#Dynasty album photo session | Explore Tumblr posts and blogs

taylorswifthongkong · 4 years ago

Link

Taylor Swift broke all her rules with Folklore — and gave herself a much-needed escape The pop star, one of EW's 2020 Entertainers of the Year, delves deep into her surprise eighth album, Rebekah Harkness, and a Joe Biden presidency. By Alex Suskind

“He is my co-writer on ‛Betty’ and ‛Exile,’” replies Taylor Swift with deadpan precision. The question Who is William Bowery? was, at the time we spoke, one of 2020’s great mysteries, right up there with the existence of Joe Exotic and the sudden arrival of murder hornets. An unknown writer credited on the year’s biggest album? It must be an alias.

Is he your brother?

“He’s William Bowery,” says Swift with a smile.

It's early November, after Election Day but before Swift eventually revealed Bowery's true identity to the world (the leading theory, that he was boyfriend Joe Alwyn, proved prescient). But, like all Swiftian riddles, it was fun to puzzle over for months, particularly in this hot mess of a year, when brief distractions are as comforting as a well-worn cardigan. Thankfully, the Bowery... erhm, Alwyn-assisted Folklore — a Swift project filled with muted pianos and whisper-quiet snares, recorded in secret with Jack Antonoff and the National’s Aaron Dessner — delivered.

“The only people who knew were the people I was making it with, my boyfriend, my family, and a small management team,” Swift, 30, tells EW of the album's hush-hush recording sessions. That gave the intimate Folklore a mystique all its own: the first surprise Taylor Swift album, one that prioritized fantastical tales over personal confessions.

“Early in quarantine, I started watching lots of films,” she explains. “Consuming other people’s storytelling opened this portal in my imagination and made me feel like, Why have I never created characters and intersecting storylines?” That’s how she ended up with three songs about an imagined love triangle (“Cardigan,” “Betty,” “August”), one about a clandestine romance (“Illicit Affairs”), and another chronicling a doomed relationship (“Exile”). Others tell of sumptuous real-life figures like Rebekah Harkness, a divorcee who married the heir to Standard Oil — and whose home Swift purchased 31 years after her death. The result, “The Last Great American Dynasty,” hones in on Harkness’ story, until Swift cleverly injects herself.

And yet, it wouldn’t be a Swift album without a few barbed postmortems over her own history. Notably, “My Tears Ricochet” and “Mad Woman," which touch on her former label head Scott Borchetta selling the masters to Swift’s catalog to her known nemesis Scooter Braun. Mere hours after our interview, the lyrics’ real-life origins took a surprising twist, when news broke that Swift’s music had once again been sold, to another private equity firm, for a reported $300 million. Though Swift ignored repeated requests for comment on the transaction, she did tweet a statement, hitting back at Braun while noting that she had begun re-recording her old albums — something she first promised in 2019 as a way of retaining agency over her creative legacy. (Later, she would tease a snippet of that reimagined work, with a new version of her hit 2008 single "Love Story.")

Like surprise-dropping Folklore, like pissing off the president by endorsing his opponents, like shooing away haters, Swift does what suits her. “I don’t think we often hear about women who did whatever the hell they wanted,” she says of Harkness — something Swift is clearly intent on changing. For her, that means basking in the world of, and favorable response to, Folklore. As she says in our interview, “I have this weird thing where, in order to create the next thing, I attack the previous thing. I don’t love that I do that, but it is the thing that has kept me pivoting to another world every time I make an album. But with this one, I still love it.”

TAYLOR SWIFT: I was. I wasn't expecting to make an album. Early on in quarantine, I started watching lots of films. We would watch a different movie every night. I'm ashamed to say I hadn't seen Pan's Labyrinth before. One night I'd watch that, then I'd watch L.A. Confidential, then we'd watch Rear Window, then we'd watch Jane Eyre. I feel like consuming other people's art and storytelling sort of opened this portal in my imagination and made me feel like, "Well, why have I never done this before? Why have I never created characters and intersecting storylines? And why haven't I ever sort of freed myself up to do that from a narrative standpoint?" There is something a little heavy about knowing when you put out an album, people are going to take it so literally that everything you say could be clickbait. It was really, really freeing to be able to just be inspired by worlds created by the films you watch or books you've read or places you've dreamed of or people that you've wondered about, not just being inspired by your own experience.

In that vain, what's it like to sit down and write something like “Betty,” which is told from the perspective of a 17-year-old boy?

That was huge for me. And I think it came from the fact that my co-writer, William Bowery [Joe Alwyn], is male — and he was the one who originally thought of the chorus melody. And hearing him sing it, I thought, "That sounds really cool." Obviously, I don't have a male voice, but I thought, "I could have a male perspective." Patty Griffin wrote this song, “Top of the World.” It's one of my favorite songs of all time, and it's from the perspective of this older man who has lived a life full of regret, and he's kind of taking stock of that regret. So, I thought, "This is something that people I am a huge fan of have done. This would be fun to kind of take this for a spin."

What are your favorite William Bowery conspiracies?

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

I didn't think about any of that for the very first time. And a lot of this album was kind of distilled down to the purest version of what the story is. Songwriting on this album is exactly the way that I would write if I considered nothing else other than, "What words do I want to write? What stories do I want to tell? What melodies do I want to sing? What production is essential to tell those stories?" It was a very do-it-yourself experience. My management team, we created absolutely everything in advance — every lyric video, every individual album package. And then we called our label a week in advance and said, "Here's what we have.” The photo shoot was me and the photographer walking out into a field. I'd done my hair and makeup and brought some nightgowns. These experiences I was used to having with 100 people on set, commanding alongside other people in a very committee fashion — all of a sudden it was me and a photographer, or me and my DP. It was a new challenge, because I love collaboration. But there's something really fun about knowing what you can do if it's just you doing it.

Did you find it freeing?

I did. Every project involves different levels of collaboration, because on other albums there are things that my stylist will think of that I never would've thought of. But if I had all those people on the photo shoot, I would've had to have them quarantine away from their families for weeks on end, and I would've had to ask things of them that I didn't think were fair if I could figure out a way to do it [myself]. I had this idea for the [Folklore album cover] that it would be this girl sleepwalking through the forest in a nightgown in 1830 [laughs]. Very specific. A pioneer woman sleepwalking at night. I made a moodboard and sent it to Beth [Garrabrant], who I had never worked with before, who shoots only on film. We were just carrying bags across a field and putting the bags of film down, and then taking pictures. It was a blast.

Well, Aaron is one of the most effortlessly prolific creators I've ever worked with. It's really mind-blowing. And every time I've spoken to an artist since this whole process [began], I said, "You need to work with him. It'll change the way you create." He would send me these — he calls them sketches, but it's basically an instrumental track. the second day — the day after I texted him and said, "Hey, would you ever want to work together?" — he sent me this file of probably 30 of these instrumentals and every single one of them was one of the most interesting, exciting things I had ever heard. Music can be beautiful, but it can be lacking that evocative nature. There was something about everything he created that is an immediate image in my head or melody that I came up with. So much so that I'd start writing as soon as I heard a new one. And oftentimes what I would send back would inspire him to make more instrumentals and then send me that one. And then I wrote the song and it started to shape the project, form-fitted and customized to what we wanted to do.

It was weird because I had never made an album and not played it for my girlfriends or told my friends. The only people who knew were the people that I was making it with, my boyfriend, my family, and then my management team. So that's the smallest number of people I've ever had know about something. I'm usually playing it for everyone that I'm friends with. So I had a lot of friends texting me things like, "Why didn't you say on our everyday FaceTimes you were making a record?"

Was it nice to be able to keep it a secret?

Well, it felt like it was only my thing. It felt like such an inner world I was escaping to every day that it almost didn't feel like an album. Because I wasn't making a song and finishing it and going, "Oh my God, that is catchy.” I wasn't making these things with any purpose in mind. And so it was almost like having it just be mine was this really sweet, nice, pure part of the world as everything else in the world was burning and crashing and feeling this sickness and sadness. I almost didn't process it as an album. This was just my daydream space.

Does it still feel like that?

Yeah, because I love it so much. I have this weird thing that I do when I create something where in order to create the next thing I kind of, in my head, attack the previous thing. I don't love that I do that but it is the thing that has kept me pivoting to another world every time I make an album. But with this one, I just still love it. I'm so proud of it. And so that feels very foreign to me. That doesn't feel like a normal experience that I've had with releasing albums.

When did you first learn about Rebekah Harkness?

Oh, I learned about her as soon as I was being walked through [her former Rhode Island] home. I got the house when I was in my early twenties as a place for my family to congregate and be together. I was told about her, I think, by the real estate agent who was walking us through the property. And as soon as I found out about her, I wanted to know everything I could. So I started reading. I found her so interesting. And then as more parallels began to develop between our two lives — being the lady that lives in that house on the hill that everybody gets to gossip about — I was always looking for an opportunity to write about her. And I finally found it.

I love that you break the fourth wall in the song. Did you go in thinking you’d include yourself in the story?

I think that in my head, I always wanted to do a country music, standard narrative device, which is: the first verse you sing about someone else, the second verse you sing about someone else who's even closer to you, and then in the third verse, you go, "Surprise! It was me.” You bring it personal for the last verse. And I'd always thought that if I were to tell that story, I would want to include the similarities — our lives or our reputations or our scandals.

How often did you regale friends about the history of Rebekah and Holiday House while hanging out at Holiday House?

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

I found myself being very triggered by any stories, movies, or narratives revolving around divorce, which felt weird because I haven't experienced it directly. There’s no reason it should cause me so much pain, but all of a sudden it felt like something I had been through. I think that happens any time you've been in a 15-year relationship and it ends in a messy, upsetting way. So I wrote “My Tears Ricochet” and I was using a lot of imagery that I had conjured up while comparing a relationship ending to when people end an actual marriage. All of a sudden this person that you trusted more than anyone in the world is the person that can hurt you the worst. Then all of a sudden the things that you have been through together, hurt. All of a sudden, the person who was your best friend is now your biggest nemesis, etc. etc. etc. I think I wrote some of the first lyrics to that song after watching Marriage Story and hearing about when marriages go wrong and end in such a catastrophic way. So these songs are in some ways imaginary, in some ways not, and in some ways both.

How did it feel to drop an F-bomb on "Mad Woman"?

F---ing fantastic.

And that’s the first time you ever recorded one on a record, right?

Yeah. Every rule book was thrown out. I always had these rules in my head and one of them was, You haven't done this before, so you can't ever do this. “Well, you've never had an explicit sticker, so you can't ever have an explicit sticker.” But that was one of the times where I felt like you need to follow the language and you need to follow the storyline. And if the storyline and the language match up and you end up saying the F-word, just go for it. I wasn't adhering to any of the guidelines that I had placed on myself. I decided to just make what I wanted to make. And I'm really happy that the fans were stoked about that because I think they could feel that. I'm not blaming anyone else for me restricting myself in the past. That was all, I guess, making what I want to make. I think my fans could feel that I opened the gate and ran out of the pasture for the first time, which I'm glad they picked up on because they're very intuitive.

Let’s talk about “Epiphany.” The first verse is a nod to your grandfather, Dean, who fought in World War II. What does his story mean to you personally?

I wanted to write about him for awhile. He died when I was very young, but my dad would always tell this story that the only thing that his dad would ever say about the war was when somebody would ask him, "Why do you have such a positive outlook on life?" My grandfather would reply, "Well, I'm not supposed to be here. I shouldn't be here." My dad and his brothers always kind of imagined that what he had experienced was really awful and traumatic and that he'd seen a lot of terrible things. So when they did research, they learned that he had fought at the Battles of Guadalcanal, at Cape Gloucester, at Talasea, at Okinawa. He had seen a lot of heavy fire and casualties — all of the things that nightmares are made of. He was one of the first people to sign up for the war. But you know, these are things that you can only imagine that a lot of people in that generation didn't speak about because, a) they didn't want people that they came home to to worry about them, and b) it just was so bad that it was the actual definition of unspeakable.

I mean, you just immediately think of the health workers who are putting their lives on the line — and oftentimes losing their lives. If they make it out of this, if they see the other side of it, there's going to be a lot of trauma that comes with that; there's going to be things that they witnessed that they will never be able to un-see. And that was the connection that I drew. I did a lot of research on my grandfather in the beginning of quarantine, and it hit me very quickly that we've got a version of that trauma happening right now in our hospitals. God, you hope people would respect it and would understand that going out for a night isn't worth the ripple effect that it causes. But obviously we're seeing that a lot of people don't seem to have their eyes open to that — or if they do, a lot of people don't care, which is upsetting.

You had the Lover Fest East and West scheduled this year. How hard has it been to both not perform for your fans this year, and see the music industry at large go through such a brutal change?

It's confusing. It's hard to watch. I think that maybe me wanting to make as much music as possible during this time was a way for me to feel like I could reach out my hand and touch my fans, even if I couldn't physically reach out or take a picture with them. We've had a lot of different, amazing, fun, sort of underground traditions we've built over the years that involve a lot of human interaction, and so I have no idea what's going to happen with touring; none of us do. And that's a scary thing. You can't look to somebody in the music industry who's been around a long time, or an expert touring manager or promoter and [ask] what's going to happen and have them give you an answer. I think we're all just trying to keep our eyes on the horizon and see what it looks like. So we're just kind of sitting tight and trying to take care of whatever creative spark might exist and trying to figure out how to reach our fans in other ways, because we just can't do that right now.

When you are able to perform again, do you have plans on resurfacing a Lover Fest-type event?

I don't know what incarnation it'll take and I really would need to sit down and think about it for a good solid couple of months before I figured out the answer. Because whatever we do, I want it to be something that is thoughtful and will make the fans happy and I hope I can achieve that. I'm going to try really hard to.

In addition to recording an album, you spent this year supporting Joe Biden and Kamala Harris in the election. Where were you when it was called in their favor?

Well, when the results were coming in, I was actually at the property where we shot the Entertainment Weekly cover. I was hanging out with my photographer friend, Beth, and the wonderful couple that owned the farm where we [were]. And we realized really early into the night that we weren't going to get an accurate picture of the results. Then, a couple of days later, I was on a video shoot, but I was directing, and I was standing there with my face shield and mask on next to my director of photography, Rodrigo Prieto. And I just remember a news alert coming up on my phone that said, "Biden is our next president. He's won the election." And I showed it to Rodrigo and he said, "I'm always going to remember the moment that we learned this." And I looked around, and people's face shields were starting to fog up because a lot of people were really misty-eyed and emotional, and it was not loud. It wasn't popping bottles of champagne. It was this moment of quiet, cautious elation and relief.

Do you ever think about what Folklore would have sounded like if you, Aaron, and Jack had been in the same room?

I think about it all the time. I think that a lot of what has happened with the album has to do with us all being in a collective emotional place. Obviously everybody's lives have different complexities and whatnot, but I think most of us were feeling really shaken up and really out of place and confused and in need of something comforting all at the same time. And for me, that thing that was comforting was making music that felt sort of like I was trying to hug my fans through the speakers. That was truly my intent. Just trying to hug them when I can't hug them.

I was really excited about "August slipped away into a moment of time/August sipped away like a bottle of wine." That was a song where Jack sent me the instrumental and I wrote the song pretty much on the spot; it just was an intuitive thing. And that was actually the first song that I wrote of the "Betty" triangle. So the Betty songs are "August," "Cardigan," and "Betty." "August" was actually the first one, which is strange because it's the song from the other girl's perspective.

Yeah, I assumed you wrote "Cardigan" first.

It would be safe to assume that "Cardigan" would be first, but it wasn't. It was very strange how it happened, but it kind of pieced together one song at a time, starting with "August," where I kind of wanted to explore the element of This is from the perspective of a girl who was having her first brush with love. And then all of a sudden she's treated like she's the other girl, because there was another situation that had already been in place, but "August" girl thought she was really falling in love. It kind of explores the idea of the undefined relationship. As humans, we're all encouraged to just be cool and just let it happen, and don't ask what the relationship is — Are we exclusive? But if you are chill about it, especially when you're young, you learn the very hard lesson that if you don't define something, oftentimes they can gaslight you into thinking it was nothing at all, and that it never happened. And how do you mourn the loss of something once it ends, if you're being made to believe that it never happened at all?

"I almost didn't process it as an album," says Taylor Swift of making Folklore. "And it's still hard for me to process as an entity or a commodity, because [it] was just my daydream space."

I'm really proud of that one too. I heard the track immediately. Aaron sent it to me, and it had this immediate sense of serenity running through it. The first word that popped into my head was peace, but I thought that it would be too on-the-nose to sing about being calm, or to sing about serenity, or to sing about finding peace with someone. Because you have this very conflicted, very dramatic conflict-written lyric paired with this very, very calming sound of the instrumental. But, "The devil's in the details," is one of those phrases that I've written down over the years. That's a common phrase that is used in the English language every day. And I just thought it sounded really cool because of the D, D sound. And I thought, "I'll hang onto those in a list, and then, I'll finally find the right place for them in a story." I think that's how a lot of people feel where it's like, "Yeah, the devil's in the details. Everybody's complex when you look under the hood of the car." But basically saying, "I'm there for you if you want that, if this complexity is what you want."

There's another clever turn-of-phrase on "This is Me Trying." "I didn't know if you'd care if I came back/I have a lot of regrets about that." That feels like a nod toward your fans, and some of the feelings you had about retreating from the public sphere.

Absolutely. I think I was writing from three different characters' perspectives, one who's going through that; I was channeling the emotions I was feeling in 2016, 2017, where I just felt like I was worth absolutely nothing. And then, the second verse is about dealing with addiction and issues with struggling every day. And every second of the day, you're trying not to fall into old patterns, and nobody around you can see that, and no one gives you credit for it. And then, the third verse, I was thinking, what would the National do? What lyric would Matt Berninger write? What chords would the National play? And it's funny because I've since played this song for Aaron, and he's like, "That's not what we would've done at all." He's like, "I love that song, but that's totally different than what we would've done with it."

Yeah, I was at the show where they were playing through I Am Easy to Find. What I loved about [that album] was they had female vocalists singing from female perspectives, and that triggered and fired something in me where I thought, "I've got to play with different perspectives because that is so intriguing when you hear a female perspective come in from a band where you're used to only hearing a male perspective." It just sparked something in me. And obviously, you mentioning the National is the reason why Folklore came to be. So, thank you for that, Alex.

I'm here for all of your songwriting muse needs in the future.

I can't wait to see what comes out of this interview.

This interview has been edited and condensed.

For more on our Entertainers of the Year and Best & Worst of 2020, order the January issue of Entertainment Weekly or find it on newsstands beginning Dec. 18. (You can also pick up the full set of six covers here.) Don’t forget to subscribe for more exclusive interviews and photos, only in EW.

#ew #entertainment weekly #article #interview #folklore promo #folklore interview #quote #aaron dessner #jack antonoff #joe alwyn

181 notes · View notes

path-of-my-childhood · 4 years ago

Text

Taylor Swift Broke All Her Rules With Folklore - And Gave Herself A Much-Needed Escape

By: Alex Suskind for Entertainment Weekly Date: December 8th 2020 (EW's 2020 Entertainers of the Year cover)

The pop star, one of EW's 2020 Entertainers of the Year, delves deep into her surprise eighth album, Rebekah Harkness, and a Joe Biden presidency.

youtube

Is he your brother?

“He’s William Bowery,” says Swift with a smile.

It's early November, after Election Day but before Swift eventually revealed Bowery's true identity to the world (the leading theory, that he was boyfriend Joe Alwyn, proved prescient). But, like all Swiftian riddles, it was fun to puzzle over for months, particularly in this hot mess of a year, when brief distractions are as comforting as a well-worn cardigan. Thankfully, the Bowery... erhm, Alwyn-assisted Folklore - a Swift project filled with muted pianos and whisper-quiet snares, recorded in secret with Jack Antonoff and the National’s Aaron Dessner - delivered.

“Early in quarantine, I started watching lots of films,” she explains. “Consuming other people’s storytelling opened this portal in my imagination and made me feel like, Why have I never created characters and intersecting storylines?” That’s how she ended up with three songs about an imagined love triangle (“Cardigan,” “Betty,” “August”), one about a clandestine romance (“Illicit Affairs”), and another chronicling a doomed relationship (“Exile”). Others tell of sumptuous real-life figures like Rebekah Harkness, a divorcee who married the heir to Standard Oil - and whose home Swift purchased 31 years after her death. The result, “The Last Great American Dynasty,” hones in on Harkness’ story, until Swift cleverly injects herself.

And yet, it wouldn’t be a Swift album without a few barbed postmortems over her own history. Notably, “My Tears Ricochet” and “Mad Woman," which touch on her former label head Scott Borchetta selling the masters to Swift’s catalog to her known nemesis Scooter Braun. Mere hours after our interview, the lyrics’ real-life origins took a surprising twist, when news broke that Swift’s music had once again been sold, to another private equity firm, for a reported $300 million. Though Swift ignored repeated requests for comment on the transaction, she did tweet a statement, hitting back at Braun while noting that she had begun re-recording her old albums - something she first promised in 2019 as a way of retaining agency over her creative legacy. (Later, she would tease a snippet of that reimagined work, with a new version of her hit 2008 single "Love Story.")

Like surprise-dropping Folklore, like pissing off the president by endorsing his opponents, like shooing away haters, Swift does what suits her. “I don’t think we often hear about women who did whatever the hell they wanted,” she says of Harkness - something Swift is clearly intent on changing. For her, that means basking in the world of, and favorable response to, Folklore. As she says in our interview, “I have this weird thing where, in order to create the next thing, I attack the previous thing. I don’t love that I do that, but it is the thing that has kept me pivoting to another world every time I make an album. But with this one, I still love it.”

ENTERTAINMENT WEEKLY: We’ve spent the year quarantined in our houses, trying to stay healthy and avoiding friends and family. Were you surprised by your ability to create and release a full album in the middle of a pandemic? TAYLOR SWIFT: I was. I wasn't expecting to make an album. Early on in quarantine, I started watching lots of films. We would watch a different movie every night. I'm ashamed to say I hadn't seen Pan's Labyrinth before. One night I'd watch that, then I'd watch L.A. Confidential, then we'd watch Rear Window, then we'd watch Jane Eyre. I feel like consuming other people's art and storytelling sort of opened this portal in my imagination and made me feel like, "Well, why have I never done this before? Why have I never created characters and intersecting storylines? And why haven't I ever sort of freed myself up to do that from a narrative standpoint?" There is something a little heavy about knowing when you put out an album, people are going to take it so literally that everything you say could be clickbait. It was really, really freeing to be able to just be inspired by worlds created by the films you watch or books you've read or places you've dreamed of or people that you've wondered about, not just being inspired by your own experience.

In that vein, what's it like to sit down and write something like “Betty,” which is told from the perspective of a 17-year-old boy? That was huge for me. And I think it came from the fact that my co-writer, William Bowery [Joe Alwyn], is male — and he was the one who originally thought of the chorus melody. And hearing him sing it, I thought, "That sounds really cool." Obviously, I don't have a male voice, but I thought, "I could have a male perspective." Patty Griffin wrote this song, “Top of the World.” It's one of my favorite songs of all time, and it's from the perspective of this older man who has lived a life full of regret, and he's kind of taking stock of that regret. So, I thought, "This is something that people I am a huge fan of have done. This would be fun to kind of take this for a spin."

What are your favorite William Bowery conspiracies? I love them all individually and equally. I love all the conspiracy theories around this album. [With] "Betty," Jack Antonoff would text me these articles and think pieces and in-depth Tumblr posts on what this love triangle meant to the person who had listened to it. And that's exactly what I was hoping would happen with this album. I wrote these stories for a specific reason and from a specific place about specific people that I imagined, but I wanted that to all change given who was listening to it. And I wanted it to start out as mine and become other people's. It's been really fun to watch.

One of the other unique things about Folklore — the parameters around it were completely different from anything you'd done. There was no long roll out, no stadium-sized pop anthems, no aiming for the radio-friendly single. How fearful were you in avoiding what had worked in the past? I didn't think about any of that for the very first time. And a lot of this album was kind of distilled down to the purest version of what the story is. Songwriting on this album is exactly the way that I would write if I considered nothing else other than, "What words do I want to write? What stories do I want to tell? What melodies do I want to sing? What production is essential to tell those stories?" It was a very do-it-yourself experience. My management team, we created absolutely everything in advance — every lyric video, every individual album package. And then we called our label a week in advance and said, "Here's what we have.” The photo shoot was me and the photographer walking out into a field. I'd done my hair and makeup and brought some nightgowns. These experiences I was used to having with 100 people on set, commanding alongside other people in a very committee fashion — all of a sudden it was me and a photographer, or me and my DP. It was a new challenge, because I love collaboration. But there's something really fun about knowing what you can do if it's just you doing it.

Did you find it freeing? I did. Every project involves different levels of collaboration, because on other albums there are things that my stylist will think of that I never would've thought of. But if I had all those people on the photo shoot, I would've had to have them quarantine away from their families for weeks on end, and I would've had to ask things of them that I didn't think were fair if I could figure out a way to do it [myself]. I had this idea for the [Folklore album cover] that it would be this girl sleepwalking through the forest in a nightgown in 1830 [laughs]. Very specific. A pioneer woman sleepwalking at night. I made a moodboard and sent it to Beth [Garrabrant], who I had never worked with before, who shoots only on film. We were just carrying bags across a field and putting the bags of film down, and then taking pictures. It was a blast.

Folklore includes plenty of intimate acoustic echoes to what you've done in the past. But there are also a lot of new sonics here, too — these quiet, powerful, intricately layered harmonics. What was it like to receive the music from Aaron and try to write lyrics on top of it? Well, Aaron is one of the most effortlessly prolific creators I've ever worked with. It's really mind-blowing. And every time I've spoken to an artist since this whole process [began], I said, "You need to work with him. It'll change the way you create." He would send me these — he calls them sketches, but it's basically an instrumental track. the second day — the day after I texted him and said, "Hey, would you ever want to work together?" — he sent me this file of probably 30 of these instrumentals and every single one of them was one of the most interesting, exciting things I had ever heard. Music can be beautiful, but it can be lacking that evocative nature. There was something about everything he created that is an immediate image in my head or melody that I came up with. So much so that I'd start writing as soon as I heard a new one. And oftentimes what I would send back would inspire him to make more instrumentals and then send me that one. And then I wrote the song and it started to shape the project, form-fitted and customized to what we wanted to do.

Was it nice to be able to keep it a secret? Well, it felt like it was only my thing. It felt like such an inner world I was escaping to every day that it almost didn't feel like an album. Because I wasn't making a song and finishing it and going, "Oh my God, that is catchy.” I wasn't making these things with any purpose in mind. And so it was almost like having it just be mine was this really sweet, nice, pure part of the world as everything else in the world was burning and crashing and feeling this sickness and sadness. I almost didn't process it as an album. This was just my daydream space.

Does it still feel like that? Yeah, because I love it so much. I have this weird thing that I do when I create something where in order to create the next thing I kind of, in my head, attack the previous thing. I don't love that I do that but it is the thing that has kept me pivoting to another world every time I make an album. But with this one, I just still love it. I'm so proud of it. And so that feels very foreign to me. That doesn't feel like a normal experience that I've had with releasing albums.

When did you first learn about Rebekah Harkness? Oh, I learned about her as soon as I was being walked through [her former Rhode Island] home. I got the house when I was in my early twenties as a place for my family to congregate and be together. I was told about her, I think, by the real estate agent who was walking us through the property. And as soon as I found out about her, I wanted to know everything I could. So I started reading. I found her so interesting. And then as more parallels began to develop between our two lives — being the lady that lives in that house on the hill that everybody gets to gossip about — I was always looking for an opportunity to write about her. And I finally found it.

I love that you break the fourth wall in the song. Did you go in thinking you’d include yourself in the story? I think that in my head, I always wanted to do a country music, standard narrative device, which is: the first verse you sing about someone else, the second verse you sing about someone else who's even closer to you, and then in the third verse, you go, "Surprise! It was me.” You bring it personal for the last verse. And I'd always thought that if I were to tell that story, I would want to include the similarities — our lives or our reputations or our scandals.

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

There are a handful of songs on Folklore that feel like pretty clear nods to your personal life over the last year, including your relationships with Scott Borchetta and Scooter Braun. How long did it take to crystallize the feelings you had around both of them into “My Tears Ricochet” or “Mad Woman”? I found myself being very triggered by any stories, movies, or narratives revolving around divorce, which felt weird because I haven't experienced it directly. There’s no reason it should cause me so much pain, but all of a sudden it felt like something I had been through. I think that happens any time you've been in a 15-year relationship and it ends in a messy, upsetting way. So I wrote “My Tears Ricochet” and I was using a lot of imagery that I had conjured up while comparing a relationship ending to when people end an actual marriage. All of a sudden this person that you trusted more than anyone in the world is the person that can hurt you the worst. Then all of a sudden the things that you have been through together, hurt. All of a sudden, the person who was your best friend is now your biggest nemesis, etc. etc. etc. I think I wrote some of the first lyrics to that song after watching Marriage Story and hearing about when marriages go wrong and end in such a catastrophic way. So these songs are in some ways imaginary, in some ways not, and in some ways both.

How did it feel to drop an F-bomb on "Mad Woman"? F---ing fantastic.

And that’s the first time you ever recorded one on a record, right? Yeah. Every rule book was thrown out. I always had these rules in my head and one of them was, You haven't done this before, so you can't ever do this. “Well, you've never had an explicit sticker, so you can't ever have an explicit sticker.” But that was one of the times where I felt like you need to follow the language and you need to follow the storyline. And if the storyline and the language match up and you end up saying the F-word, just go for it. I wasn't adhering to any of the guidelines that I had placed on myself. I decided to just make what I wanted to make. And I'm really happy that the fans were stoked about that because I think they could feel that. I'm not blaming anyone else for me restricting myself in the past. That was all, I guess, making what I want to make. I think my fans could feel that I opened the gate and ran out of the pasture for the first time, which I'm glad they picked up on because they're very intuitive.

Let’s talk about “Epiphany.” The first verse is a nod to your grandfather, Dean, who fought in World War II. What does his story mean to you personally? I wanted to write about him for awhile. He died when I was very young, but my dad would always tell this story that the only thing that his dad would ever say about the war was when somebody would ask him, "Why do you have such a positive outlook on life?" My grandfather would reply, "Well, I'm not supposed to be here. I shouldn't be here." My dad and his brothers always kind of imagined that what he had experienced was really awful and traumatic and that he'd seen a lot of terrible things. So when they did research, they learned that he had fought at the Battles of Guadalcanal, at Cape Gloucester, at Talasea, at Okinawa. He had seen a lot of heavy fire and casualties — all of the things that nightmares are made of. He was one of the first people to sign up for the war. But you know, these are things that you can only imagine that a lot of people in that generation didn't speak about because, a) they didn't want people that they came home to to worry about them, and b) it just was so bad that it was the actual definition of unspeakable.

That theme continues in the next verse, which is a pretty overt nod to what’s been happening during COVID. As someone who lives in Nashville, how difficult has it been to see folks on Lower Broadway crowding the bars without masks? I mean, you just immediately think of the health workers who are putting their lives on the line — and oftentimes losing their lives. If they make it out of this, if they see the other side of it, there's going to be a lot of trauma that comes with that; there's going to be things that they witnessed that they will never be able to un-see. And that was the connection that I drew. I did a lot of research on my grandfather in the beginning of quarantine, and it hit me very quickly that we've got a version of that trauma happening right now in our hospitals. God, you hope people would respect it and would understand that going out for a night isn't worth the ripple effect that it causes. But obviously we're seeing that a lot of people don't seem to have their eyes open to that — or if they do, a lot of people don't care, which is upsetting.

You had the Lover Fest East and West scheduled this year. How hard has it been to both not perform for your fans this year, and see the music industry at large go through such a brutal change? It's confusing. It's hard to watch. I think that maybe me wanting to make as much music as possible during this time was a way for me to feel like I could reach out my hand and touch my fans, even if I couldn't physically reach out or take a picture with them. We've had a lot of different, amazing, fun, sort of underground traditions we've built over the years that involve a lot of human interaction, and so I have no idea what's going to happen with touring; none of us do. And that's a scary thing. You can't look to somebody in the music industry who's been around a long time, or an expert touring manager or promoter and [ask] what's going to happen and have them give you an answer. I think we're all just trying to keep our eyes on the horizon and see what it looks like. So we're just kind of sitting tight and trying to take care of whatever creative spark might exist and trying to figure out how to reach our fans in other ways, because we just can't do that right now.

When you are able to perform again, do you have plans on resurfacing a Lover Fest-type event? I don't know what incarnation it'll take and I really would need to sit down and think about it for a good solid couple of months before I figured out the answer. Because whatever we do, I want it to be something that is thoughtful and will make the fans happy and I hope I can achieve that. I'm going to try really hard to.

In addition to recording an album, you spent this year supporting Joe Biden and Kamala Harris in the election. Where were you when it was called in their favor? Well, when the results were coming in, I was actually at the property where we shot the Entertainment Weekly cover. I was hanging out with my photographer friend, Beth, and the wonderful couple that owned the farm where we [were]. And we realized really early into the night that we weren't going to get an accurate picture of the results. Then, a couple of days later, I was on a video shoot, but I was directing, and I was standing there with my face shield and mask on next to my director of photography, Rodrigo Prieto. And I just remember a news alert coming up on my phone that said, "Biden is our next president. He's won the election." And I showed it to Rodrigo and he said, "I'm always going to remember the moment that we learned this." And I looked around, and people's face shields were starting to fog up because a lot of people were really misty-eyed and emotional, and it was not loud. It wasn't popping bottles of champagne. It was this moment of quiet, cautious elation and relief.

Do you ever think about what Folklore would have sounded like if you, Aaron, and Jack had been in the same room? I think about it all the time. I think that a lot of what has happened with the album has to do with us all being in a collective emotional place. Obviously everybody's lives have different complexities and whatnot, but I think most of us were feeling really shaken up and really out of place and confused and in need of something comforting all at the same time. And for me, that thing that was comforting was making music that felt sort of like I was trying to hug my fans through the speakers. That was truly my intent. Just trying to hug them when I can't hug them.

I wanted to talk about some of the lyrics on Folklore. One of my favorite pieces of wordplay is in “August”: that flip of "sipped away like a bottle of wine/slipped away like a moment in time.” Was there an "aha moment" for you while writing that? I was really excited about "August slipped away into a moment of time/August sipped away like a bottle of wine." That was a song where Jack sent me the instrumental and I wrote the song pretty much on the spot; it just was an intuitive thing. And that was actually the first song that I wrote of the "Betty" triangle. So the Betty songs are "August," "Cardigan," and "Betty." "August" was actually the first one, which is strange because it's the song from the other girl's perspective.

Yeah, I assumed you wrote "Cardigan" first. It would be safe to assume that "Cardigan" would be first, but it wasn't. It was very strange how it happened, but it kind of pieced together one song at a time, starting with "August," where I kind of wanted to explore the element of This is from the perspective of a girl who was having her first brush with love. And then all of a sudden she's treated like she's the other girl, because there was another situation that had already been in place, but "August" girl thought she was really falling in love. It kind of explores the idea of the undefined relationship. As humans, we're all encouraged to just be cool and just let it happen, and don't ask what the relationship is — Are we exclusive? But if you are chill about it, especially when you're young, you learn the very hard lesson that if you don't define something, oftentimes they can gaslight you into thinking it was nothing at all, and that it never happened. And how do you mourn the loss of something once it ends, if you're being made to believe that it never happened at all?

On the flip side, "Peace" is bit more defined in terms of how one approaches a relationship. There's this really striking line, "The devil's in the details, but you got a friend in me/Would it be enough if I can never give you peace?" How did that line come to you? I'm really proud of that one too. I heard the track immediately. Aaron sent it to me, and it had this immediate sense of serenity running through it. The first word that popped into my head was peace, but I thought that it would be too on-the-nose to sing about being calm, or to sing about serenity, or to sing about finding peace with someone. Because you have this very conflicted, very dramatic conflict-written lyric paired with this very, very calming sound of the instrumental. But, "The devil's in the details," is one of those phrases that I've written down over the years. That's a common phrase that is used in the English language every day. And I just thought it sounded really cool because of the D, D sound. And I thought, "I'll hang onto those in a list, and then, I'll finally find the right place for them in a story." I think that's how a lot of people feel where it's like, "Yeah, the devil's in the details. Everybody's complex when you look under the hood of the car." But basically saying, "I'm there for you if you want that, if this complexity is what you want."

There's another clever turn of phrase on "This is Me Trying." "I didn't know if you'd care if I came back/I have a lot of regrets about that." That feels like a nod toward your fans, and some of the feelings you had about retreating from the public sphere. Absolutely. I think I was writing from three different characters' perspectives, one who's going through that; I was channeling the emotions I was feeling in 2016, 2017, where I just felt like I was worth absolutely nothing. And then, the second verse is about dealing with addiction and issues with struggling every day. And every second of the day, you're trying not to fall into old patterns, and nobody around you can see that, and no one gives you credit for it. And then, the third verse, I was thinking, what would the National do? What lyric would Matt Berninger write? What chords would the National play? And it's funny because I've since played this song for Aaron, and he's like, "That's not what we would've done at all." He's like, "I love that song, but that's totally different than what we would've done with it."

When we last spoke, in April 2019, we were talking about albums we were listening to at the time and you professed your love for the National and I Am Easy to Find. Two months later, you met up with Aaron at their concert, and now, we're here talking about the National again. Yeah, I was at the show where they were playing through I Am Easy to Find. What I loved about [that album] was they had female vocalists singing from female perspectives, and that triggered and fired something in me where I thought, "I've got to play with different perspectives because that is so intriguing when you hear a female perspective come in from a band where you're used to only hearing a male perspective." It just sparked something in me. And obviously, you mentioning the National is the reason why Folklore came to be. So, thank you for that, Alex.

I'm here for all of your songwriting muse needs in the future. I can't wait to see what comes out of this interview.

*** For more on our Entertainers of the Year and Best & Worst of 2020, order the January issue of Entertainment Weekly or find it on newsstands beginning Dec. 18. (You can also pick up the full set of six covers here.) Don’t forget to subscribe for more exclusive interviews and photos, only in EW.

#taylor swift #interview #entertainment weekly #folklore album #folklore era #video

71 notes · View notes

oneweekoneband · 4 years ago

Text

charming, if a little gauche: the taylor swift story

youtube

“the last great american dynasty” is a song that no other pop star could make or, more to the point, would want to make, and as the third track on folklore it marked the spot in my very first listen—sweaty and embarrassingly strung out sitting in the cab of a pickup at the third place where we’d tried to find wifi—at which I let myself vault over the ledge, out of my cautious remove, and into real excitement for what this album might hold.

This is a song that Taylor Swift wrote about Rebekah Harkness, the ballet-obsessed socialite who married into the Standard Oil family (”the wedding was charming, if a little gauche” Taylor sings, and I scream.) then lived, fifty years ago, in the Rhode Island beach house Swift now owns. It is—and on this matter there can be no argument—the horniest song on the album. Taylor is absolutely jazzed out of her WASPy little gourd over this woman, this house, this grand, cyclical American story she imagines herself as part of. Does Taylor actually want to fuck her house and/or the ghost of the woman who once owned it? Well, that’s not for me to say. But the idea of them very evidently gets her going, and her zeal is infectious. She’s so clearly been bursting to indulge this passion, to memorialize this house, and I’m grateful that fate or timing made it so that she didn’t do it until now, until Aaron Dessner provided her with these specific instrumentals, because the combination is divine.

Taylor Swift in the Disney+ documentary Folklore: The Long Pond Sessions confirming that her psychosexual obsession with Holiday House is longstanding.

“the last great american dynasty” relates in colorful detail the life of Mrs. Harkness, who became a widow at just thirty-nine ("the doctor had told him to settle down / it must have been her fault his heart gave out") then used the remaining years to spend her late husband’s fortune in the most lavish ways possible. Rebekah, Taylor tells us, "Filled the pool with champagne / And swam with the big names / Blew through the money on the boys and the ballet” and, again, her total, perfect thrill with this story, with the fact of living in the house this woman once misbehaved in so egregiously as to be an affront to all her stuffy Rhode Island neighbors, is evident throughout. The song is wonderful, good fun, sounds great, feels insane, and then at the quintessentially excellent bridge Taylor pulls a pivot that should be completely noxious, but is, in practice, anything but. Wryly, she inserts herself into the song at the final stretch. “Fifty years is a long time / Holiday House sat quietly on that beach / Free of women with madness / Their men and bad habits / And then it was bought by me”. When, “She had a marvelous time ruining everything”, transforms into, “I had a marvelous time ruining everything” I almost clap. I have clapped. It’s all unbearably cute, and in every word there is sonic evidence of Taylor’s pleasure at her own cleverness, but unfortunately it’s so good that there isn’t even really any room left on the private beaches of one’s heart cavity wherein to be annoyed at having been got by a Taylor Swift bridge once again.

Honestly............Taylor is like two decades max from this.

Though Swift was born in Pennsylvania and came of age in Tennessee, the idea that she’d take instinctively to the blue blood fantasy of wealthy New England is no surprise. It’s unclear whether there’s ever been another person alive who radiates such Big Connecticut Energy while, in fact, not being from Connecticut at all. Watch Hill, Rhode Island made perfect sense to me, in fact, for Taylor, because it not only, at $17 mil cash, made her the owner of the most expensive private home in the entire (extremely small) state, but brings with the choice a kind of self-satisfied dignity. Not being one of the more popular East Coast seaside destinations for the rich and famous, like Martha’s Vineyard or Nantucket, or even The Hamptons, stylishly insists that you must really be trying to get away. The house is classically lovely and has a big yard with a pool and flag pole that extends high into the blue to look down over the plebeians in the sand.

Being myself a natural born daughter of the New England states, albeit of a considerably less pristine stripe than the denizens of Watch Hill, I have spent countless day trips and weekends at the Misquamicut State Beach just a few miles down the coast in Westerly, the town that Taylor’s village (”village” ...Rich people are so weird) is a part of. Not long after Taylor moved in, I was there at the beach with my mother, and my sister, and my mother’s sisters, and whatever other beer-filled bodies might have been around, a whole hoard, and we were lounging on fanned out bed sheets in front of a restaurant called Paddy’s where you can get a blue rum-based cocktail in a plastic fish bowl. I was nursing a sprained ankle that summer, and still a week or two from being fully well, but I wanted to see Taylor’s house up close, so we walked along the water’s edge until we got close enough to snap a photo for posterity, and to see that Taylor was using around the property custom no trespassing signs which read, “I Knew You Were Trouble When You Walked In”. When someone who is very rich, popular, talented, basically has everything going for them, could buy and sell you and everyone you’ve ever known, etc., makes a stupendously bad joke it is a moral imperative that you tell as many people about that as possible, and so with love in my heart, even, I share this fact now. People had their towels right up against the edge of her sea wall, like a geographic version of the nervous game, but almost as soon I arrived, it was time to limp back to the land of the mortals.

Your hero in 2014 standing in front of the saltbox house on the coast that took Rebekah Harkness’ mind off St. Louis

The pleasures on offer in “the last great american dynasty” are almost too many to name, and all of them so specifically, distinctly, freakishly, bona fide Grade A Taylor Swift, wonderful and grating not separately, one then the other, but both the whole time, and all at once. Taylor saying “gauche”; Taylor telling a story about this dead woman she has a gigantic crush on once dyeing a neighbor’s dog green; Taylor invoking the phrase “middle class divorcee”; Taylor using the word “bitch” affectionately. Even Taylor’s actual vocals, which have been, at times, the notable weak spot in her rigorously streamlined overall package, sound really, genuinely lovely here, and as spirited as ever. The song is laden with Taylor’s remarkable self-righteous belief that by purchasing a multi million dollar home in tony Watch Hill she was somehow “ruining everything”, when she was born and bred for enclaves like that long before she had any number one hits, and actually the only major problem was people thought it was poor form for her to rebuild the huge seawall around the property, even though it was her right, and she was able to do it without issue. To know that Taylor, raised wealthy, imagines herself somehow persecuted as insufficiently chic in Watch Hill for having, by way of immense pop superstardom, multiplied many times over the riches to which she was born, brings me a great and uncomplicated joy. It is a train of thought so wholly unrelatable as to seem plucked wholesale from a work of magical realism, and that happens to be exactly the feeling I want most from a Taylor Swift song. My one and only criticism of “the last great american dynasty” is that, if you’re not right on top of the skip button, it bleeds directly into the Bon Iver duet “exile”, which does kill the vibe, but, well, nobody’s perfect.

The defense rests.

#taylor swift #folklore

19 notes · View notes

projectalbum · 6 years ago

Photo

All the best. 200. “Accelerate,” 201. “Collapse Into Now,” 202. “Unplugged 1991/2001: The Complete Sessions” by R.E.M.

After exhaustive touring, a greatest hits disc, and a dud album, the lovable lads from Athens, R.E.M., wisely took some time to figure things out before regrouping.

The four-year absence didn’t register with me, as I was collecting the back catalogue during that break. As far as I was concerned, new material was everywhere I looked, filling up my burgeoning record collection as I finished high school and started making my way through college. By the time Accelerate (#200) burst onto the scene in March 2008, I was a junior in film school, about to attend my first documentary festival. I put aside an extra $15 from my work study job to pick up the CD the day of release— the first time I’d been able to perform that record store* ritual for my favorite band. *(Though I didn’t have access to any record stores at the time, so it was likely procured from the closest Wal-Mart.)

Fast, lean, gritty, produced by a guy who goes by “Jacknife,” this set of songs could not be more of a deliberate course-correction from the overly fussy, mid-tempo Around The Sun. Peter Buck’s skills on the axe, often mixed way down on the previous album, here announce Accelerate's punk-ish purpose in the intro to “Living Well is the Best Revenge,” leading off with a dexterous riff before the drums come trampling in. Stipe spits furiously, with the best use of his full-throated tenor since New Adventures in Hi-Fi, and the rare bar to inspire a Fuck Yeah fist-pump: "Don't set your talking points on me / History will set me free / The future's ours and you don't even rate a footnote.” Recorded and released in the tail-end of the Bush years, there are unmistakable references, drawn in anger and in weariness, to the emotional tolls of that reign.

“If the storm doesn’t kill me, the government will,” Stipe muses at the top of “Houston,” a hair over 2 minutes but suffused with poignancy. It’s an acoustically-driven Western-tinged ballad that hearkens back to “Swan Swan H” or “Monty Got A Raw Deal,” but here the drums are splashy and blown-out, the organ serves a bleating counterpoint to the vocal, and bowed electric guitar bleeds through into the verses, serious as storm clouds. The intriguing production choices are what mark it as the Accelerate twist on familiar R.E.M. tropes. The chorus: “Houston is filled with promise / Laredo's a beautiful place / Galveston sings like that song that I love / Its meaning has not been erased” is stirring, as if to absolve the Lone Star state for spawning the political dynasty that led to 2 disastrous presidencies. "Belief has not filled me / And so I am put to the test” are the last words before distortion drowns out the melody like a fatal wave. The song has never left my head.

“Until The Day Is Done” is a more familiar flavor of the band’s earnest political identity— it even ended up scoring a CNN-produced piece on environmental issues. The lyrics approach the first two verses of Leonard Cohen’s “Everybody Knows” in reflecting a distressing capitalist landscape, and to read them is to find that the “business-first flat earthers” have only doubled-down in the decade since the song was released. But the lack of idiosyncrasies leaves us with a folky protest song, and it has a tendency to become oatmeal to the ear, nestled amongst the bolder sonic moments.

By which I mean the muscular guitar sounds and fast n’ furious arrangements on tracks like “Man-Sized Wreath,” “Accelerate,” “Horse To Water”— the revitalized band blowing up the electronic, art school solemnity of the preceding Bill Berry-less records. I remember I once put on Accelerate during a day of recording drive-by b-roll footage with some new coworkers, who enthused, “We were a little worried when you said you were gonna play R.E.M…. but this is really good!” I just glided past the implied criticism and took the positive note.

In early 2011, songs for their follow-up began to be released on YouTube and rolled out by the pop culture press. I’ll admit I was underwhelmed by what I heard. Accelerate’s novelty, its flouting of the band’s cliches, had me expecting another quantum leap in a wild direction. Collapse Into Now (#201) was feeling more like a greatest hits mashup.

“Discoverer” at times sounds like an interpolation of “Man-Sized Wreath” (compare the chorus of the former to the verses of the latter.) That exultant wordless harmonizing on “It Happened Today” is straight from “Belong” on Out of Time (plus special guest Eddie Vedder.) “Blue,” the closing track, takes equal parts New Adventures’ “E-Bow The Letter” (dark grinding minor key, Beat poetry, plus Patti Smith-voiced chorus) and Out of Time's “Country Feedback” (the chords sound similar, and the aching Peter Buck solo is back). I’d never before been able to identify the sonic inspirations so easily. However, for all my creeping dissatisfaction, as a true fanboy I knew the record would grow on me. The prophecy was indeed fulfilled.

The song that most represented the sound of a modern-day R.E.M. was “Mine Smell Like Honey.” It was unmistakably them, with the inscrutable lyrics, Michael in gravel-throated rock mode, a Mike Mills vocal harmony line designed to carry its own trajectory while lifting up the chorus, Buck with an indelible riff that doesn’t show off for its own sake— but it would fit right on modern rock radio in 2011, if that still existed. I had another one of my Best Buy PA system epiphanies, clicking this track into place, proving sometimes you need some huge speakers with good bass to truly experience certain songs. In a similar mode, “That Someone Is You” rockets by in under 2 minutes; a live-in-the-room ode to the feeling of meeting that exciting new person who'll lift you out of the mud.

The mid-tempo balladry is back as well, diversifying the sound from the previous release. In “Oh My Heart,” a direct sequel to “Houston,” Stipe croons a New Orleans spiritual with "a new take on faith," while Buck's mandolin comes out of retirement for another sweet, sad melody, and Mills fills in the mournful choir. As with the song’s predecessor, it’s a high-point in the track listing that moves me whenever I hear it.

Before I had warmed to Collapse Into Now, I comforted myself with the idea that New LP equaled New Tour. I could finally catch my favorite band live! They told the press they had no plans to tour behind the record. Odd, but they were an institution, so they could take a pause. I’d recently witnessed Paul McCartney tearing through his hits in person, and he’d already blown past age 64. Then in September 2011, R.E.M. announced they had decided to “call it a day as a band”— a phrase designed to wave away the idea of Beatles-esque acrimony. I was, you can probably imagine, more than a little heartbroken. The previous tour had come within 2-and-a-half hours of my town back in ’08. At that point in my life, that seemed like a hassle: why not wait, see if they made it a little closer next time? Now, I wish I had put in the extra effort.

With this announcement, the sense of Collapse as R.E.M.’s tribute album to themselves came into focus. Stipe is even waving goodbye, for god’s sake, on the first album cover photo to clearly feature the faces of the whole band since 1985’s Fables of the Reconstruction. "It's just like me to overstay my welcome, bless” he sings with sheepish glee on “All The Best.” Shrouded by the spirit-radio-filtered effect of his “Blue” recitation comes his clearest statement of purpose: "I want Whitman proud. Patti Lee proud. My brothers proud. My sisters proud. I want me. I want it all,” and then Patti Lee (Smith), one of his earliest lead singer inspirations, draws the narrative to a close… before the ringing jangle of opener “Discoverer” reprises and concludes. The book’s been closed shut… but the story of the band’s music continues.

There was the inevitable plundering of the vaults. An over-arching Best Of record, finally combining songs from the I.R.S. and WB catalogues (didn’t buy it), with 3 brand new recordings (they’re ok). Two digital-only “Complete Rarities” collections, encompassing hours of b-sides and soundtrack cuts (lotta great stuff, but this week WB removed all of theirs from Spotify, so I’m pretty perturbed).

In 2014, 3 years into my mourning period, they announced Unplugged 1991/2001 (#202), a 2-CD set of their appearances on the MTV show where bands play intimate, stripped-down acoustic sets… you know, in front of multiple TV cameras capturing every angle. Now this got me excited, maybe more than I had been for their swan song record— Bob Dylan Unplugged, Paul McCartney Unplugged, and The Unplugged Collection Vol. 1 had all got a lot of play in my home through the years. Other than my favorite version of “Half A World Away” closing out the Vol. 1 compilation, and a burned, hand-labeled CD-R I had once glimpsed on a coffee table during a realtor’s house tour, recordings of R.E.M.’s appearance on the show didn’t seem to exist until now. I pre-ordered that bad boy.

The set is a snapshot of two very different eras for the band: Disc 1 features them on the cusp of superstardom fueled by Out Of Time’s success, with the classic lineup of Berry/Buck/Mills/Stipe and support from Peter Holsapple. Disc 2 finds them down to a three-piece, supporting Reveal, a record that never got its due, with their frequent contributors Scott McCaughey and Joey Waronker filling out the sound. “Losing My Religion” is on both discs, of course, from the bright new hit that pumps up the crowd to a warmly-recieved old friend.

The treat in hearing these shows is also two-fold. There’s the way that familiar tunes get adapted to the setting: “It’s The End of the World...” is transformed into a Friday night Americana hoe-down, while “The One I Love” is slowed down to a gritty lament with a slightly varied vocal melody. After the 2nd chorus and an instrumental bridge in “Country Feedback,” Stipe folds lines from Dylan's “Like A Rolling Stone” into the tune, a goosebump-inspiring moment.

Then there’s the added benefit of songs that I’d once slept on revealing their power in the live arrangements. The 2001 show closes with several tracks from Reveal, and free of all electronic touches, the choruses of “Disappear” and “Beat A Drum,” well, revealed themselves to me, becoming new earworms and spawning a personal reevaluation of the album. “Find The River” had once been a pleasant-enough closer on Automatic For The People, but a step down from the iconic “Nightswimming” that precedes it. Now it’s a new favorite, and I’m prone to singing it loud with embarrassing over-earnestness.

With the band truly well and dissolved (and no cynical cash-grab “reunion tours” planned, those damn jerks and their integrity), the repackaging of older material is the only avenue left for unheard R.E.M. music. The studio albums are greeting their landmark anniversaries with special editions: Automatic’s 25th was recently celebrated with various configurations of physical release, including one with a disc of demos and a 5.1 surround sound Blu-ray that I WILL possess one day, damnit! Just this week, their social media team announced a sprawling set of BBC sessions and interviews, hopefully to be made available on streaming services in addition to the fancy 9-disc set (I know, sacrilege in my blog about physical media, but space is at a premium and I haven’t even COVERED the live DVDs and music video collections I already have of these guys).

There’s even a podcast exclusively about the band! The exceedingly silly interplay between Scott Aukerman and Adam Scott was enough to get me to listen to several eps of their previous U2-centric show (a band that I’m fairly positive towards), so "R U Talkin’ R.E.M. RE: ME?,” in which they go album-by-album through the discography, was appointment listening from the jump. I couldn’t help but sprinkle inside jokes from the podcast into my first entry. Fuckin’ stoked!

It’s hard to articulate how much R.E.M.’s music has meant to me. There’s undeniable power in finding art when you’re young and unsteady. To ally yourself with a favorite band, especially one that clearly creates from a place of conscience and empathy, is to find a solid stone floor that supports you when you’re at your most weighted down. It’s easy for me to hold onto nearly 2 dozen discs because there’s so much variety. They could uplift, interrogate the status quo, offer humor or succor or an outlet for the uncertainty we struggle with. Michael Stipe sang about identity, queerness, nature, hypocrisy, anger, tenderness, artists, politicians, outsiders, expressive freedom, and quiet contemplation. These lyrics came from what he saw and felt but they were conjured by the instrumentals constructed by Peter Buck, Mike Mills, and for years Bill Berry. Jangle-rock or country-western or chamber pop or folk or glam or electronica— they busted through genres with grace and power; immutability was not an option. They couldn’t finish a record until Michael had the words; Michael had their blueprint on tape to fill his ears until the images flowed.

“Here’s a little agit for the never believer / Yeah, yeah, yeah, yeah / Here’s a little ghost for the offering,” Stipe sang in his 11th hour, one-take performance of “Man On The Moon.” Now I offer a 20-song Document of the R.E.M. songs that mean the most to me at this moment. It nearly killed me to whittle it down, and your favorite probably isn’t on it. The song I just quoted isn’t even on it! But that��s the power of R.E.M., where the subjective experience rules all.

#R.E.M.#michael stipe #peter buck #Mike Mills #Accelerate #collapse into now #unplugged #mtv unplugged #man on the moon #album cover #cd #cd collection #music blog #rock #alternative #pop #album art

3 notes · View notes

racingtoaredlight · 8 years ago

Text

Closing Bell: On This Day: January 10th

Good evening and welcome to the closing bell. I am your host, a true internet tough guy.

The day’s news cycle has been overrun with news of President Elect Donald Trump being a Russian plant whose massive indebtedness threatens to disrupt the very fabric of American society, Jefferson Beauregard "Jeff" Sessions III using a disbelief in discrimination as proof that he’s not a lying racist, and Clemson winning a national championship in football. But I want you to put all of those terrible things out of your mind and harken back to a simpler time when the country wasn’t bubbling over with political bickering and predictions of doom: the Bush Years!

On this day in 2003, the beloved cultural touchstone Just Married was released into theaters in the United States. A lot has changed in the 14 years since but one thing has remained constant: the public’s love affair with Ashton Kutcher. I’m sure you are all capable of quoting this masterpiece from memory but here are some of my favorite lines:

(adsbygoogle = window.adsbygoogle || []).push({});

____________________

Tom: Okay, whatever. Listen, you get guests here from all over the world, it's up to you to have some American on your signs.

Sarah: He means English.

_____________________

Mr. Leezak: You never see the hard days in a photo album, but those are the ones that get you from one happy snap shot to the next.

_____________________

[after being shocked while trying to charge the battery in an adult toy]

Tom: Good thing that didn't happen while we were using it.

_____________________

Mr. McNerney: Listen, Leezak. I don't expect a "cracker" like you to be considerably a good match for my daughter, but I'll tell you what I do expect: I expect you pay me back in full as soon as that silly-ass radio show yields any kind of personal income. Goodbye, cracker!

[hangs up the phone]

Tom: Assbag!

______________________

Tom: I specifically asked for a compact.

Sarah: This is a European compact.

Tom: No, this is a Ringling Brothers compact! I don't understand it. I loooked at the brochure and it had a Fiesta on the cover, not a Bingo!

Sarah: Baby, just floor it.

Tom: I *am* flooring it! If I pushed any harder, my foot would blow through the floor and we would be Flintstone-ing our asses there!

_______________________

Tom: Look, Yuan, Willie, whoever else is listening. You don't want me to be with Sarah and I can't change that. I don't know where we're gonna be in 10, 20, 40 years. I don't know who we're gonna be. I don't know if I'm ever gonna be able to give her all of this. There are a million things that I don't know. But there's one thing that I do. And that's that I love Sarah. And I am going to love her day in and day out for the rest of my life. Now, will you please... please... open the gate so I can tell that to my wife.

________________________

Tom: [wielding a fire poker] Hello Peter! So happy you could join us!

Sarah: Tom what are you doing?

Tom: I was thinking, that it's time for Peter and I to TANGO!

[smashes vase with poker]

Peter: He's crazy! See you have no furture with this guy.

Sarah: Peter, shut up. Tom you're acting like a crazy person.

Tom: Oh yeah? Well, maybe that's cause I just got hit in the head with a ten-pound ashtray !

[shrugs shoulders]

Peter: I'm warning you Leizak

[strikes a kung fu stance]

Peter: I studied karate with a Grand Master.

Tom: Yeah? Well I sure hope he showed ya how to pull a fire poker outta your ass!

________________________

Sarah: Tom, you're acting like a crazy person!

Tom: Well, MAYBE it's cuz I just got hit in the HEAD with a ten pound ASHTRAY!

[Shrugs his shoulders sarcastically]

_________________________

Oh, man, who could ever forget that sarcastic shoulder shrug? Anyway, there are other January 10th events. Metropolis came out on this day in 1927. Also the Han Dynasty ended, Caesar crossed the Rubicon, Common Sense was published, and Standard Oil was incorporated. Hard to see any of those being as being culturally impactful to the same degree as Just Married.

(adsbygoogle = window.adsbygoogle || []).push({});

#just married #brittany murphy #ashton kutcher #closing bell #movies #rubicon #han dynasty #on this day #metropolis #julius caesar

2 notes · View notes

longlistshort · 6 years ago

Video

youtube

Broncho- Keep It In Line

Things to do in Los Angeles this weekend (5/2- 5/5/19)-

Thursday

Big Thief are performing at The Fonda Theatre with Victoria Williams

Photographers Lynsey Addario and John Moore will be discussing their work as part of the programming for Photoville (see below)

Ruby Haunt are playing at El Cid with Storefront Church and Sports Coach

Yamashiro's Night Market returns to the hills above Hollywood tonight from 5-10pm- catch a free shuttle from Mosaic Church to get there

Draemings are playing a free show at Zebulon with Crook and Ever So Android

Bikini Kill are playing at the Hollywood Palladium with Le Butcherettes

Thursday through Sunday

Photoville, the free annual photo festival with galleries built from repurposed shipping containers, returns for its second week in Century Park with programming that includes nighttime projections, talks, workshops, family activities, and a beer garden. While there check out the exhibition CONTACT HIGH: A Visual History of Hip-Hop, which showcases the work of hip hop photographers, at Annenberg Space for Photography.

Friday

Broncho will be performing at the Natural History Museum with Lauren Ruth Ward for the museum’s monthly First Friday event. This year's programming explores Forces of Nature and for this evening they will have speakers discussing California's floods. There will also be DJs and food trucks.

L.A. Live is having a block party with $5 food and drink items at many of the restaurants, pop up shops, street performers, live painting by several artists, and more (free)

Beach Goons and No Parents are opening for SWMRS at The Belasco Theater

The Church will be at The Regent Theater performing their album Starfish

Friday and Saturday

Union Station is celebrating its 80th Anniversary for two days with live entertainment, an electronic photo exhibition of the station's history, special menu items at the station's restaurants, tours, a marketplace and more

Saturday

Hammer Museum is hosting Omniaudience, a program comprised of listening sessions, conversations, and performances from 1:30-5pm. For this iteration- Nikita Gale will have a listening session devoted to the creation, distribution, and reception of River Deep, Mountain High, which was produced by Phil Spector and performed by Tina Turner; Alexander Provan will deliver a lecture, illustrated with chart-toppers, on the use of consumer-behavior data and neurobiology research in the production of pop songs; C. Spencer Yeh will present a live quadraphonic performance of material from The RCA Mark II (Primary Information, 2017), which is composed of recordings of non-musical sounds created with the eponymous, 60-year-old synthesizer; and Nour Mobarak will speak about the vocalization of sound and phonetics in relation to her recent work. She will then be joined in conversation by Gale, Provan, and Yeh to discuss "how recordings of human voices quantify and categorize speakers—and how the components of language might, alternatively, be experienced as indeterminate sonic materials".

Otomo Yoshihide and David Novak will be at Blum & Poe to discuss "noise, an underground music made through an amalgam of feedback, distortion, and electronic effects, which first emerged as a genre in the 1980s, circulating on cassette tapes traded between fans in Japan, Europe, and North America". (free)

Melodie McDaniel will be signing her book Riding Through Compton, about the participants of a youth riding and equestrian program in the neighborhood, at Arcana Books. A conversation will follow with book contributors Amelia Fleetwood and Mayisha Akbar (who leads the program).

Ezra Furman is playing at the Teragram Ballroom with Pancho Morris

Snowball II are playing an early show at Resident

Tomo Nakayama is opening for Jeremy Enigk (formerly of Sunny Day Real Estate) at The Roxy Theatre

Field Trip and Small Forward are opening for Foliage at The Echo

Sunday

This week's free screening at Zebulon is Luis Buñuel's Los Olivados

Later that evening Weirdo Night returns to Zebulon with performances by Dynasty Handbag, Drum Run, and Smiling Beth and more

Artist Gary Lang will be in conversation with artist Sarah Jones at Wilding Cran Gallery where Lang currently has an exhibition

Amnesia Scanner are playing at 1720

Anthony da Costa is playing at the Bootleg Theater with Mason Stoops

0 notes

nofomoartworld · 7 years ago

Text

Hyperallergic: Required Reading

A very unique monument is being unveiled in Ireland, according to reporter Naomi O’Leary: “Sculpture to be unveiled in Cork to remember generosity of the Choctaw Nation, Native American tribe that sent famine aid to Ireland in 1847.” It’s by artist Alex Pentek. (via Twitter/NaomiOhReally)

Writing for the Washington Post, Philip Kennicott suggests that arts groups cannot afford to take Koch Brothers funds anymore, considering the world’s climate is at stake:

It is impolite, in critical circles, to link the politics of major donors to the cultural institutions they support. Many of our cherished arts organizations were created by Gilded Age plutocrats, yet are no longer tethered to the Darwinian social views of their originators. But cultural organizations exist in a complicated moral world, in which every dollar they collect is a dollar that isn’t being used to ameliorate poverty or cure disease. Most of us tend to deal with this dilemma by arguing that the good done by cultural organizations can’t be quantified and thus it is unwise to place it crudely in the balance with other social needs.

That’s because we think of the good offered by a museum or opera house as a potent but intangible improvement to the general character of the society. They make us better in some way, perhaps more intelligent, or empathetic, or sensitive in ways that increase our capacity to be and do good.

The logic is tenuous, but defensible, at least so long as the world isn’t in a state of extraordinary crisis. But it becomes much more difficult to argue for the arts relative to other social needs when the planet is threatened by wars, plagues, and other calamities, with the survival of civilization itself in the balance.

John-Paul Stonard writes about the Palace Museum in Taipei, which is a nice read (particularly if you’re unfamiliar with that great museum):

The other great tradition in Chinese painting is that of the scholar-artists, or ‘literati’, which developed in various guises between the tenth and 16th centuries. They typically painted in a rough, expressive style, using ink sparsely to reflect their aristocratic manners and to dissociate themselves from the paid professionals of the imperial court. Many of them became recluses – it seems to have been the fashion – and spent their days in the mountains, or studying ancient examples of the ‘three perfections’: painting, poetry and calligraphy. They refused to sell their works, preferring to exchange them or give them as gifts. Here, at least, the Palace Museum has a first-rate example on display, Wen Zhengming’s Zhong Kui in a Wintry Grove, a hanging scroll made in 1534. The demon-queller Zhong Kui stands huddled in a leafless forest, the trees sketched with thin, dry brushstrokes. Nature is the animating force in Wen’s paintings, the human figures remain passive, listening to the world around them.

Centuries before landscape became an independent genre in the West, painters in China were finding ways to represent the meeting of the human mind and the natural world. Paying little attention to conventions of perspective and lighting (there are almost no cast shadows in the early works), Chinese painting instead conveys a unique and absorbing sense of time. At the Palace Museum four handscroll paintings are displayed completely unrolled, including the Qing dynasty Gathering of Scholars, painted with great charm and liveliness of detail, and the much earlier Elegant Gathering in the Western Garden, a Ming dynasty scene of Chinese scholars occupying themselves with calligraphy, music, painting and conversation. These scrolls, some of which are eight or nine metres long, were designed to be read from right to left; as you shuffle along the unfolding scenes you lose yourself in the painting.

Redditors had a lot to say about this press image (roughly 2,000 comments) of Comey testifying:

Sasha Trubetskoy created this attractive imagining of the Ancient Roman road network as a contemporary subway system:

Katy Peary’s new album gets a thumbs down from the Washington Post:

What a demented thing to say on such a solipsistic, flow-sustaining, unwavy, missionless, momentum-deficient, same-old-place kind of pop album. At best, Perry sounds like she’s trapped in a purgatory, pantomiming progress, giving an endless pep talk to her own reflection. She wants to look out into the world, but she can’t look away from the mirror.

Funny or Die gives President Trump’s perma-tan the satirical treatment:

Is Apple’s new, futuristic HQ a step forward or back? Wired reports:

The fitness center has a climbing wall with pre-distressed stone. The concrete edges of the parking lot walls are rounded. The fire suppression systems come from yachts. Craftspeople harvested the wood paneling at the exact time of year the late Steve Jobs demanded—mid-winter—so the sap content wouldn’t be ruinously high. Come on! You don’t want sappy wood panels. This isn’t, like, Microsoft.

You can’t understand a building without looking at what’s around it—its site, as the architects say. From that angle, Apple’s new HQ is a retrograde, literally inward-looking building with contempt for the city where it lives and cities in general. People rightly credit Apple for defining the look and feel of the future; its computers and phones seem like science fiction. But by building a mega-headquarters straight out of the middle of the last century, Apple has exacerbated the already serious problems endemic to 21st-century suburbs like Cupertino—transportation, housing, and economics. Apple Park is an anachronism wrapped in glass, tucked into a neighborhood.

An extensive New York Times Magazine profile of recently released “leaker” Chelsea Manning:

Manning told me her decision to provide the information to WikiLeaks was a practical one: She originally planned to deliver the data to The New York Times or The Washington Post, and for the last week of her leave, she dodged from public phone to public phone, calling the main office lines for both papers, leaving a message for the public editor at The Times and engaging in a frustrating conversation with a Post writer, who said she would have to know more about the files before her editor would sign off on an article. A hastily arranged meeting with Politico, where she hoped to introduce herself to the site’s security bloggers, was scrapped because of bad weather. “I wanted to try to establish a contact in a way that it couldn’t be traced to me,” Manning told me. But she was running out of time. She describes a clearheaded sense of purpose coming over her: “I needed to do something,” she told me. “And I didn’t want anything to stop that.”

On Feb. 3, 2010, Manning signed onto her laptop and, using a secure file-transfer protocol, sent the files to WikiLeaks.

New hi-tech tools are helping researchers uncover the mysterious and violent fates met by the “bog bodies” of Europe:

Scholars tend to agree that Tollund Man’s killing was some kind of ritual sacrifice to the gods—perhaps a fertility offering. To the people who put him there, a bog was a special place. While most of Northern Europe lay under a thick canopy of forest, bogs did not. Half earth, half water and open to the heavens, they were borderlands to the beyond. To these people, will-o’-the-wisps—flickering ghostly lights that recede when approached—weren’t the effects of swamp gas caused by rotting vegetation. They were fairies. The thinking goes that Tollund Man’s tomb may have been meant to ensure a kind of soggy immortality for the sacrificial object.

“When he was found in 1950,” says Nielsen, “they made an X-ray of his body and his head, so you can see the brain is quite well-preserved. They autopsied him like you would do an ordinary body, took out his intestines, said, yup it’s all there, and put it back. Today we go about things entirely differently. The questions go on and on.”

Lately, Tollund Man has been enjoying a particularly hectic afterlife. In 2015, he was sent to the Natural History Museum in Paris to run his feet through a microCT scan normally used for fossils. Specialists in ancient DNA have tapped Tollund Man’s femur to try to get a sample of the genetic material. They failed, but they’re not giving up. Next time they’ll use the petrous bone at the base of the skull, which is far denser than the femur and thus a more promising source of DNA.

The continuing tragedy facing indigenous Christians in Iraq:

The arrival of IS was only the “tipping point” of a trend already gathering pace, as Christians experienced an “overall loss of hope for a safe and secure future”, according to the report, produced by Christian charities Open Doors, Served and Middle East Concern.

It noted that, for the Christians who have settled elsewhere, there is “little incentive” to return, with several saying “the Middle East is no longer a home for Christians”. Less than half of the people displaced from the Nineveh Plains, just outside Mosul, are expected to return, according to the report.

Your museum laugh for the week:

A friend after going through the National Gallery: "Well, that's Western art for you. A thousand years of crucifixions, then stripes."

— Sandra Newman (@sannewman) June 13, 2017

And, after the Sessions hearing this week, this helped me laugh it all off:

If you say "Kamala Harris" into the bathroom mirror 3 times, an old white man interrupts you.

— Benjamin Siemon (@BenjaminJS) June 13, 2017

Required Reading is published every Sunday morning ET, and is comprised of a short list of art-related links to long-form articles, videos, blog posts, or photo essays worth a second look.

The post Required Reading appeared first on Hyperallergic.

from Hyperallergic http://ift.tt/2sf3nZk via IFTTT

#IFTTT #Hyperallergic

0 notes