Review

Angela Bennett is a computer expert working as a programmer and stumbles across some government secrets and then finds herself being targetted by an unknown enemy and when everything is saved online it can be changed … ⭐️⭐️⭐️ Continue reading The Net (1995) Review

[roseshavethoughts]

Wrinkles The Clown (2019)

31 Days of Horror My ★★ review of Wrinkles The Clown #MovieReview

Wrinkles the Clown (2019) Synopsis – In Florida, parents can hire Wrinkles the Clown to scare their misbehaving children. Director – Michael Beach Nichols Starring – Christopher Barcia, Trevor J. Blank, Andrew Caldwell Genre – Documentary | Horror | Comedy Released – 2019 ⭐⭐ Rating: 2 out of 5. Wrinkles the Clown transports us into the strange world of a man who dresses up as a masked…

[danbenzvi]

On The Jukebox: Straight No Chaser - “Yacht On The Rocks”

Track listing:

“Escape (The Pina Colada Song)” (originally performed by Rupert Holmes)

“Sailing” (originally performed by Christopher Cross)

“Waves of Toto (featuring David Paich of Toto)” (all songs in the medley originally performed by Toto)

“Heart To Heart” (originally performed by Kenny Loggins)

“What You Won’t Do For Love/Just The Two Of Us” (originally performed by Bobby Caldwell and Bill Withers)

“Biggest Part Of Me” (originally performed by Ambrosia)

“Reelin’ In The Years” (originally performed by Steely Dan)

“What A Fool Believes” (originally performed by The Doobie Brothers)

“Lovely Day/Back Pocket” (originally performed by Bill Withers and Vulfpeck)

“After The Love Has Gone” (originally performed by Earth, Wind & Fire)

“Ride Like The Wind/Steal Away” (originally performed by Christopher Cross and Robbie Dupree)

“Easy Lover” (originally performed by Phil Collins and Philip Bailey)

“Lido Shuffle” (originally performed by Boz Scaggs)

“Taking It To (Dancin In The) Streets” (originally performed by The Doobie Brothers and Martha & The Vandellas)

[Yeah, a capella yacht rock is not a bad choice when you’re in need of something mellow.]

[fatehbaz]

Regarding this post going around:

Recommend checking out an article by Kasey Keeler and Ryan Hellenbrand, published at Edge Effects in 2021.

Aside from addressing the Ojibwe story about the Nanabozho fighting against logging (including an image of the encounter), they also describe Paul Bunyan's entanglement with the transition from clear-cutting timber logging to the later advent of the US federal government’s “German-style” extraction and "sustained yield" management (an approach, like early twentieth-century "British forestry" style, which still pursues profit-oriented extraction). Basically, they recount/argue: Story-telling makes claims to landscapes. Nostalgia can be a powerful tool. Paul Bunyan stories became more widely known after 1914. A logging company which used Paul Bunyan in promotional marketing owned the land that would become Paul Bunyan State Forest and Chippewa National Forest (the first national forest established by act of Congress rather than presidential proclamation), which functioned as a "laboratory".

All text (images and captions, too) below is excerpted from their article.

[Quote:]

Across the Northwoods, a geography that spans the U.S.-Canada border, stories are used to make and claim space. [...] Throughout northern Minnesota, legends of Paul Bunyan, the fictional giant lumberjack, have been used to claim space. [...] Bunyan has been credited with creating Minnesota’s 10,000 lakes, the Mississippi River, and the Grand Canyon, while simultaneously logging millions of acres of forest. [...] Together, we juxtapose the history of two forests - the Paul Bunyan State Forest and the Chippewa National Forest - to reveal how German settlement, logging, and forestry have contributed to placemaking narratives, and how [...] nostalgia links past and present. Paul Bunyan’s literal and figurative imaginings advance American Indian erasure narratives, leading to the invisibility of these same communities today. [...] The Northwoods have been popularized and imagined as America’s version of northern Europe. [...] Across Minnesota, towns like New Ulm, New Munich, Heidelberg, and Luxemburg bear witness [...]. More recently, Native scholars Michael Dockry and Christopher Caldwell have examined [...] “the Menominee people’s profound sense of place and their intimate relationship with place.” [...]

---

Ojibwe dispossession, well underway by the late nineteenth century, is not told in any Paul Bunyan story. [...] The "heroic labor" of logging formed a significant portion of Great Lakes region economies [...] on the heels of, and entangled with, Ojibwe dispossession. [...] Formally established in 1908, the 1.6-million-acre Chippewa National Forest (CNF) lies nearly contiguous with the Leech Lake Reservation. [...] [T]he CNF was the first national forest created "for the benefit of [American] Indian people." [...] In 1902 came the Morris Act. Authored by [a] Duluth congressman [...], the act "created the first forest reserve established by congressional action rather than presidential proclamation." The act established the 225,000-acre Minnesota Forest Reserve as a “compromise,” a way to tackle the “Indian problem” while allowing for timber harvest. Here, Ojibwe homelands became “a laboratory for the first comprehensive forest management plans undertaken by a federal agency.” In 1928, the forest was renamed the Chippewa National Forest, as it remains today.

---

While the Chippewa National Forest forces us to consider the many ways logging and forestry has usurped American Indian peoples’ access to land, the nearby Paul Bunyan State Forest encapsulates the material legacy of symbolic myth. [...]

Officially recognized in 1935, the Paul Bunyan State Forest evolved from the site of the Red River Lumber Company sawmill. Founded in 1884, the Red River Lumber Company (RRLC) directly participated in and contributed to Ojibwe dispossession. By the end of the nineteenth century, he RRLC had purchased most of the land that comprises the present-day Pual Bunyan State Forest, milling millions of board feet of lumber at the company town of Akeley. [...]

The expansion of RRLC to California precipitated another key move: using Paul Bunyan in their marketing. William B. Laughead (pronounced Log-head), advertising manager in 1914 and a logger himself, spun another Paul Bunyan tale for the promotional booklet “Introducing Mr. Paul Bunyan of Westwood, Cal,” which included Bunyan’s first pictorial representation. This marketing campaign relied on the new and growing nostalgia for the grand logging days in the Great Lakes to keep the transcontinental corporation rooted in place.

With logging long established throughout the Great Lakes region, the ecological damage was clear. To remedy this, in the mid-1930s (German) forestry was introduced to manage timber on a sustained yield base. This, then, is the irony of the Paul Bunyan State Forest: named for an American legends who is said to have literally cleared the path for settlement, forest management now proposes to maintain the integrity of the forest. [...]

Though Paul Bunyan narratives dominate the landscape of the Northwoods, if we look closely we can see the ways Native people resist the legendary exploits. Indeed, a lesser-known Ojibwe oral story reminds us that the Anishinaabe people, their culture, and their histories will always prevail over dispossession and logging. In the story, Nanabozho, an Ojibwe trickster or cultural figure, confronts Paul Bunyan, who had already logged off most of the northeastern states before making his way to Minnesota. Nanabozho tells Paul to leave, to not log any more timber. A fight ensues, and [...] Nanabozho swings a Red Lake walleye at Paul, knocking him off his feet. As Paul stumbles, Nanabozho pulls at Paul’s whiskers, making him promise to leave the area. This is why, today, Paul Bunyan does not have a beard and why he is facing west at the statue on Lake Bemidji, as he prepares to leave the region. This is also why we have the Chippewa National Forest, because Nanabozho and his Ojibwe kinsmen saved it from being logged. It is this contemporary narrative that highlights the complexity of Ojibwe storytelling [...].

---

[End quote.]

Images, captions, and text by: Kasey Keeler and Ryan Hellenbrand. “Paul Bunyan and Settler Nostalgia in the Northwoods.” Edge Effects. 2 December 2021. At: edgeeffects dot net/paul-bunyan-narratives/ [Bold emphasis and some paragraph breaks/contractions added by me. Presented here for commentary, teaching, criticism. Images and captions are shown unaltered as they originally appear in the article.]

[battyaboutbooksreviews]

🖤 Black History Month ❤️

💛 Queer Books by Black Authors 💚

[ List Under the Cut ]

🖤 Felix Ever After by Kacen Callender ❤️ Under the Udala Trees by Chinelo Okparanta 💛 Warrior of the Wind by Suyi Davies Okungbowa 💚 I'm a Wild Seed by Sharon Lee De La Cruz 🖤 Real Life by Brandon Taylor ❤️ Ruthless Pamela Jean by Carol Denise Mitchell 💛 The Unbroken by C.L. Clark 💚 Labyrinth Lost by Zoraida Córdova 🖤 Skin Deep Magic by Craig Laurance Gidney ❤️ The Death of Vivek Oji by Akwaeke Emezi 💛 That Could Be Enough by Alyssa Cole 💚Work for It by Talia Hibbert

🖤 All Boys Aren't Blue by George M. Johnson ❤️ The Deep by Rivers Solomon 💛 How to Be Remy Cameron by Julian Winters 💚 Running With Lions by Julian Winters 🖤 Right Where I Left You by Julian Winters ❤️ This Is Kind of an Epic Love Story by Kacen Callender 💛 The Weight of the Stars by K. Ancrum 💚 This Is What It Feels Like by Rebecca Barrow 🖤 Son of the Storm by Suyi Davies Okungbowa ❤️ Black Boy Joy by Kwame Mbalia 💛 Legendborn by Tracy Deonn 💚 The Wicker King by K. Ancrum

🖤 Pet by Akwaeke Emezi ❤️ You Should See Me in a Crown by Leah Johnson 💛 Once Ghosted, Twice Shy by Alyssa Cole 💚 Cinderella Is Dead by Kalynn Bayron 🖤 Let's Talk About Love by Claire Kann ❤️ A Spectral Hue by Craig Laurance Gidney 💛 Power & Magic by Joamette Gil 💚 The Black Veins by Ashia Monet 🖤 Treasure by Rebekah Weatherspoon ❤️ The Sound of Stars by Alechia Dow 💛 Black Leopard, Red Wolf by Marlon James 💚 Full Disclosure by Camryn Garrett

🖤 The Black Flamingo by Dean Atta ❤️ Meet Cute Diary by Emery Lee 💛 A Phoenix First Must Burn (edited) by Patrice Caldwell 💚 Rise to the Sun by Leah Johnson 🖤 Things We Couldn't Say by Jay Coles ❤️ Black Boy Out of Time by Hari Ziyad 💛 Darling by K. Ancrum 💚 The Secrets of Eden by Brandon Goode 🖤 Ace of Spades by Faridah Àbíké-Íyímídé ❤️ Off the Record by Camryn Garrett 💛 Honey Girl by Morgan Rogers 💚 Ace of Spades by Faridah Àbíké-Íyímídé

🖤 How to Dispatch a Human by Stephanie Andrea Allen ❤️ Black Girl, Call Home by Jasmine Mans 💛 The Essential June Jordan (edited) by Jan Heller Levi and Christoph Keller 💚 A Master of Djinn by P. Djèlí Clark 🖤 A Blade So Black by L.L. McKinney ❤️ Clap When You Land by Elizabeth Acevedo 💛 Dread Nation by Justina Ireland 💚 Punch Me Up to the Gods by Brian Broome 🖤 Masquerade by Anne Shade ❤️ One of the Good Ones by Maika Moulite & Maritza Moulite 💛 Soulstar by C.L. Polk 💚 100 Boyfriends by Brontez Purnell

🖤 Hurricane Child by Kacen Callender ❤️ Quietly Hostile by Samantha Irby 💛 Coffee Will Make You Black by April Sinclair 💚 The Death of Vivek Oji by Akwaeke Emezi 🖤 If It Makes You Happy by Claire Kann ❤️ Sweethand by N.G. Peltier 💛 This Poison Heart by Kalynn Bayron 💚 Better Off Red by Rebekah Weatherspoon 🖤 Friday I’m in Love by Camryn Garrett ❤️ Rainbow Milk by Paul Mendez 💛 Memorial by Bryan Washington 💚 Patsy by Nicole Y. Dennis-Benn

🖤 Sorrowland by Rivers Solomon ❤️ How to Find a Princess by Alyssa Cole 💛 Yesterday is History by Kosoko Jackosn 💚 Mouths of Rain (edited) by Briona Simone Jones 🖤 Dead Dead Girls by Nekesa Afia ❤️ Love's Divine by Ava Freeman 💛 The Prophets by Robert Jones Jr 💚 Odd One Out by Nic Stone 🖤 Symbiosis by Nicky Drayden ❤️ Thanks a Lot, Universe by Chad Lucas 💛 The Passing Playbook by Isaac Fitzsimons 💚 Giovanni’s Room by James Baldwin

🖤 Little & Lion by Brandy Colbert ❤️ My Government Means to Kill Me by Rasheed Newson 💛 Pleasure and Spice by Fiona Zedde 💚 No Gods, No Monsters by Cadwell Turnbull 🖤 The Stars and the Blackness Between Them by Junauda Petrus ❤️ Filthy Animals by Brandon Taylor 💛 The City We Became by N.K. Jemisin 💚 Peaces by Helen Oyeyem 🖤 The Beauty That Remains by Ashley Woodfolk ❤️ Every Body Looking by Candice Iloh 💛 Bingo Love by Tee Franklin, Jenn St-Onge, Joy San 💚 The Heart Does Not Bend by Makeda Silvera

🖤 King and the Dragonflies by Kacen Callender ❤️ By Any Means Necessary by Candice Montgomery 💛 Busy Ain't the Half of It by Frederick Smith & Chaz Lamar Cruz 💚 Girl, Woman, Other by Bernardine Evaristo 🖤 Sin Against the Race by Gar McVey-Russell ❤️ Trumpet by Jackie Kay 💛 Remembrance by Rita Woods 💚 Daughters of Nri by Reni K. Amayo 🖤 You Know Me Well by Nina LaCour ❤️ The Summer of Everything by Julian Winters 💛 Butter Honey Pig Bread by Francesca Ekwuyasi 💚 Gingerbread by Helen Oyeyem

[ladysnowangel]

November library books

[taylor-on-your-dash]

Anthology Credits

THE BLACK DOG

© 2023 TASRM Publishing, administered by Songs Of Universal, Inc. (BMI) / All Rights Reserved. Used By Permission. // Produced by Jack Antonoff and Taylor Swift / Mixed by Serban Ghenea at MixStar Studios (Virginia Beach, VA) / Engineer - Bryce Bordone / Recorded by Laura Sisk and Oli Jacobs at Electric Lady Studios (New York, NY) and Conway Recording Studios (Los Angeles, CA) / Assistant Engineered by Jon Sher and Jack Manning / Sean Hutchinson’s performance recorded by Sean Hutchinson and Michael Riddleberger at Hutchinson Sound (Brooklyn, NY) / Bobby Hawk's performance recorded by Jack Manning at Electric Lady Studios (New York, NY) / Mastered by Randy Merrill at Sterling Sound (Edgewater, NJ) // Drums, Bass, Juno, Acoustic and Electric Guitars, Programming, Piano, M1, Polysix, Mellotron, Cello, Rhodes, Vocoder by Jack Antonoff / Drums by Sean Hutchinson / Strings by Bobby Hawk / Lead Vocals, Background Vocals, Piano by Taylor Swift

IMGONNAGETYOUBACK

© 2023 TASRM Publishing, administered by Songs Of Universal, Inc. (BMI), Sony/ATV Songs LLC / Ducky Donath Music (BMI) / All Rights Reserved. Used By Permission. // Produced by Jack Antonoff and Taylor Swift / Mixed by Serban Ghenea at MixStar Studios (Virginia Beach, VA) / Engineer - Bryce Bordone / Recorded by Laura Sisk and Oli Jacobs at Electric Lady Studios (New York, NY) / Assistant Engineered by Jack Manning, Joey Miller and Jozef Caldwell // Percussion, Drums, Programming, Juno 60, Prophet 5, M1 Keyboard, Piano, Acoustic Guitars by Jack Antonoff / Piano by Jack Manning / Lead Vocals by Taylor Swift

THE ALBATROSS

© 2023 TASRM Publishing, administered by Songs of Universal, Inc. (BMI), Ingrid Stella Music, administered by SonyATV Tunes LLC (ASCAP) / All Rights Reserved. Used By Permission. // Produced by Aaron Dessner and Taylor Swift / Mixed by Serban Ghenea at MixStar Studios (Virginia Beach, VA) / Engineer - Bryce Bordone / Recorded by Jonathan Low and Bella Blasko at Long Pond (Hudson Valley, NY) / Arrangements by Bryce Dessner (Biarritz, FR) / Glenn Kotche's performance recorded by Bella Blasko at Narwhal Studios (Chicago, IL) / James McAlister's performance recorded by James McAlister (Los Angeles, CA) / Benjamin Lanz’s performance recorded by Benjamin Lanz (Paris, FR) / London Contemporary Orchestra's performance recorded by Jeremy Murphy at Air Studios (London, UK). Assistant Engineering by Laura Beck / Mastered by Randy Merrill at Sterling Sound (Edgewater, NJ) // Acoustic Guitar, Bass Guitar, Drum Machine Programming, Electric Guitar, High Strung by Aaron Dessner / Drums and Percussion by Glenn Kotche / Drum Machine Programming by James McAlister / Modular Synth by Benjamin Lanz / Lead Vocals by Taylor Swift // London Contemporary Orchestra: … // Conductor Robert Ames // Digital Recordist / Gianluca Massimo // Copyist / Tristan Noon // LCO Recording Projects Manager / Meg Monteith // LCO Orchestra Manager / Amy-Elisabeth Hinds

CHLOE OR SAM OR SOPHIA OR MARCUS

© 2023 TASRM Publishing, administered by Songs of Universal, Inc. (BMI), Ingrid Stella Music, administered by SonyATV Tunes LLC (ASCAP) / All Rights Reserved. Used By Permission. // Produced by Aaron Dessner and Taylor Swift / Mixed by Serban Ghenea at MixStar Studios (Virginia Beach, VA) / Engineer - Bryce Bordone / Recorded by Jonathan Low and Bella Blasko at Long Pond (Hudson Valley, NY) / Orchestration by Rob Moose at Long Pond (Hudson Valley, NY) / Taylor Swift's performance recorded by Christopher Rowe at Prime Recording (Nashville, TN) / Assistant Engineered by Derek Garten / Aaaron Dessner's performance recorded by Maryam Qudus at Long Pond (Hudson Valley, NY) / Glenn Kotche's performance recorded by Bella Blasko at Narwhal Studios (Chicago, IL) / Benjamin Lanz’s performance recorded by Benjamin Lanz (Paris, FR) // Acoustic Guitar, Bass Guitar, Drum Machine Programming, Electric Guitar, Keyboard, Mandolin, Piano and Synthesizer by Aaron Dessner / Drums by JT Bates / Drums and Percussion by Glenn Kotche / Modular Synth and Trombone by Benjamin Lanz / Lead Vocals by Taylor Swift

HOW DID IT END?

© 2023 TASRM Publishing, administered by Songs of Universal, Inc. (BMI), Ingrid Stella Music, administered by SonyATV Tunes LLC (ASCAP) / All Rights Reserved. Used By Permission. // Produced by Aaron Dessner and Taylor Swift / Mixed by Serban Ghenea at MixStar Studios (Virginia Beach, VA) / Engineer - Bryce Bordone / Recorded by Jonathan Low and Bella Blasko at Long Pond (Hudson Valley, NY) / Orchestration by Bryce Dessner (Biarritz, FR) / James McAlister's performance recorded by James McAlister (Los Angeles, CA) / Glenn Kotche's performance recorded by Bella Blasko at Narwhal Studios (Chicago, IL) / Thomas Bartlett's performance recorded by Thomas Bartlett at The Dwelling (New York, NY) / London Contemporary Orchestra's performance recorded by Jeremy Murphy at Air Studios (London, UK). Assistant Engineering by Laura Beck / Mastered by Randy Merrill at Sterling Sound (Edgewater, NJ) // Bass, Synth, Drum Machine Programming, Electric Guitar, Keyboards, Piano and Synthesizers by Aaron Dessner / Bass Drum, Keyboards, Omnichord and Synthesizers by James McAlister / Drums by JT Bates / Drums and Percussion by Glenn Kotche / Keyboards, Piano and Synthesizers by Thomas Bartlett / Lead Vocals by Taylor Swift // London Contemporary Orchestra: Violin I / Galya Bisengalieva (Leader) / Eloisa-Fleur Thom / Sophie Mather / Marianne Haynes / Alicia Berendse / Agata Daraskaite / Anna De Bruin / Akiko Ishikawa / Nicole Crespo O'Donoghue // Violin II / Emily Holland / Kirsty Mangan / Clara Laskaris / Ronald Long / Dan Oates / Iona Allan // Viola / Nicholas Bootiman / Matthew Kettle / Elisa Bergersen / Morgan Goff // Cello / Brian O'Kane / Reinoud Ford / Max Ruisi / Abi Hyde-Smith // Double Bass / Dave Brown / Chris Kelly / Sophie Roper // French Horn / David McQueen// Conductor Robert Ames // Digital Recordist / Gianluca Massimo // Copyist / Tristan Noon // LCO Recording Projects Manager / Meg Monteith // LCO Orchestra Manager / Amy-Elisabeth Hinds

SO HIGH SCHOOL

© 2023 TASRM Publishing, administered by Songs of Universal, Inc. (BMI), Ingrid Stella Music, administered by SonyATV Tunes LLC (ASCAP) / All Rights Reserved. Used By Permission. // Produced by Aaron Dessner and Taylor Swift / Mixed by Serban Ghenea at MixStar Studios (Virginia Beach, VA) / Engineer - Bryce Bordone / Recorded by Jonathan Low and Bella Blasko at Long Pond (Hudson Valley, NY) / James McAlister's performance recorded by Bella Blasko at Long Pond (Hudson Valley, NY) and James McAlister (Los Angeles, CA) / Glenn Kotche's performance recorded by Bella Blasko at Narwhal Studios (Chicago, IL) / Benjamin Lanz’s performance recorded by Benjamin Lanz (Paris, FR) / Mastered by Randy Merrill at Sterling Sound (Edgewater, NJ) // Bass Guitar, Bass Synth, Drum Machine Programming, Electric Guitar, Keyboards, Percussion, Piano and Synthesizers by Aaron Dessner / Drums, Drum Machine Programming, Electric Guitar and Synthesizers by James McAlister / Modular Synth and Synthesizer by Benjamin Lanz / Lead Vocals by Taylor Swift

I HATE IT HERE

© 2023 TASRM Publishing, administered by Songs of Universal, Inc. (BMI), Ingrid Stella Music, administered by SonyATV Tunes LLC (ASCAP) / All Rights Reserved. Used By Permission. // Produced by Aaron Dessner and Taylor Swift / Mixed by Serban Ghenea at MixStar Studios (Virginia Beach, VA) / Engineer - Bryce Bordone / Recorded by Jonathan Low and Bella Blasko at Long Pond (Hudson Valley, NY) / Orchestration by Bryce Dessner (Biarritz, FR) / Aaron Dessner's Banjo, Mandolin and Synthesizer recorded by Maryam Qudus at Long Pond (Hudson Valley, NY) / Benjamin Lanz’s performance recorded by Benjamin Lanz (Paris, FR) / James McAlister's performance recorded by James McAlister (Los Angeles, CA) / Thomas Bartlett's performance recorded by Thomas Bartlett at The Dwelling (New York, NY) / Glenn Kotche's performance recorded by Bella Blasko at Narwhal Studios (Chicago, IL) / London Contemporary Orchestra's performance recorded by Jeremy Murphy at Air Studios (London, UK). Assistant Engineering by Laura Beck / Mastered by Randy Merrill at Sterling Sound (Edgewater, NJ) // Acoustic Guitar, Banjo, Bass Guitar, Drum Machine Programming, Electric Guitar, High Strung Guitar, Mandolin, Percussion, Piano and Synthesizer by Aaron Dessner / Acoustic Guitar, Bass Guitar, Bass Synth, Percussion and Synthesizer by James McAlister / Keyboards, Piano and Synthesizers by Thomas Bartlett / Modular Synth by Benjamin Lanz / Drums and Percussion by Glenn Kotche / Lead Vocals by Taylor Swift

THANK YOU AIMEE

© 2023 TASRM Publishing, administered by Songs of Universal, Inc. (BMI), Ingrid Stella Music, administered by SonyATV Tunes LLC (ASCAP) / All Rights Reserved. Used By Permission. // Produced by Jack Antonoff, Aaron Dessner and Taylor Swift / Mixed by Serban Ghenea at MixStar Studios (Virginia Beach, VA) / Engineer - Bryce Bordone / Recorded by Jonathan Low and Bella Blasko at Long Pond (Hudson Valley, NY) and by Laura Sisk and Oli Jacobs at Sharp Sonic Studios (Los Angeles, CA) /Assistant Engineered by Jozef Caldwell / Orchestration by Bryce Dessner (Biarritz, FR) / Aaron Dessner's Banjo and Mandolin recorded by Maryam Qudus at Long Pond (Hudson Valley, NY) / Thomas Bartlett's performance recorded by Thomas Bartlett at The Dwelling (New York, NY) / Glenn Kotche's performance recorded by Bella Blasko at Narwhal Studios (Chicago, IL) / London Contemporary Orchestra's performance recorded by Jeremy Murphy at Air Studios (London, UK). Assistant Engineering by Laura Beck / Mastered by Randy Merrill at Sterling Sound (Edgewater, NJ) // Acoustic Guitar, Banjo, Bass Synth, Drum Machine Programming, Keyboard, Mandolin, Percussion and Synthesizer by Aaron Dessner / Drums and Percussion by Glenn Kotche / Keyboards, Piano and Synthesizers by Thomas Bartlett / Programming, Cello, Percussion, Drums, Electric Guitar, Background Vocals by Jack Antonoff / Lead Vocals by Taylor Swift // London Contemporary Orchestra: Violin I / Galya Bisengalieva (Soloist & Leader) / Eloisa-Fleur Thom/ Sophie Mather / Marianne Haynes / Alicia Berendse / Anna De Bruin / Akiko Ishikawa / Nicole Crespo O'Donoghue // Violin II / Emily Holland / Kirsty Mangan / Clara Laskaris / Ronald Long / Dan Oates / Iona Allan // Viola / Nicholas Bootiman/ Matthew Kettle / Elisa Bergersen / Morgan Goff // Cello / Brian O'Kane / Reinoud Ford / Max Ruisi / Abi Hyde-Smith // Double Bass / Dave Brown / Chris Kelly / Sophie Roper // French Horn / David McQueen / Paul Cott / Jonathan Farey // Percussion // George Barton // Conductor Robert Ames // Digital Recordist / Gianluca Massimo // Copyist / Tristan Noon // LCO Recording Projects Manager / Meg Monteith // LCO Orchestra Manager / Amy-Elisabeth Hinds

I LOOK IN PEOPLE'S WINDOWS

© 2023 Taylor Swift Music (BMI) administer by Songs Of Universal, Inc. / Sony/ATV Songs LLC / Ducky Donath Music (BMI) / Indiscipline AB (STIM), administered by Kobalt Music / All Rights Reserved. Used By Permission. // Produced by Jack Antonoff, Patrick Berger and Taylor Swift | Mixed by Serban Ghenea at MixStar Studios (Virginia Beach, VA) / Engineer for Mix - Bryce Bordone / Recorded by Laura Sisk and Jack Antonoff at Electric Lady Studios (New York, NY) and Conway Recording Studios (Los Angeles, CA) / Assistant Engineer Jon Sher and Jack Manning // Acoustic Guitars, Juno, Cello, Programming by Jack Antonoff / Acoustic Guitar by Patrick Berger Lead Vocals by Taylor Swift

THE PROPHECY

© 2023 TASRM Publishing, administered by Songs of Universal, Inc. (BMI), Ingrid Stella Music, administered by SonyATV Tunes LLC (ASCAP) / All Rights Reserved. Used By Permission. // Produced by Aaron Dessner and Taylor Swift / Mixed by Serban Ghenea at MixStar Studios (Virginia Beach, VA) / Engineer - Bryce Bordone / Recorded by Jonathan Low and Bella Blasko at Long Pond (Hudson Valley, NY) / Orchestration by Bryce Dessner (Biarritz, FR) / James McAlister's performance recorded by James McAlister (Los Angeles, CA) / Thomas Bartlett's performance recorded by Thomas Bartlett at The Dwelling (New York, NY) / Glenn Kotche's performance recorded by Bella Blasko at Narwhal Studios (Chicago, IL) / London Contemporary Orchestra's performance recorded by Jeremy Murphy at Air Studios (London, UK). Assistant Engineering by Laura Beck / Mastered by Randy Merrill at Sterling Sound (Edgewater, NJ) // Acoustic Guitar, Drum Machine Programming, Programming and Electric Guitar by Aaron Dessner / Autoharp, Drum Machine Programming, Omnichord, Percussion and Synthesizer by James McAlister / Piano and Synthesizers by Thomas Bartlett / Drums and Percussion by Glenn Kotche / Drums by JT Bates / Lead Vocals by Taylor Swift // London Contemporary Orchestra: Violin I / Galya Bisengalieva (Soloist & Leader) / Eloisa-Fleur Thom/ Sophie Mather / Agata Daraskaite / Anna De Bruin / Akiko Ishikawa / Nicole Crespo O'Donoghue / Julian Azkoul // Violin II / Emily Holland / Kirsty Mangan / Clara Laskaris / Ronald Long / Dan Oates / Iona Allan // Viola / Nicholas Bootiman / Matthew Kettle / Amy Swain / Elisa Bergersen / Morgan Goff // Cello / Brian O'Kane / Reinoud Ford / Max Ruisi / Abi Hyde-Smith // Double Bass / Dave Brown / Chris Kelly / Sophie Roper // Bass Clarinet / Max Welford // Percussion // George Barton // Conductor Robert Ames // Digital Recordist / Gianluca Massimo // Copyist / Tristan Noon // LCO Recording Projects Manager / Meg Monteith // LCO Orchestra Manager / Amy-Elisabeth Hinds

CASSANDRA

© 2023 TASRM Publishing, administered by Songs of Universal, Inc. (BMI), Ingrid Stella Music, administered by SonyATV Tunes LLC (ASCAP) / All Rights Reserved. Used By Permission. // Produced by Aaron Dessner and Taylor Swift / Mixed by Serban Ghenea at MixStar Studios (Virginia Beach, VA) / Engineer - Bryce Bordone / Recorded by Jonathan Low and Bella Blasko at Long Pond (Hudson Valley, NY) / Orchestration by Bryce Dessner (Biarritz, FR) / James McAlister's performance recorded by James McAlister (Los Angeles, CA) / Thomas Bartlett's performance recorded by Thomas Bartlett at The Dwelling (New York, NY) / Glenn Kotche's performance recorded by Bella Blasko at Narwhal Studios (Chicago, IL) / London Contemporary Orchestra's performance recorded by Jeremy Murphy at Air Studios (London, UK). Assistant Engineering by Laura Beck / Mastered by Randy Merrill at Sterling Sound (Edgewater, NJ) // Bass Synth, Electric Guitar, Keyboards, Percussion, Piano and Synthesizer by Aaron Dessner / Drum Machine Programming, Keyboards, Modular Synth, Percussion and Synthesizers by James McAlister / Modular Synth and Trombone by Benjamin Lanz / Snare Drums and Vibraphones by Glenn Kotche / Lead Vocals by Taylor Swift // London Contemporary Orchestra: Violin I / Eloisa-Fleur Thom (Leader) / Sophie Mather / Marianne Haynes / Agata Daraskaite / Anna De Bruin / Akiko Ishikawa / Nicole Crespo O'Donoghue / Julian Azkoul // Violin II / Emily Holland / Kirsty Mangan / Clara Laskaris / Ronald Long / Dan Oates / Iona Allan // Viola / Nicholas Bootiman / Matthew Kettle / Amy Swain / Elisa Bergersen / Morgan Goff // Cello / Brian O'Kane / Reinoud Ford / Max Ruisi / Abi Hyde-Smith // Double Bass / Dave Brown / Chris Kelly / Sophie Roper // French Horn / David McQueen / Paul Cott / Jonathan Farey // Percussion // George Barton // Conductor Robert Ames // Digital Recordist / Gianluca Massimo // Copyist / Tristan Noon // LCO Recording Projects Manager / Meg Monteith // LCO Orchestra Manager / Amy-Elisabeth Hinds

PETER

© 2023 TASRM Publishing, administered by Songs Of Universal, Inc. (BMI) / All Rights Reserved. Used By Permission. // Produced by Aaron Dessner and Taylor Swift / Mixed by Serban Ghenea at MixStar Studios (Virginia Beach, VA) / Engineer - Bryce Bordone / Recorded by Jonathan Low and Bella Blasko at Long Pond (Hudson Valley, NY) / Mastered by Randy Merrill at Sterling Sound (Edgewater, NJ) // Bass Guitar, Drum Machine Programming, Keyboards, Piano and Synthesizers by Aaron Dessner / Lead Vocals by Taylor Swift

THE BOLTER

© 2023 TASRM Publishing, administered by Songs of Universal, Inc. (BMI), Ingrid Stella Music, administered by SonyATV Tunes LLC (ASCAP) / All Rights Reserved. Used By Permission. // Produced by Aaron Dessner and Taylor Swift / Mixed by Serban Ghenea at MixStar Studios (Virginia Beach, VA) / Engineer - Bryce Bordone / Recorded by Jonathan Low and Bella Blasko at Long Pond (Hudson Valley, NY) / Arrangements by Bryce Dessner (Biarritz, FR) / James McAlister's performance recorded by James McAlister (Los Angeles, CA) / Thomas Bartlett's performance recorded by Thomas Bartlett at The Dwelling (New York, NY) / Glenn Kotche's performance recorded by Bella Blasko at Narwhal Studios (Chicago, IL) / London Contemporary Orchestra's performance recorded by Jeremy Murphy at Air Studios (London, UK). Assistant Engineering by Laura Beck / Mastered by Randy Merrill at Sterling Sound (Edgewater, NJ) // Acoustic Guitar, Bass Guitar, Drum Machine Programming, Electric Guitar, High Strung, Percussion, Piano and Synthesizers by Aaron Dessner / Omnichord, Percussion and Synthesizers by James McAlister / Keyboards, Piano and Synthesizer by Thomas Bartlett / Drums and Percussion by Glenn Kotche / Violin and Viola by Rob Moose / Lead Vocals by Taylor Swift

ROBIN

© 2023 TASRM Publishing, administered by Songs of Universal, Inc. (BMI), Ingrid Stella Music, administered by SonyATV Tunes LLC (ASCAP) / All Rights Reserved. Used By Permission. // Produced by Aaron Dessner and Taylor Swift / Mixed by Serban Ghenea at MixStar Studios (Virginia Beach, VA) / Engineer - Bryce Bordone / Recorded by Jonathan Low and Bella Blasko at Long Pond (Hudson Valley, NY) / Orchestration by Bryce Dessner (Biarritz, FR) / Aaron Dessner's Drums and Synthesizer recorded by Maryam Qudus at Long Pond (Hudson Valley, NY) / Benjamin Lanz’s performance recorded by Benjamin Lanz (Paris, FR) / James McAlister's performance recorded by Bella Blasko at Long Pond (Hudson Valley, NY) and James McAlister (Los Angeles, CA) / Thomas Bartlett's performance recorded by Thomas Bartlett at The Dwelling (New York, NY) / Glenn Kotche's performance recorded by Bella Blasko at Narwhal Studios (Chicago, IL) / London Contemporary Orchestra's performance recorded by Jeremy Murphy at Air Studios (London, UK). Assistant Engineering by Laura Beck / Mastered by Randy Merrill at Sterling Sound (Edgewater, NJ) // Bass Guitar, Drum Machine Programming, Drums, Electric Guitar, Keyboards, Percussion, Pianos and Synthesizer by Aaron Dessner / Buchla, Clava, Percussion and Synthesizer by James McAlister / Keyboards, Piano and Synthesizers by Thomas Bartlett / Modular Synth and Synthsizer by Benjamin Lanz / Drums and Percussion by Glenn Kotche / Lead Vocals by Taylor Swift // London Contemporary Orchestra: Violin I / Galya Bisengalieva (Co-Leader) / Eloisa-Fleur Thom (Co-Leader) / Sophie Mather / Marianne Haynes / Agata Daraskaite / Anna De Bruin / Akiko Ishikawa / Nicole Crespo O'Donoghue / Julian Azkoul // Violin II / Emily Holland / Kirsty Mangan / Clara Laskaris / Ronald Long / Dan Oates / Iona Allan // Viola / Nicholas Bootiman / Matthew Kettle / Amy Swain / Elisa Bergersen / Morgan Goff // Cello / Brian O'Kane / Reinoud Ford / Max Ruisi / Abi Hyde-Smith // Double Bass / Dave Brown / Chris Kelly / Sophie Roper // French Horn / David McQueen / Paul Cott / Jonathan Farey // Percussion & Timpani // George Barton // Conductor Robert Ames // Digital Recordist / Gianluca Massimo // Copyist / Tristan Noon // LCO Recording Projects Manager / Meg Monteith // LCO Orchestra Manager / Amy-Elisabeth Hinds

THE MANUSCRIPT

© 2023 TASRM Publishing, administered by Songs of Universal, Inc. (BMI), Ingrid Stella Music, administered by SonyATV Tunes LLC (ASCAP) / All Rights Reserved. Used By Permission. // Produced by Aaron Dessner and Taylor Swift / Mixed by Serban Ghenea at MixStar Studios (Virginia Beach, VA) / Engineer - Bryce Bordone / Recorded by Jonathan Low and Bella Blasko at Long Pond (Hudson Valley, NY) / Arrangements by Bryce Dessner (Biarritz, FR) / Bryce Dessner's performance recorded by Bryce Dessner (Biarritz, FR) / James McAlister's performance recorded by James McAlister (Los Angeles, CA) / Thomas Bartlett's performance recorded by Thomas Bartlett at The Dwelling (New York, NY) / London Contemporary Orchestra's performance recorded by Jeremy Murphy at Air Studios (London, UK). Assistant Engineering by Laura Beck / Mastered by Randy Merrill at Sterling Sound (Edgewater, NJ) // Bass Synth, Piano and Synthesizers by Aaron Dessner / Drum Machine Programming, Filtered Brass and Winds, Piano and Synthesizer by Bryce Dessner / Drum Machine Programming and Synthesizers by James McAlister / Synthesizer by Thomas Bartlett / Lead Vocals by Taylor Swift // London Contemporary Orchestra: Violin I / Eloisa-Fleur Thom (Leader) / Sophie Mather / Marianne Haynes / Anna De Bruin / Akiko Ishikawa / Nicole Crespo O'Donoghue / Natasha Humpries // Violin II / Emily Holland / Kirsty Mangan / Clara Laskaris / Ronald Long / Dan Oates / Iona Allan // Viola / Nicholas Bootiman / Matthew Kettle / Meghan Cassidy / Elisa Bergersen / Morgan Goff // Cello / Brian O'Kane / Reinoud Ford / Max Ruisi / Abi Hyde-Smith // Double Bass / Dave Brown / Chris Kelly / Sophie Roper // French Horn / David McQueen / Paul Cott / Jonathan Farey // Percussion // George Barton // Conductor Robert Ames // Digital Recordist / Gianluca Massimo // Copyist / Tristan Noon // LCO Recording Projects Manager / Meg Monteith // LCO Orchestra Manager / Amy-Elisabeth Hinds

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Prospect (Christopher Caldwell & Zeek Earl | 2018)

[zmkccommonplace]

The biggest question historians will ask about the Biden presidency will be: was he actually president? Or was he the figurehead for a junta of a few aides, each with free rein over one policy domain?

Christopher Caldwell