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redclercs · 1 year

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DELICATE✰ CHARLES LECLERC.

xii. oh no, i’m falling in love again.

— the one where he changes your ticket home.

“𝘛𝘦𝘭𝘭 𝘩𝘪𝘮 𝘺𝘦𝘴. 𝘌𝘷𝘦𝘯 𝘪𝘧 𝘺𝘰𝘶 𝘢𝘳𝘦 𝘥𝘺𝘪𝘯𝘨 𝘰𝘧 𝘧𝘦𝘢𝘳, 𝘦𝘷𝘦𝘯 𝘪𝘧 𝘺𝘰𝘶 𝘢𝘳𝘦 𝘴𝘰𝘳𝘳𝘺 𝘭𝘢𝘵𝘦𝘳, 𝘣𝘦𝘤𝘢𝘶𝘴𝘦 𝘸𝘩𝘢𝘵𝘦𝘷𝘦𝘳 𝘺𝘰𝘶 𝘥𝘰, 𝘺𝘰𝘶 𝘸𝘪𝘭𝘭 𝘣𝘦 𝘴𝘰𝘳𝘳𝘺 𝘢𝘭𝘭 𝘵𝘩𝘦 𝘳𝘦𝘴𝘵 𝘰𝘧 𝘺𝘰𝘶𝘳 𝘭𝘪𝘧𝘦 𝘪𝘧 𝘺𝘰𝘶 𝘴𝘢𝘺 𝘯𝘰.” ― 𝘎𝘢𝘣𝘳𝘪𝘦𝘭 𝘎𝘢𝘳𝘤í𝘢 𝘔á𝘳𝘲𝘶𝘦𝘻, 𝘓𝘰𝘷𝘦 𝘪𝘯 𝘵𝘩𝘦 𝘛𝘪𝘮𝘦 𝘰𝘧 𝘊𝘩𝘰𝘭𝘦𝘳𝘢.

warnings: this is fiction so we're going to ignore everything that doesn't adjust to our real world timeline, okay? okay. ft. timothée chalamet, paris inaccuracies, alcohol consumption. 3.4k words (+articles!)

currently playing: labyrinth by taylor swift!

also the song referenced in the first article is this one.

masterlist ✢ next

by Alan Gomez

After months of awaiting its release, Aidan Kim has graced us with the first single of his upcoming album “MIRRORS”.

The first song off the album, called “In Your Pocket” was released last Friday august 4th, and reached its peak at #7 in the billboard 100. The track, in which Aidan participated both as a lyricist and producer, talks about a dying relationship thanks to the girl being a cheater and protecting the evidence by not showing her cellphone to her counterpart.

With a constant “show me yours, I’ll show you mine,” and “it should be really easy if you have nothing to hide” Kim depicts what could be his personal experience with ex-girlfriend y/n y/ln, who was accused of cheating with a Formula 1 pilot last May.

The album expects its release in October 5th.

SEE ALSO:

→ Former Star-5 staff says Aidan Kim played a key part in the group's disbandment.

→ y/n y/ln looks radiant leaving Columbia Pictures HQ.

→ Swifties prove they're #TeamYN with new trend praising the actress.

August 15th, Paris, France.

Laughter fills your hotel suite, you're stumbling around the room barefoot, in an attempt to dance to ABBA's 'Dancing Queen' while Matilde takes pictures with a disposable camera and holds her aching middle.

You're supposed to be getting ready for a Fashion Show happening in an hour and a half, one both Matilde and you got invited as guests for Dior. Your outfits are hanging by the door to the suite, away from the mess you've made with spilled champagne and a half-eaten fruit platter.

It's the first time in days that the lyrics to 'In Your Pocket' aren't playing in the back of your mind as you try to go on with your day. Being with Mati always helps you forget the outside world, even for a little while.

The music fades as you pose in the middle of the room and Matilde snaps a picture that leaves you seeing stars for the following seconds.

"Okay, let's get serious now," you say through a chortle. "We need to be ready!"

These public appearances are becoming increasingly important for you, they are the few chances you get to show everyone that you are still likable enough to get invited to events and therefore, not an awful person at all. Although actual awful people get invited too, you're hoping to give the opposite impression.

Your styling team will be getting there in ten minutes, assuming you're showered and ready and not in pajama shorts and your hair in a bun on the top of your head.

"Fine!" Matilde takes a deep breath, soothing her laughter before giggling again. "Go on, take a shower and I'll pick our stuff up."

"Thank you!"

You make a stop before running to the bathroom. Your cellphone rests on top of your bed, facing down. A text from Charles pops up as soon as you lift the phone, the screen unlocking with your face. It's a simple 'see you later, soleil' that has you smiling like an idiot against your will.

"What's that?" Matilde wonders, picking runaway crushed grapes from the marble floor. She knows exactly what it is that's got you smiling like that, you spilled everything last night, when you were drunk on red wine.

Your stupid little crush on Charles isn't your best kept secret anymore, but there is no one you trust more than Matilde to keep it with you.

Surprisingly, despite her initial warning, Matilde didn't judge you at all as you hiccuped and whined about how good Charles looked at the wedding and how unfair it was that you felt butterflies every time you thought of him.

The butterflies didn't last long, though, supplanted by worms of anxiety. Falling in love was not a conscious decision, no matter how much you wish it would be otherwise. And it was so frightening. Falling felt like flying, until you ended up crushed on the ground.

“Nothing,” you say, locking the phone again.

“Huh,” Mati is holding back a smile, wiping the stickiness from her hands on her pajama top. “Weird.”

You smile at her, a sheepish ‘I’ve been caught’ smile that finally makes Mati herself grin. You’re glad she didn’t repeat her “you don’t wanna do that” sermon, although maybe it would have helped you make your mind up about whether you want to explore your feelings or throw dirt on them to extinguish the fire.

Maybe you just have to get through one day at a time, if there's anything you've learnt since your downfall began is that the future is unpredictable. You wish you had a crystal ball, though.

─────────

It's at the After Party that you actually get five minutes alone with him, or as alone as you possibly can in Le Carmen, surrounded by half-drunk people and loud music blasting.

"Here, soleil," Charles hands you the Vodka Soda you ordered, before taking his whiskey. It makes you remember the smell of his breath, so close to your neck, while you danced at the wedding.

You take a sip of your drink before Charles can clink his glass to yours, and he just laughs as embarrassment fills you. "Sorry."

He looks impeccable in his tailored suit and with his hair slicked back. Your hands are sweating and you try not to let it show how nervous you suddenly feel, this isn't you. Not around Charles, anyway.

"It's okay," he says, sipping his drink too, a smile still on his lips.

Red lights flash on your faces as you try your best to hold a conversation about the fashion show. Charles was a guest for Armani, and had to sit exactly opposite to you facing the runway.

"Hey! y/n!" someone is grabbing the upper part of your arm before you have even turned around.

"Oh, hi!"

You saw Timothée around a couple times tonight, but with his popular kid aura, all he'd done was greet you with a smile and a wave before disappearing through the crowd with a drink in his hand. To be honest, after what you'd said about him on your Youtube video you felt a little shy, but he never seemed to remember or mind your comments, he said he was on your side once or twice, even.

"How's it going?" he asks, his hand has left your shoulder and dropped to his side, but you notice the way Charles' eyes follow it. "Also, nice to meet you," he offers the same hand to Charles who takes it immediately, giving it a strong squeeze.

"C'est mon plaisir," is all Charles responds.

"All good," you half-sigh. Stress is a normal part of your life now, but it doesn't mean you're okay with it. "You?"

Timmy shrugs, imitating your response before drinking from his glass. "Just wanted to say hi, i'll see you soon, yes?"

"Hopefully?"

The exchange can only mean one thing. He has gotten the call.

Your little trip to Los Angeles was for a chemistry read at Columbia Pictures with Timothée for Greta Gerwig's new version of Little Women. It's the furthest you've gotten all year to landing a role and just thinking of it has the vodka churning in your stomach.

Charles watches the conversation with his brows furrowed, gripping the whiskey glass tightly. You give him a smile that he doesn't return before downing his drink.

"I'm sure I'll see you," Timmy is smiling again and his long fingers squeeze your bare shoulder once more. "Exciting, right?"

"Oh, you have no idea," you finish your vodka soda and immediately regret it. The alcohol is going to go straight to your head if you don't slow down.

"What are we talking about?" Charles questions, finally done with being the outsider, and letting his annoyance get the best of his manners.

Timothée and you open your mouths at the same time, but before words can come out, someone is dragging your could-be-costar away not caring at all that he's busy, and all he does is say a quick 'sorry' and 'bye'.

Awkwardness falls between Charles and you as you stare at your shoes, then his, and finally look up at his face, the lights have changed to blue and green and hide the color of his eyes.

"Want to get some air?" you suggest, "I'll tell you all about that." you signal to where Timothée disappeared with your head and bite your lower lip. Charles' expression softens and he nods, following you out as people woo for Rihanna's 'We Found Love'.

You take a deep breath once you're out of the club, the air is warm and pleasant. Charles observes you, leaning against the wall of the building. The back is empty, albeit a little creepy, but you don't mind. It's quiet and you're alone with Charles. Okay, maybe that you mind a little. When did you forget how to act around him?

"So," you begin, standing in front of him. Charles' demeanor is still mildly off-putting and you know you'd be the same had you been excluded in the way you did to him. "It's not a big deal, really. I haven't told anyone because, well, you know how things are right now and, yeah..."

Charles raises both eyebrows, his lips form a thin line briefly, before he switches to a good attempt at being neutral.

"I auditioned for a movie, Little Women, and finally got a callback. We had a chemistry reading a couple weeks ago," you explain quickly, rubbing your forehead in an anxious gesture. "His 'see you soon' is just wishing me luck, he's already got the role."

"Soleil, that's wonderful," Charles pushes himself off the wall, holding both your shoulders with his warm hands. "Why didn't you tell me?"

You shrug, making his palms slide to your biceps. "I didn't want to die of embarrassment when I didn't get the role. Which I can still do, by the way. Die, I mean."

Charles laughs, and you break into a smile too. "Seriously, Charles."

"You're not dying of embarrassment, not on my watch," he squeezes your shoulders. "I'm so proud of you."

"I'm sorry that you felt left out back there," you apologize, and it takes more than a little effort not to look away from his eyes. "It was really rude."

Charles shrugs—all nonchalant—as if he wasn't about to crush a whiskey glass with one hand just ten minutes ago. "That's okay, soleil. You can keep your secrets."

"You can keeps yours too," you joke, and it's like the air shifts around you. Heavy with secrets and unspoken words.

Charles lets go of you then, taking a step back. "I don't want to keep secrets from you, y/n."

Your heart wants to jump out of your chest, and the knot in your stomach tightens so much it turns heavy. You cannot say that you don't want that either, because keeping this secret from him is self-preservation.

It's not the time to think about him, and you hate yourself for it, but when Aidan's face flashes through your mind you're filled with fear. And you hate him more than you could possibly loathe yourself. Because he's made you afraid of falling in love.

You plan to meet up with Charles for brunch the next day. You ignore Mati's chants of 'It's a date!' all morning as you move around your shared suite, trying to pick out the perfect outfit, excusing the indecision with how 'unpredictable' the weather is. Although it's been mild for the past fourteen days.

The flight you're taking back to New York with Matilde leaves the next day, and you're carrying the dread of packing the mess you've left at the hotel. The press has been right about one thing only that involves you or your friends, Matilde is going back to Broadway and since your home is finally just yours again, you offered it to her while she figures her stuff out.

"y/n, chill, okay?" Mati is lying on her unmade bed, holding her phone above her face. "Your packing will be done just in time, just worry about your date."

"It's not a date," you repeat, running the brush up and down your cheeks again, painting them a glowy peach. "Is it?"

Mati rolls her eyes, and before she can turn to face you, she drops her phone right on her face. "God damnit!"

You burst out laughing before you can help it, but still leave your chair to check on Matilde. "Are you okay?"

She rubs her nose, tears in the corner of her eyes. "Never better,"

"You'll be fine," you assure, blood doesn't come out and the redness is probably just from her incessant rubbing. "Be careful next time."

"Sure mom," Mati rolls her eyes again and sits up on the bed. "Oh, loving the makeup!"

"Thank you," you stare at your reflection in the mirror for thirty seconds straight, urging your eyes to find a flaw. Is the line on your eyelid crooked? Are your teeth stained pink? Maybe you should have chosen another shade for your blush.

"y/n," Mati is still pinching the bridge of her nose and you feel really sorry for laughing. "You look beautiful, okay? Stop looking at yourself like that."

You flashback to a time Victoria told you maybe you should just 'stick to what suited you' when you tried a shorter haircut.

"Thank you, Mati," you take your eyes away from yourself. "Sorry for laughing, are you sure you're okay?"

Mati nods, showing you her clean palm. "This has happened to me more times than I care to admit."

You giggle, running your fingers through your hair one last time. "I promise I'll finish packing as soon as I get back."

"Can you just focus on one thing at a time?" Mati picks a stray hair from your forehead and puts it back in place. "If Charles doesn't tell you how beautiful you look, I will kick his ass, by the way."

You laugh, but you hope he will actually think so.

You get a déjà vu feeling when you get to the restaurant and Charles is already there, tapping his foot on the white linoleum and fixing his empty cup on the little plate.

"Am I late again?" you ask after the host leads you to his table. You're smiling and your cheeks are about to protest in pain.

"I'm just too early, again," Charles gets up to pull your chair, and you hold your breath as he kisses your cheek before moving on to the next task. "You look gorgeous, soleil."

At least Mati won't have to kick his ass.

"Thank you Charlie," you beam wider, enjoying the moment of satisfaction before anxiety presents itself. "You look very handsome."

His beige shirt and glasses aren't otherwordly on a normal basis, but you love the way they look on him. And you're proud of yourself for being able to return the compliment for the first time.

Lunch goes by smoothly as you recap last night's party, the good, the bad and the ugly. You spent the rest of the night dancing with him and Mati, and doing your best to stay away from the vodka to soothe your nerves. You even saw Timmy again before he left, and he wished you good luck in his own strange way before saying goodbye in slurred French to Charles and you.

"So, what are you plans for the rest of the break?" you're on your third cup of coffee, not your best idea, really.

There's around twelve days left before Charles has to go back to racing.

"Maybe taking a trip, spending a few days at home too. I just want to rest."

You nod. As an actress sometimes you have to travel a lot, but it can't compare to the way he's always away from home, you just got the tiniest taste as an Elix ambassador.

"Sounds like a great plan, Charlie,"

It's like Charles is always inviting you to join him in anything he plans to do, and this is not the exception, as the words that come out of his mouth next are: "Do you want to come with me?"

“Come where?” You laugh, to be honest, most of the time you think his offers just come out of being polite. Like when you offer someone a piece of your food and you secretly hope they’ll say no.

But Charles is always authentic when it comes to his offers, especially to you. “Anywhere you want,” he smiles, his eyes become small behind his glasses. “Have you ever been to Greece?”

You can’t help but throw your head back and laugh. “Seriously?”

Charles nods, semblance unchanged. He is smiling but he isn’t joking at all. “Italy? though you know that already thanks to Matilde. Carlos says Tenerife is beautiful.”

“Why?” You gulp, your right hand is gripping your thigh under the table, anxious.

“I want to go with you,” Charles admits, and it’s the first time his calmness falters, just for a split second. “I like being with you.”

The line between what you two are and what you’re not is blurring again, and you’re uncertain as to which side it’s the one you want to choose to remain at, although you’re sure which is the safest.

“Why?” You repeat, your tongue is sandpaper in your mouth. You want to hear him say it, and you dread it all the same.

“Because I like you, y/n. I like you a lot, and I want to be with you.” Charles doesn’t skip a beat and the juxtaposition between how soothing his words are and how nervous they make you, has your head spinning. Sure, it’s not the first time he tells you he likes you. But you know this is different. "Why don't we hang out before you get busy with filming?"

You scoff. "Oh you do have a lot of faith in me, don't you?"

Charles frowns, always disliking every time you self-deprecate. "Yes, and so should you. I'm sure you're getting that role."

"Right," you sigh, annoyed at yourself for going straight down the self-hate line in front of him. Though it's not like he hasn't witnessed it before.

"So?" Charles jumps back to the previous topic swiftly, "Where should we go?"

"I have to go back to New York, though," you wince, your excitement and anxiety dying at once. "I made a promise to Mati."

Charles is unable to hide his disappointment as he looks down at the table. He's unsure of how much longer he can keep playing this game where he's okay with being just friends with you although it's clear you keep crossing each other's lines and taking a step back every time it gets too real. And he promised himself he'd be patient, because what he feels for you is real. But the pain he feels every time you find a polite way to reject him is also very real.

"I understand," he assures, smiling.

"Thank you, Charlie. I'd love to go with you, though."

It's the first time Charles isn't sure you're not lying to him.

"Are you actually out of your mind?" Mati gasps, her fork clanking against the plate as she lets it go. "Why did you say no?"

"H-How was I supposed to say yes?" you mutter, directing an apolegetic look to the rest of the customers Mati has startled.

"y/n my beloved, you just had to say yes, just like that. "Yes Charles, I'd love to go" finito."

"Right, you make it sound so easy."

Mati softens then, drinking from her sparkling water to gain some time. "Did you want to go with him?"

You find yourself nodding.

"Then why did you say no?"

"We have to go back to New York, Mati, I couldn't leave you hanging."

"First of all," Mati's accent comes out with her slight exasperation. "I can stay at a hotel, y/n. It's not the end of the world. Or you could always give me a key, you know," she raises both eyebrows, and it makes you laugh. "Why don't you put yourself first, y/n?"

This refers to pretty much everything going on in your life for the past 6 months. But the one time you put yourself first meant the beginning of the end.

"I'm scared," you whisper, avoiding Mati's eyes.

"I know," Matilde reaches for your hand and gives it a soft squeeze. "But you deserve to be happy, inspite of the fear. Maybe Charles can add on to your happiness. How will you find out if you don't even let yourself try?"

You know you cannot keep letting fear control your actions and stop you from getting what you want. You've done that enough, it wasn't patience that stopped you from speaking up for yourself all that time while Aidan and Victoria ran you through the dirt. It was fear.

"Could you excuse me while I make a phone call?"

Mati just cackles in response.

─────────

The prickle on the back of your neck has returned, and you're trying to get more air into your lungs while you wait for Charles to pick up the phone.

"Allo?"

"Hi Charlie," you breathe, failing at hiding your anxiety.

"Hello, soleil," you can hear the smile in his voice, "Are you okay?"

"Um, yes. I just wanted to ask you something."

"Go ahead,"

"So um, is it too late to join your trip?" you speak too fast, but you barely have time to wonder whether Charles understood, because he lets out a short, breathy laugh that's filled with relief.

"It's never too late to change your mind. Can New York really wait, though?" Charles fears he's said too much, or that he sounds sarcastic enough to make you regret taking the initiative.

"New York will be there, and so will Matilde," you laugh.

"Let's change your ticket, then, soleil."

You're still falling. You're still afraid. But you're going headfirst.

─── team principal radio: ❝it's finally here! thank you for reading! I hope you've enjoyed this chapter. please let me know what you think, i appreciate all of your interactions with delicate so much! if you're a ghost reader, don't be afraid to interact too. we're all very nice here❞

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notyouraryang0dd3ss · 4 months

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Former swiftie here (and psychology nerd), Does anyone remember that article about how super wealthy people tend to lack empathy? I know that article was meant to call out people like B*zos and Tr**p but looking into that aspect of psychopathy I can see some aspects in the way TS handles herself. I'm not saying she started out with evil intentions or anything like that However being in a business that requires people to be cut throat I'm curious how much of it has changed TS from her teen years. Now I'm not a qualified psychiatrist to give her a diagnosis but I am noticing a level of Borderline Personality Disorder in her behaviour these days and more so in her previous possessive 'romance' lyrics. tl;dr I do genuinely believe TS needs to take a long ass break from the industry and get help

I’m personally against armchair diagnosing anyone but especially celebrities, and especially with a diagnosis of an extremely stigmatized personality disorder. I don’t think its fair to people who are actually diagnosed with BPD. I know you were just speculating but this kind of thought is dangerous and can perpetuate stigma against those with personality disorders and mental illness in general.

I mean, I definitely agree this industry changed her and most definitely for the worse. Her father was already a top exec at a prestigious finance firm and being in the industry since the age of 12 has primed her to pinpoint her most successful aspects of her music, image, etc. and maximize them for profit. She appears to view everything through the lens of maximizing her appeal to the public to generate new fans meaning more money.

I don’t think she’s capable of taking a break from the industry to be honest. She’s already set a pattern for her fans that she comes out with a new album every 2 years. She can’t take a break without breaking her friendship with her fans is the issue. Because they’ll view it as a friendship breakup and leave her forever. Also, since Taylor failed to establish a musical signature or style to her artistic identity, if she leaves the industry, she will have no appeal to her fanbase anymore. Once she leaves, it’s out for her. She won’t have any skin in the game that would generate mass appeal for her music ever again.

#anti taylor swift #ask #notyouraryang0dd3ss #anon #taylor swift critical #ts: music #ts: music industry

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coolestcat-69 · 2 years

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You Belong With Me

Pairing: Vinnie x Swiftie!Reader

Summary: During a game of Minecraft, Y/N asks Vinnie a very important question.

Warning(s): Unedited

Author’s Note: First Tumblr imagine! I’m not a huge swiftie but these are some of my favorite songs. I also haven’t played Minecraft in a while, so read with caution.

It had been no more than thirty minutes since Vinnie joined Y/N’s stream. It was almost routine how quickly Y/N had lost interest in playing to survive, resorting instead to picking flowers for their cottage.

“Hey, Vinnie?” She called to him through her headset, “Can I ask you a question?”

“Uhh, go for it,” he reclined in his seat, stretching away the soreness in his forearms.

At that, she pressed the “forward” key, running to catch him at the cave only a few feet away from the meadow. Sunflower in hand, she stopped when they stood face to face and dropped it at his feet, “Will you be my Minecraft boyfriend?”

He sat flustered for a second, smiling nonetheless, and hoping desperately for the heat he felt creeping up his throat to be invisible to their audience. She tilted her head coyly, smiling innocently and with a bat of her lashes as she awaited his response.

He scratched his nose and cleared his throat, “I would be honored.”

user01 my heart just grew three sizes 😭❤️

user02 this is torture 🥲🔫

Y/N bounced back into her former position, her chin resting on her knee, “What’s your favorite Taylor Swift song?”

He was grateful for the subject change, and, with hesitation, said, “I don’t really listen to Taylor Swift.”

Lifting her head, Y/N opened her mouth as if to speak; blubbering for a second before recollecting herself, she laughed, “I’m sorry. I thought I just heard you say you don’t listen to Taylor Swift.”

“That’s because I did,” he replied, cool guy persona in play.

user03 it’s giving 🚩🚩🚩

user04 takes notes gentlemen ✍️ this is how you DONT get the girl

user05 y/n questioning her friendships rn

“Oh, my god,” Y/N winced dramatically. “I feel a sudden, sharp, knifelike protuberance in my back.”

He couldn’t help but laugh, bringing a hand up to the curls sticking out over his forehead and tugging on the strands. “What’s your favorite?”

“Where to start?” She hummed in thought. “I’m indecisive as hell so let’s say, in no particular order, my top three are: ‘Our Song’, ‘The Story of Us’, and ‘I Heart?’. I’m a fucking whore for her little country accent. . . .”

As he heard her speak at what sounded like a thousand words per minute, he was left entranced by the excitement in her gesticulations and the way she bounced in her cushioned seat. He forced his gaze away from her face, depositing the image of her smile into his memory, whilst she brought their previous discussion to an end.

She redirected the conversation to the game now, “It’s getting kinda dark. We — holy shit!”

Before she could even finish her sentence her screen skewed followed by the sound of bones clanking together. Her body jolted in her seat, her knees coming up to pull her body into a squat as she drew her sword from the inventory.

“Hey! Stop!” She shouted at the screen, willing the skeleton away whilst running towards the cottage that stood only a few blocks away. “Uhh, I’m not gonna . . .” the screen reddened, “make it. Fuck!”

As he watched her rage at the loss, he leaned forward in his seat, “You belong with me.”

She put her headset back on and inhaled deeply, “I’m sorry. What did you say?”

“My favorite Taylor Swift song,” he paused for dramatic effect, “is ‘You Belong With Me’.”

Y/N gasped, covering her mouth, “Oh, I love that song. It’s one of my favorites. She’s such a musical genius.”

And the smile on her face made him smile, too.

#Spotify #vinnie x reader #vinnie imagines #vinnie fluff #vinnie hacker x reader #vinnie hacker imagine

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unpopularly-opinionated · 3 years

Link

I don’t play WoW but I used to play Overwatch and Diablo and this touches on just the general issues that are inside of Activision Blizzard right now regarding the major decline of World of Warcraft and how they’re losing to Final Fantasy XIV, how if the latest WoW expansion or Overwatch 2 flop as they’re projected to do then Blizzard’s most definitely going to pivot almost entirely to mobile games, and how the differences in age demographics are actually dividing the company into multiple camps.

It’s important to note two things: 1) this could be fake but also 2) the link came from Grummz, a former team lead on WoW and producer on Diablo II and Starcraft. It still could be fake despite this, but if he’s sharing it then I feel like there’s at least some measure of truth in this.

Transcription below in case this gets deleted and/or you don’t wanna click the link. Warning, it’s fairly long.

“I’m dropping this here after getting chewed out for three hours over shit the chewee did at work so fuck it. Assume larp and let me vent.”

>Shadowlands is a shitshow. Critical response, Player drop off and just about every engagement metric outside of cash shop have been catastrophic. No higher up expected this because of their “we are too big to fail, if we built it they will come” mentality. They refuse to accept their focus on the world being a begrudged mechanic to funnel players to raiding is not appealing to the player base at large because it appeals to them. They have spent the last 4 months trying to course correct but there is no solid direction and the response to 9.1 has only made things worse.

>Sylvanas is planned to replace the Arbiter despite so many people in the company and god knows how many online saying this would be a total replication of Kerrigans storyline in Starcraft 2 that killed none competitive interest in the brand entirely and you can only go “no, no they WILL like it eventually” for so many real world years before its time to change course. Thus far that has not happened.

>The elephant in the room is FFXIV. To the people in charge they are acting like this came out of nowhere and don’t even seem to understand why its drawing players away in their tens of thousands. We have all tried to highlight things it is doing that are clearly appealing to an mmo audience and not, in my opinion, focussing more on mobile game style retention traps to keep MAU users and habit forming personalities logging in. Its not that they don’t care. They just seem so pig headed and digging their heels in with their fingers in their ears thinking all the problems will go away because WoW is “too big to fail”, there will never be real competition and “they will keep coming back”. But they aren’t coming back anymore. Not in the numbers they used to.

>The people making the spending choices know this. The new model for WoW is market the hell out of a expansion pack for a huge quarter then use 6 month lock ins to pad numbers for the quarters after that. Even if corona had not happened 9.1 still would have been dropping after the initial 6 month subs expired to “keep the chain holding”.

>The mood in the company is tense but also very much “its just a rough transition period”. Activision has been pushing hard for Blizzard to release more regular product and to generate more income per user. As far as i know this is going to be a transition over the next 5 years to a much larger mobile/tablet gaming focus. By all accounts not just WoW but Overwatch was intended to be the moneymaker in the interim but once again someone had the bright idea to kill a game casual players loved on the alter of e-sports hoping for another Brood War. From what i hear the “told you so’s” were loud and a lot of people walked beyond Kaplan.

>The sentiment that was shared quietly in private but being spoken more often is simply that the leadership at Blizzard are not bad people, nor incompetent people but people who had to fill seats left when the old guard jumped ship wether they were suited for it or not. Brack is a genuinely good man out of his depth, Ion is a fantastic raid designer put in charge of designing a virtual world he has no interest or real ideas for and so on. They have been taking form the roles they excel at to be put in positions where they get to do far less of that purely because there is nobody left with the experience to do so and the trickle down is a lack of concrete direction, ambition and focus.

>2021 has seen the playerbase, media and gaming at large “turn” on WoW to a degree i don’t think the leads in their “positivity dojo” bubble considered possible. Its gone from people going “This is how Blizz needs to fix WoW!” to “WoW is no longer salvageable, time for greener pastures” and i think on some level this was never considered as a possibility so there have never been any major plans beyond the usual “try and minimise player drop off by arranging releases around competitors launching updates/products”. The official forums being filled with talk of FFXIV and worse “why do we actually pay a sub?” hasn’t helped.

>There have been some testing the waters lately from certain higher ups if we can remove the line “No King Rules Forever”. Read into that what you will.

>There are still arguments going on about the Kael’thas Voice actor shitshow. I don’t know much about it but i know its heated, wouldn’t be the first time a knee jerk reaction only seemed to generate bad press. We lost a noticeable amount of pvp engagement after the Swifty thing.

>The Preach interview was treated as a disaster and there was talk of more strongly vetting interviewers for “bad actors” and only engaging with a list of questions Blizzard provides. Some pointed out that could just be used to create some form of Fireside Chat akin to the FFXIV “Live letters” but that fell on deaf ears.

>The two sentiments right now among the team are either “we really need a win” or “theres a dedicated cabal of internet trolls out to kill WoW”. Right now we are crunching hard to get 9.2 ready to wrap up the jailors storyline so we can get an expansion out early 2022. If that doesn’t happen there are talks of major shakeups coming down from Activision that have been threatened for a few years now. Its an all hands on deck feeling thats been around to some degree since the “Is this an out of season April Fools Joke” Blizzcon. A make or break deadline is coming closer and things like Diablo 4 were not planned before then. Blizzard needs a significant win not just in initial profit but consumer goodwill. Nobody likes working at what the public now seems to see as “the bad guy” of the mmo industry.

>This has also made new hires decline. Not significantly but the “you WANT Blizzard on your resume” line doesn’t seem to have the appeal it used to. This has lead to more hiring via friend of a friend, to some rumblings about nepotism, and people severely lacking in experience “because they get great twitter optics”.

>On the topic of Twitter we are not being told to “disengage” from it. Multiple employees like Nervig and Holisky publicly attacking paying customers because they got too heated and couldn’t keep quiet is bad press that could have been avoided. A email reminder has gone around more than once lately stating “if you are not customer relations you should not be representing the company to customers, especially if you cannot remain professional”.

>Lastly the biggest elephant in the room is “yo’ boy” Asmongold. The newer hires cannot stand him. They have used terms like “toxic masculinity” and “dogwhistles to dangerous males” while some of the oldest crowd still remaining have called him “based” or “telling it like it is” which has lead to friction to put it mildly. People are told not to talk about him and the recent FFXIV stuff only made it all worse. The idea that an outside element can have such an effect on the product genuinely upsets people. Like Zach is engaging in some malicious act of cyberwarfare. Many of us have point out the now famous quotes by Naoki Yoshida about understanding that players will drift and we need to make something worth coming back to because they want to but some people for lack of a better word see out customers -or “consumers” as they refer to them nowadays- as some kind of antagonistic relationship where the goal is not being an entertainer putting on a show for a crowd but some kind of game hunter trying to trap a large, profitable kill. I wish i could blame Activision but this is a sentiment from more of the younger crowd than the “tech boomers”. Which personal opinion is probably why so many folks like Metzen and Morheim left.

>Before you ask, yes the topic of “wokeness” has shown up in group talks. Its not all some grand sjw conspiracy, people really do want to feel welcome and represented. However the “we need everything veto’ed by people not working on it to see if its inoffensive and bland enough” rubs some of us the wrong way. Like anything in life you can take something too far and lose sight of the core ideals and with everything gone on since Blitzchung it feels like people are forming little factions to pull people in different directions to decide “What Blizzards identity is now” and how to appeal to new players. There has been some drop offs with “go woke go broke” as the only answer in the survey when unsubbing but honestly we are losing subs in unforseen numbers anyway and still making more money than ever through cash shop “heavy users” so it honestly doesn’t make an impact.

>All in all things are rough right now. Blizzard doesn’t have the love of the customers anymore, is no longer treated as an industry giant and while D4,D2R and Immortal aren’t going to kill Diablo even if they fail the sentiment for World of Warcraft and Overwatch 2 are a lot more tense and stressful. The phrase “it might be good to brush up on your mobile development portfolio if we get another underperformer” has been doing the rounds a lot. If Shadowlands continues its stark decline and Overwatch 2 is looking to underperform like its current projections suggest i think the Blizzard of a few years from now will be imitating King a lot more than trying to learn any lessons from Square Enix’s mmo division.

#random #video games #Blizzard #Activision #WoW #World of Warcraft #Diablo #Overwatch #Starcraft #Activision Blizzard

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moonlitceleste · 4 years

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I’m a warrior (now I’ve got thicker skin) Pt. 3

Part 1 Part 2 Part 3 Part 4 Part 5

When Bruce Wayne stumbled upon his kids watching a video of a black-haired, blue-eyed French girl in the Batcave, his adopting senses went off. haywire. beserk.

He stuck around to hear her close involvement with heroes and emotional stunted-ness, which only added to the feeling of must. adopt.

So naturally, he did the only thing he could and invited her (alongside her friends) to the Wayne Gala. Definitely no ulterior motives.

Unknown to Bruce, Tim had also invited her as MDC.

Anyways, the friends all showed up to the Gala looking ~fabulous~.

Marinette wore her hair half-up, with two braids connecting in the back and the rest down and wavy. The crystals woven through her hair matched the ones encrusted on her silver dress.

Chloe’s was golden yellow with a large skirt and discreet shimmering threads that made up a honeycomb pattern, to pay homage to Queen Bee

Kagami wore something more traditional, styled after a Japanese kimono. Among the flowers and red silk were golden dragons and the subtle symbols of water, wind, and lightning.

Adrien wore a simple single-breasted black suit with an emerald green tie.

Luka's was less formal; a deep turquoise suit alongside a turquoise tie the same shade as his hair.

Chloe would forever deny squealing when she saw the invitation, but none of them could help their excitement at the huge ballroom.

They arrived and chatted it up with various celebrities. They were surprised to see Jagged Stone, who was there because he was a good friend of Bruce Wayne.

The Waynes were surprisingly friendly and down-to-earth. It was safe to say that none of the kids in the group had good experiences with rich adults other than Jagged and Clara.

Marinette and Adrien thanked Bruce for his donation, and Dick and Tim freaked out when they realized she was MDC. Damian and Kagami made small talk about fencing while Chloe and Luka conversed with Jason.

But of course, the fun couldn’t last forever. Disaster struck in the form of the performer cancelling last-minute due to a family emergency.

Jagged lit up and saw this as an opportunity. “I know the perfect person for the job!”

The Waynes and the Miraculous Team all leaned forward curiously. “Who?”

“Marinette!”

“What?!”

She yelped at her name, but Jagged beamed and told them how her voice was “totally rockin’” and “what about that song you wrote that you and Blondie boy were singing last week?”

Bruce assured her that she didn’t have to, but her friends reminded her that all she needed was a bit of confidence. So she squashed her nerves and sucked it up.

Unbeknownst to her former classmates, Marinette was actually a good singer. She wasn’t a professional (in her opinion), but she had a sweet voice and could belt a few notes.

The song in question was one she wrote after Lila’s reign came to an end. She poured her emotions, her experiences, everything she felt during those three years into it. She hadn’t meant to actually turn it into a song, or to have Adrien accompany her on piano. But here she was, about to walk onstage and perform it in front of who knows how many influential people and a whole bunch of cameras.

She was introduced as “Marinette Dupain-Cheng, also known as MDC” who volunteered to fill in as a last-minute performer with an original song titled Warrior (Demi Lovato!).

She was visibly nervous as she walked onstage, but steeled herself. She was Ladybug. And once the first chords from Adrien started, she closed her eyes and let herself get lost in the music.

After her performance, a certain former assassin was a tad bit smitten and she went viral. again. As Marinette Dupain-Cheng, MDC, and for her emotional performance at the Wayne Gala. (So did the rest of her friends, for their stunning looks and Adrien’s piano skills.) And if they hadn’t before, people were starting to wonder just who Marinette Dupain-Cheng really was.

TAGLIST

@2confused-2doanything @abrx2002 @alenee13 @animegirlweeb @anonymously-odd @buginetye @catthhay @certifiedbidisaster @dreamykitty25 @ertyzeta @fishandnoodles *@how-to-function-properly @iamablinkmarvelarmy @ihavehomeworkbutistillhere @i-wanna-be-a-ninja @kris-pines04 @miracleofadisaster @momothefemur @nach0 @nathleigh *@our-preciousss @starpony999 @swiftie-miraculer13 @t1dwarrior-of-earth @thatonecroc @theg0ddesspersephone @thenillabean @thequeenofpotatoeunicornss @tired-butterfly @trippingovermyfeet @user00000003 @velvetterabby

#maribat #celestewrites #i'm a warrior #daminette #damianette #miraculous salt

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miracleonice87 · 4 years

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Begin Again

a Mathew Barzal song fic

a/n: a one shot based on “Begin Again” by Taylor Swift. obviously I don’t own any of Taylor Swift’s music/lyrics! I’m not even a big Swiftie anymore (edited: lol dying bc I wrote that before she released folklore and evermore and sucked me RIGHT back in) but I love her “Red” album and always listen to it in the fall. also, the NYC traffic/parking/location situation in this is purely fantasy BS, lol.

summary: Mat Barzal meets Hayden Parker (fictional) in a coffee shop, and they start something new.

warnings: swearing. talk of a concussion/migraines/weight loss — otherwise, complete and total fluff.

______

With a deep breath, you glanced at your reflection in the mirror hanging near your front door before you left your Brooklyn apartment. You hadn’t worn these heels for several seasons now — he hadn’t liked it when you wore high heels. You had let his opinions — on your clothes, shoes, music, books, movies, and friends — dictate how you lived for too long. You smirked now, admiring how the pointed-toe snakeskin stilettos looked paired with your raw cut black jeans and silky pink blouse. He would’ve hated this look (“too gaudy,” he would have said), which made you love it that much more.

You popped in one AirPod and flipped the inside lock on your door before pulling it closed. You made your way down the hall as the lyrics started to flow.

There is a young cowboy, he lives on the range

His horse and his cattle are his only companions...

You fought the urge to roll your eyes thinking about your former flame’s constant unwarranted comments about this classic ballad which often wafted through your apartment from the record player in the living room.

“I don’t get this song — like, is he singing to himself?” he would ask. You never bothered to tell him the real background and meaning — you loved the song, and you got it. You always had.

Emerging from the main entrance of your building, you hummed along to melodies from your favorite playlist, and walked the three or so blocks to your destination. Soon, you were stepping in from the bustle of the street to find solace in an only-slightly less busy coffee shop, one you had come to frequent because of its location — sandwiched within the six blocks between your apartment and the fashion magazine where you were interning this semester.

“Hi, one large double shot mocha, please?” you requested, stepping up after the man in front of you paid for his order. You tapped your AirPod to pause your music, just in time to hear: “Nice shoes.”

You lifted your head and glanced toward the pick-up section of the counter, where a classically handsome man in his twenties stood donning a well-tailored navy blue suit. Your heart lurched in your chest as you realized he was looking straight at you.

“Me?” you inquired softly, just to be sure, as you slipped your bank card back into your wallet. He nodded, smiling. “Yes, you. Nice shoes.”

You bit your lip involuntarily, slowly walking his way to wait on your coffee. “Thanks. You’ve got nice style yourself,” you complimented, and you were surprised by your own boldness in that moment. Something about his confidence made you confident, too. And something about his model good looks seemed unsettlingly familiar somehow.

He extended his hand as you took your position next to him. “I’m Mat,” he greeted. You couldn’t help but smile, nearly breathless from his innate charm.

“Hi, Mat,” you replied, engaging his handshake. “I’m Hayden.”

“Hayden. Pretty name for a pretty girl,” Mat mused, holding onto your hand for just a moment longer than was customary. You knew it was silly — God, was it silly — but you felt yourself blush at his flattery.

“Large Americano,” a barista called out. Mat stepped forward, thanking her and stuffing a bill — you couldn’t help but notice that it was a large one — into the tip jar atop the glass pastry display. He turned back to you as he unfastened the lid and blew gently on his coffee. Another thing you couldn’t help but notice — his perfect pink lips.

“So, Hayden, are you a native New Yorker?”

Hmm, you thought. Why isn’t he running for the door after getting his drink? You decided to play along, feeling more daring than you had in ages.

“I am not,” you confessed. “I’m from Maine, actually.”

“Ah, still an East Coast girl,” Mat remarked with a grin. “I’m from the West — near Vancouver.”

You arched your brows. “Wow, Canadian, huh?” Mat chuckled.

“Born and raised. You know what they say, though: opposites attract,” he commented, hazel eyes piercing into you even as he took a cautious sip from his cup. You studied his face — he seemed more familiar with each word he spoke.

“They do say that, don’t they?” you retorted, skirting his inference. Just then, the barista set your mocha on the counter.

“Thank you so much,” you said, also pushing a tip into the jar, thankful that Mat’s attention was on grabbing a cup sleeve from the island nearby instead of on the much smaller bills you had to offer the staff.

You turned toward the island, too, reaching for the cinnamon. Mat offered you a sleeve as if it was second nature, and you graciously accepted, trying to relax the muscles on your face that seemed to have permanently turned upward into a smile since you’d been in the man’s presence.

Suddenly, you gasped.

“Islanders,” you whispered under your breath as Mat watched you stir your cinnamon into your drink. He froze.

“What?” he asked with a nervous laugh, wondering if he had heard you correctly. Your eyes darted around, making sure no one within earshot was paying attention.

“You play for the Islanders. Right?” you asked softly. He nodded, silent, ducking his head a bit; you began to backpedal.

“Oh, God... I didn’t mean - I, uh... I promise I’m not like a hockey fangirl, or anything,” you choked out, cheeks flushed. Your hands started to shake slightly as you replaced the lid on your to-go cup. “I just, uh, my brother. My brother played hockey. He always talked about you, and, uh, I just realized that that’s why I recognized you.” You winced.

“This... this isn’t as weird as it sounds, I swear,” you insisted. “It’s just that, my brother played in the Q. He was good, and, uh, I knew about all the other good hockey players, because of him.”

Mat’s demeanor had quickly changed — from slightly uncomfortable to giddy. He was smirking at you while you sputtered, taking a sort of masochistic pleasure in watching you squirm. His grin was infectious.

“What’s your last name?” he asked when you finally stopped talking. “Parker,” you responded, the two of you stepping away from the island and taking up residence near the front windows of the cafe.

“Parker... Parker,” he repeated. You were distracted by how good your name sounded falling from his tongue. Then, he gasped, too.

“Oh shit, your brother’s Nick Parker? Damn, how’s he doing?”

Your brow quirked as you watched the light flicker on in his eyes when he pieced it together. A National Hockey League star recognized your brother’s name, your name. What the hell was happening?

You cleared your throat, attempting to come back into orbit. “Uh, yeah, he’s good now. He, uh... it was a battle there for a couple years. He had migraines every day for about 16 months... lost a lot of weight. It was... it was tough,” you told him, your voice lowering noticeably. Mat watched you carefully, concern written all over his striking features. It was evident that Mat knew your brother’s story.

Your older brother Nick had been a top 20 prospect in the Quebec Major Junior Hockey League as a teen, playing forward for the Halifax Mooseheads. But after a nasty late hit during a playoff game, he had been left with a debilitating concussion and, after a long period of unsuccessful rehab, had been forced to walk away from the game just as he was entering his prime.

Those troubling days hung like a thick, black fog over your family’s history, and you suddenly recalled being 15 again, cross-legged outside Nick’s bedroom door for hours, begging him to let you into the dark room to hold onto him as he cried, both because of the pain and because of the weight of his unrealized dreams. It had taken countless neurologist appointments, physical therapy, and your parents’ unwavering insistence that he regularly see a sports psychologist for him to return to some semblance of normalcy after a long road to recovery.

Now, minus the occasional treatable migraine, Nick was thriving. You beamed at the thought, your well-polished black nail picking at the corner of the cup sleeve on your mocha as you looked back to Mat and continued.

“But he’s finishing law school now, seeing a therapist and keeps himself in great shape, which helps. He’s getting married next summer to this great girl,” you finished, pride swelling in your chest at how far your brother had come. Mat’s eyebrows lifted, his worried expression morphing into elation.

“No shit!” he exclaimed. “Damn, I’m so happy for him. Tell you what, lotta guys wanted nothing to do with him when he was tearing it up. And we were all gutted for him after it happened.” You gave him a grateful smile.

“Thanks,” you said softly. “I’ll have to let him know you said that.” Mat nodded, then pressed on. “Maybe I’ll get the chance to tell him myself one day,” he added brazenly, casually taking another sip.

No response came to your brain, so you curled your fingers around your own cup and took a long draw, eyes darting to the activity outside the window, Mat’s never leaving your unsure face.

The church bells chiming from a nearby steeple were the only thing that could pull Mat’s gaze from you, as he checked his large-face Rolex. He seemed angered by the time staring back at him, and he ran his hand aggressively through his hair as his eyes rolled just slightly.

“Listen, Hayden, I hate to do this,” Mat began with a sigh. “But we’ve got a game in Pittsburgh tomorrow night, and the team plane leaves in like half an hour.”

You’re surprised by how deflated you feel in that instant, casting a downward glance at the shoes Mat had complimented only minutes ago, before you’d started feeling like maybe you’d known him your whole life.

A quiet, “Oh,” was all you could muster, still not meeting his eyes.

His hand then came to rest on your upper arm, and it’s only then that you noticed how big it was, long fingers curling easily around your bicep.

“But hey... I’ll be back late tomorrow night. Whaddya say we grab coffee here the next morning? Wednesday. Maybe 8?”

You turned your eyes upward to take in his face. He looked hopeful. He was hopeful that he’d see you again.

You nodded. “I’d love to, Mat. I’ll meet you here.”

Mat beamed, a relieved breath falling from his lips. “Good,” he commented. “I’ll see you then.” He leaned in and pressed a chaste kiss to your cheek, leaving you reeling when he pulled away.

“Bye, pretty Hayden,” Mat said with a wink before turning and exiting the coffee shop, walking down the block to the Cadillac he’d just unlocked. He was still in sight when he glanced over his shoulder and threw you another breathtaking grin. You smiled back, frozen in place as you watched him drive away.

_____

Mat was going to be late.

At least, that’s what you had convinced yourself at some point within the last 48 hours.

He was either going to be late or he was going to stand you up altogether. So even though you woke up at 5:30 and initially felt the need to rush through your routine to get down to the coffee shop as quickly as possible, you didn’t. You forced yourself to slow down. Because Mat was going to be late. Or, he wasn’t going to be there at all.

So you were surprised when, after throwing on a red chiffon dress with tiny white flowers and a cognac leather jacket, you walked through the coffee shop door at 8:02 and heard, “Hayden!”

Your head snapped up.

At a corner table in the back of the shop was Mat, dressed in a smart grey sweater and distressed black jeans, a silver chain looped around his neck, standing to wave you over with a broad smile across his face.

He came. And he’d arrived before you did.

You walked over to Mat and he embraced you warmly, the two of you exchanging kisses on the cheek. He squeezed your elbow affectionately as you stepped back from him.

“Oh, here. Let me,” Mat said as he pulled your chair out and motioned for you to sit.

“Thank you,” you said quietly, his chivalry catching you by surprise. Once you were seated, he pushed your chair in slightly before taking his place across the table from you.

“I got you a mocha,” he told you, nodding at the cup in front of you. “Double shot, right?”

You nodded. “You’re sweet. Thank you,” you said, the two of you beaming at each other for a moment, lost in a daze.

“So how was the game?” you inquired, pulling you both back to earth. Mat cleared his throat before answering you.

“It was good! We won. It’s usually a tough battle with them but we kinda dominated, which was nice for a change,” he spoke, looking pleased.

“You score?” you asked teasingly as you sipped from your cup.

“Uh, yeah, actually,” he told you with a nervous chuckle, scratching the back of his head. “Two goals and an assist.”

Your eyebrows lifted on your forehead. “Mat, that’s amazing! So my brother was right. You are good.”

Mat shook his head, trying to shrug you off.

“Ah, nah. I kinda think it had more to do with a good luck charm I met this week,” he remarked slyly. You licked your bottom lip before biting on it gently. Mat took notice, mirroring your motions as he stared at your lips.

“So, how’s work been this week?” It was Mat’s turn to deflect.

You told him how hectic it had been, with you arriving at the office around 9 and leaving at 6 on the day you’d first met, then departing after 7 yesterday, despite it being only a part-time internship in addition to the five classes you were taking online. He asked about your combination of on-campus and online learning throughout your college career in order to accommodate your dream internships, and he was already in awe of what a hard worker you were.

You pointed out that you weren’t the only one at the table with a crazy schedule, and you asked him how he balanced hockey with his personal life. He answered you easily, launching into stories about his teammates and his family and his friends who all kept him grounded in different ways. There was one name he kept bringing up — Tito. He told you that you’d have to meet him. Before you could hesitate, you said you’d like to. His visage brightened at that answer. He reminded you of sunshine.

He continued to regale you with a vast array of stories, stopping often to ask you questions and invite you to tell him stories of your own. It took a bit of time, but soon you were opening up about your own life — your parents’ recent and shocking divorce after 30 years of marriage, and your struggle with your grandmother’s death last fall.

It wasn’t all dark, though. In fact, most of it wasn’t. You also told him about the crazy theater actor roommate you’d had when you first moved into the city to study fashion at NYU, and how her frightening antics had eventually pushed you into accepting your uncle’s offer to pay for your own apartment in the city, as he was single and childless and had always delighted in spoiling you and your brother. You told him about your only two cousins on your dad’s side, two siblings bracketing you and your brother in age, and how the four of you were more like siblings than cousins. You told a slightly off-color joke at your own expense that most of your friends and coworkers would never laugh at, but it left Mat breathless, throwing his head back with boyish giggles flowing from his mouth like your favorite song. This caught you off-guard — you couldn’t believe he actually seemed to think you were funny. The last one certainly never did.

At some point, the conversation shifted to music. Mat’s jaw dropped when you told him that you own every James Taylor album on vinyl, after he told you that that’s one of his favorite artists of all time. He said he’s never met anyone who has as many James Taylor records as you. You simply shrugged. You explained that you and your mom have seen every tour James Taylor has been on since you were eleven and had started playing guitar. Mat’s eyes went wide — he told you that he dabbles in guitar, too.

After this, you quieted a bit. He noticed. It comes off to him as shyness, but you know what it really is. It’s fear. All at once you realize just how far you’ve let your guard down with this stranger. You’ve only just met this person, yet you have more in common with him than anyone you’ve encountered since moving into the city.

He sensed that something was off, so, in the silence, he reached a hand across the table and took yours in his grasp, stroking the back of it with his thumb. You looked into his mesmerizing eyes, and your hesitance melted.

After several more minutes of easy conversation, you check the time. You need to be at work in ten minutes.

“I’m sorry to be the one to break this up this time,” you started, and Mat sat back, looking understanding though disappointed. “But I’ve gotta get to work. Thankfully, it’s just right down the street.”

“Let me walk you,” Mat quickly insisted. You smirked at him, digging in your purse to find your office key.

“Didn’t you drive here?” you asked, chuckling. He simply shrugged. “Yeah, but if pretty Hayden works just down the street, I might as well walk her to the office and spend a few extra minutes with her,” he told you with a smug grin. You felt your cheeks get hot.

“Sounds good to me,” you admitted quietly. Mat nodded, then rose from his chair, reaching for his wallet to leave another tip.

“Thank you,” you said, putting your hand on his forearm tenderly. “For the coffee. For this.”

He smiled down at you. “You’re welcome,” he replied.

The two of you walked out the cafe door, which Mat pushed open even from behind you. You pointed in the direction of your office building and the two of you fell into step, side by side. Your heart leapt when Mat reaches for your hand. It felt unbelievably natural — which terrified you.

Your recent relationship history flashed through your brain all at once, like a film reel. Your brain screamed, “Slow down!” while your heart whispered, “Relax.” You weren’t sure which to believe. You opened your mouth to bring him up, to give a fair warning, to tell Mat that you might not be ready for... whatever this was.

Then, he started to talk about the movies that his family watches every single Christmas. You weren’t at all sure what had brought that subject to his mind — maybe your earlier questions about his younger sister back in Coquitlam — but you’re grateful for the diversion from your own messy mind. You decided to engage him on that topic instead, rather than bring up your last boyfriend who’d shattered you then walked away.

And for the first time in eight months, you decided to leave what’s past, in the past.

Like a pinball machine, Mat had already bounced to yet another new topic — his practice later this morning. As he finished a story about pranking Tito in the locker room after a skate last week, you bubbled over with giggles. He watched you with admiration and wonder coursing through his entire being. You eventually observed how he was gazing at you, and you sensed that he had something more important to say than his joke on his teammate.

“Hey, so, uh,” Mat started, clearing his throat. Your suspicion had been correct. “What are you doing tomorrow night, after work? We have a home game tomorrow at 7:30 and I, uh, I wanted to see if maybe... you wanted to go? I requested a ticket for you... just in case you want it. If you do... I was thinking maybe we could grab dinner after?”

The sentences Mat spoke seemed to be rolled into one giant question mark. His unwavering self-assurance had seemed to falter slightly for the first time since you’d met him, surprising you. You only needed a moment to consider your answer.

“I’d love to come watch you play,” you told him, wrapping your hands around his upper arm affectionately. You watched him exhale, a smile slowly overtaking his face.

“Thank God,” Mat breathed, making you both burst into hysterics as he leaned his head down to touch yours for a moment.

Bewilderment overcame you as you realized that you hadn’t felt this way about anyone in... you couldn’t even remember how long. You’d thought it might never happen again. That for you, this feeling might just be... gone.

You couldn’t believe that on a Wednesday, in a cafe, you’d watched it begin again.

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boldlyanxious · 4 years

Text

Remember When 18-Party

RW master list

Casual drug and alcohol use

She shouldn't be surprised when she heard boots land behind her not long after she left the grocery store. She groaned internally as she heard the familiar sound of his cape fluttering. The timing couldn't be better for such an inconvenience because her destination was her co-worker's party rather than home so he still wouldn't know the direction she lived in.

"Greetings, Disapproving Night Beast. I was just not thinking of you."

"We have things to discuss."

"I have nothing to say."

He took a step towards her. Her grocery bag made a crinkling sound as she gripped it tighter but she refused to be cowed. She left her feet planted and didn't break eye contact.

"You are getting information from somewhere. Tell me," he commanded.

From the look he gave her, he was not expecting her to laugh. It was very clear he expected her to yield to his demands for information. Possibly it would have been effective if she hadn't already given them all the information she had.

"This isn't a movie plot and I'm not a super spy. I've already told you everything I know."

"I will find a way to get you to tell me everything. So you aren't working for them anymore, but they would be interested to know more about you."

His step towards her along with his words felt much more menacing and she took a half step back to keep herself upright. Marinette hoped her eyes didn't betray her terror at his implication. She would certainly give him any information she had at that veiled threat but she knew nothing. He just seemed to refuse to accept that. Perhaps he disapproved of her being with Red Robin. Based on conversations she had heard Batman and his team had a varied past with the law and the media but currently they were celebrated by both. Perhaps this dark side of him was what had turned opinion in the past.

"When you have done that, what then? Will you feel any better when you finally realize that I never knew anything?"

She turned away and continued walking, not even turning when he promised to be back after she had a chance to think about it. She was shaking. She wasn't sure if it was anger or fear. She felt like crying. She wished she didn't think of Tim and how comforting it would be to have him wrap his arms around her but she knew he would be out patrolling just like Batman was.

She actually really hoped the party would distract her from thinking about it for a bit. If she thought too hard she would have all her things packed and be gone by morning.

---

Tim got home from patrol and he was actually in a pretty good mood. Finally everyone was getting along and working together. Patrol hadn't gone that well in a long time. They were able to find a few possible leads that sounded promising and even Batman seemed hopeful. Actually he had seemed to be in a better mood all night tonight. He allowed more personal chatter on the comms and even made a joke himself. Maybe Alfred gave him the good tea before patrol.

Tim hoped Marinette would be awake to chat. He had seen her three other times since they met again the previous weekend. Twice for coffee and once for a movie in an almost deserted theater so they could talk without disturbing others and she wouldn't feel trapped. He couldn't convince her to go on a real date or go back to one of their apartments. She thought all of them knowing where she worked was more than enough information.

He smiled to see that he had a message from her. He kicked his shoes off and sprawled across his couch before unlocking his phone, grinning the whole time. He bit his lip as he passed the notification and then bolted upright when he read it. His stomach knotted and his smile disappeared when he read her simple message.

I can't see you anymore. It was great while it lasted. <3 M

The time stamp was from 42 minutes ago. He called her phone. He knew she wouldn't pick up but he had to try. They had just talked this afternoon and everything was great. He knew she had been hanging out with coworkers tonight. He wondered if they had said something about him. He didn't tell her exactly who he was. He gave his name but he knew she didn't know exactly what that meant. But with her ability to see through masks knowing him would tell her the entire bat family. He tried calling one more time but texted when she refused the call.

Please talk to me.

---

Marinette wasn't entirely comfortable at the party. She had never really been to one like this. Last time she hung out with her co-workers they all sat around watching videos and drinking beer or wine. Arnold, the cook, followed her when she went for a refill. He had kissed her and she let him. But then at work things were really weird for a few days. First 2 days he avoided looking at her the rest of that week he talked loudly about his new girlfriend.

This party though was loud and crowded. She tried to not make her drinks strong but she found herself drinking nervously a lot. There were too many people she didn't know and a lot of them seemed to be using heliotrope. It reminded her of her experience and of Batman telling her he would tell them how to find her. She sent a message to Tim knowing it would leave him in the dark but perhaps would get Batman to leave her alone.

She was filling her drink when he called back. She watched the screen until it stopped buzzing. She used the nearest bottle and took a shot before ending the next incoming call. She knew there were people watching her probably curious why she was staring at her phone while it rang. She took another shot before she picked the phone back up and read the message. She looked over as one from the group watching her spoke.

"He isn't worth it. You should have some of this. It will help you feel better."

She shook her head at the offer of the heliotrope. She definitely didn't want that again. She held up the drink she had filled just before her phone rang.

"I still have to work in the morning. This will probably make that hard enough."

She walked over to join their group anyway. She didn't know anyone except her co-workers and they were all spread out. The girl who spoke to her made introductions to the rest of the group and Marinette introduced herself as Meg. The conversation was pretty basic. They talked about work and activities they liked but the girl, Ashley gestured back to them phone that Marinette had looked back at again.

"Is your boyfriend giving you trouble?"

"I don't think he's my boyfriend anymore."

There was a commotion from the other room followed by cheering. Ashley dragged her along as they headed over to see what was happening. Marinette wished she hadn't once she got there. One of the people at the party knew a supplier for heliotrope and they had called them over to bring some for the party goers. The first one who there were 3 who came in to travel around seeing who wanted to buy.

That would have been fine but one of Ashley's friends pushed her forward and announced she had never had any and was afraid to try it. There was lots of encouragement from the others to give it a shot. Even one of the other waitresses told her she would be fine for her shift tomorrow. Ashley suggested it might make her feel better after breaking up with her boyfriend. Her friend though had a different plan.

"Maybe you have an extra or two she could try. I bet she would really feel better then."

Marinette suspected he either wanted her to feel loopy or wanted to benefit from the free doses that she didn't want. She tried to decline but the dealer called over his boss. It all happened at once. She looked down at her phone to see a second message from Tim. Then she looked up and made eye contact with the man she knew was swat or former swat as her cup clattered to the floor with a splatter of liquid and half melted ice cubes.

Tags

#maribat #timinette #timari #boldlyanxious

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bananaofswifts · 5 years

Link

IT’S A SUNDAY AFTERNOON in Tribeca, and I’m in Taylor Swift’s loft, inside a former printing house that she has restored and fortified into a sanctuary of brick, velvet, and mahogany. The space is warm and cozy and vaguely literary—later, when we pass through her bedroom en route to her garden, 10 percent of my brain will believe her wardrobe might open up to Narnia. Barefoot in a wine-colored floral top and matching flowy pants, Swift is typing passwords into a laptop to show me the video for “You Need to Calm Down,” eight days before she unleashes it on the world. I have a sliver of an idea what to expect. A few weeks earlier, I spent a day at the video shoot, in a dusty field-slash-junkyard north of Los Angeles. Swift had made it a sort of Big Gay Candy Mountain trailer park, a Technicolor happy place. The cast and crew wore heart-shaped sunglasses—living, breathing lovey-eyes emoji—and a mailbox warned, LOVE LETTERS ONLY. Swift and a stream of costars filmed six scenes over about a dozen hours. The singer-songwriter Hayley Kiyoko, known to her fans as “Lesbian Jesus,” shot arrows at a bull’s-eye. The YouTube comedian-chef Hannah Hart danced alongside Dexter Mayfield, the plus-size male model and self-described “big boy in heels.” The Olympic figure skater Adam Rippon served up icy red snow cones. Swift and her close friend Todrick Hall, of Kinky Boots and RuPaul’s Drag Race, sipped tea with the cast of Queer Eye. The mood was joyous and laid-back. But by the end of the day, I wasn’t sure what the vignettes would add up to. There were shoot days and cameos I wouldn’t observe. For security reasons, the song was never played aloud. (The cast wore ear buds.) Even the hero shot, in which Swift and Hall sauntered arm in arm through the dreamscape at golden hour, was filmed in near-total silence. For weeks afterward, I tried to sleuth out a theory. I started casually. There was a “5” on the bull’s-eye, so I did a quick search to figure out what that number might mean. Immediately I was in over my head. Swift has a thing for symbols. I knew she had been embedding secret messages in liner notes and deploying metaphors as refrains since her self-titled debut in 2006—long before her megafame made her into a symbol of pop supremacy. But I hadn’t understood how coded and byzantine her body of work has become; I hadn’t learned, as Swift’s fans have, to see hidden meanings everywhere. For instance: In the 2017 video for “Look What You Made Me Do,” a headstone in a graveyard scene reads NILS SJOBERG, the pseudonym Swift used as her writing credit on Rihanna’s hit “This Is What You Came For,” a Swedish-sounding nod to that country’s pop wizards. After an excessive amount of ad hoc scholarship—a friend joked that I could have learned Mandarin in the time I spent trying to unpack Swift’s oeuvre—I was no closer to a theory. Pop music has become so layered and meta, but the Taylor Swift Universe stands apart. Apprehending it is like grasping quantum physics. My first indication of what her new album, Lover, would be about came just after midnight on June 1, the beginning of Pride Month, when Swift introduced a petition in support of the federal Equality Act. This legislation would amend the Civil Rights Act to outlaw discrimination based on gender identity and sexual orientation. (It has passed the House, but prospects in Mitch McConnell’s Senate are unclear.) Swift also posted a letter to Senator Lamar Alexander, Republican of Tennessee, asking him to vote yes. The request, on her personal letterhead (born in 1989. LOVES CATS.), denounced President Trump for not supporting the Equality Act. “I personally reject the president’s stance,” Swift wrote. Back in the kitchen, Swift hits play. “The first verse is about trolls and cancel culture,” she says. “The second verse is about homophobes and the people picketing outside our concerts. The third verse is about successful women being pitted against each other.” The video is, for erudite Swifties, a rich text. I had followed enough clues to correctly guess some of the other cameos—Ellen DeGeneres, RuPaul, Katy Perry. I felt the satisfaction of a gamer who successfully levels up—achievement unlocked! The video’s final frame sends viewers to Swift’s change.org petition in support of the Equality Act, which has acquired more than 400,000 signatures—including those of Cory Booker, Elizabeth Warren, Beto O’Rourke, and Kirsten Gillibrand—or four times the number required to elicit an official response from the White House. “Maybe a year or two ago, Todrick and I are in the car, and he asked me, What would you do if your son was gay?” We are upstairs in Swift’s secret garden, comfortably ensconced in a human-scale basket that is sort of shaped like a cocoon. Swift has brought up an ornate charcuterie board and is happily slathering triple-cream Brie onto sea-salt crackers. “The fact that he had to ask me … shocked me and made me realize that I had not made my position clear enough or loud enough,” she says. “If my son was gay, he’d be gay. I don’t understand the question.” I have pressed Swift on this topic, and her answers have been direct, not performative or scripted. I do sense that she enjoys talking to me about as much as she’d enjoy a root canal—but she’s unfailingly polite, and when we turn to music, her face will light up and she will add little melodic phrases to her speech, clearly her preferred language. “If he was thinking that, I can’t imagine what my fans in the LGBTQ community might be thinking,” she goes on. “It was kind of devastating to realize that I hadn’t been publicly clear about that.” I understand why she was surprised; she has been sending pro-LGBTQ signals since at least 2011. Many have been subtle, but none insignificant—especially for a young country star coming out of Nashville. In the video for her single “Mean” (from 2010’s Speak Now), we see a boy in a school locker room wearing a lavender sweater and bow tie, surrounded by football players. In “Welcome to New York,” the first track on 1989, she sings, “And you can want who you want. Boys and boys and girls and girls.” Two years later, she donated to a fund for the newly created Stonewall National Monument and presented Ruby Rose with a GLAAD Media Award. Every night of last year’s Reputation tour, she dedicated the song “Dress” to Loie Fuller, the openly gay pioneer of modern dance and theatrical lighting who captured the imagination of fin-de-siècle Paris. Swift, who has been criticized for keeping her politics to herself, first took an explicit stance a month before the 2018 midterms. On Instagram, she endorsed Democrats for the Tennessee Legislature and called out the Republican running for Senate, Marsha Blackburn. “She believes businesses have a right to refuse service to gay couples,” Swift wrote. “She also believes they should not have the right to marry. These are not MY Tennessee values.” Swift says the post was partly to help young fans understand that if they wanted to vote, they had to register. To tell them, as she puts it, “Hey, just so you know, you can’t just roll up.” Some 65,000 new voters registered in the first 24 hours after her post, according to Vote.org. Trump came to Blackburn’s defense the following day. “She’s a tremendous woman,” he told reporters. “I’m sure Taylor Swift doesn’t know anything about her. Let’s say I like Taylor’s music about 25 percent less now, OK?” In April, spurred by a raft of anti-LGBTQ bills in Tennessee, Swift donated $113,000 to the Tennessee Equality Project, which advocates for LGBTQ rights. “Horrendous,” she says of the legislation. “They don’t call it ‘Slate of Hate’ for nothing.” Swift especially liked that the Tennessee Equality Project had organized a petition of faith leaders in opposition. “I loved how smart it was to come at it from a religious perspective.” Meanwhile, the “Calm Down” video provoked a Colorado pastor to call Swift “a sinner in desperate need of a savior” and warn that “God will cut her down.” It also revived heated debate within LGBTQ communities about the politics of allyship and corporatization of Pride. Some critics argued Swift’s pro-LGBTQ imagery and lyrics were overdue and out of the blue—a reaction the new Swift scholar in me found bewildering. Had they not been paying attention? Nor did it strike me as out of character for Swift to leverage her power for a cause. She pulled her catalog from Spotify in 2014 over questions of artist compensation. She stared down Apple in 2015, when the company said it would not pay artists during the launch of its music service. (Apple reversed itself immediately.) As a condition of her record deal with Universal Music Group last year, the company promised that it would distribute proceeds from any sale of its Spotify shares to all of its artists. And this summer, Swift furiously called out Scott Borchetta, founder of Big Machine Label Group, for selling her master recordings to the music manager Scooter Braun. (When I ask Swift if she tried to get her masters from Big Machine, her whole body slumps with a palpable heaviness. “It was either investing in my past or my and other artists’ future, and I chose the future,” she says of the deal she struck with Universal.) Swift’s blunt testimony during her 2017 sexual-assault case against a radio DJ—months before the #MeToo reckoning blew open—felt deeply political to me and, I imagine, many other women. Swift accused the DJ, David Mueller, of groping her under her skirt at a photo session in 2013. Her camp reported the incident to his employer, who fired him. Mueller denied the allegation, sued Swift for $3 million, and his case was thrown out. Swift countersued for a symbolic $1 and won. In a Colorado courtroom, Swift described the incident: “He stayed latched onto my bare ass cheek” as photos were being snapped. Asked why photos of the front of her skirt didn’t show this, she said, “Because my ass is located at the back of my body.” Asked if she felt bad about the DJ’s losing his job, she said, “I’m not going to let you or your client make me feel in any way that this is my fault. Here we are years later, and I’m being blamed for the unfortunate events of his life that are the product of his decisions—not mine.” When Time included Swift on the cover of its “Silence Breakers” issue that year, the magazine asked how she felt during the testimony. “I was angry,” she said. “In that moment, I decided to forgo any courtroom formalities and just answer the questions the way it happened…I’m told it was the most amount of times the word ass has ever been said in Colorado Federal Court.” Mueller has since paid Swift the dollar—with a Sacagawea coin. “He was trolling me, implying that I was self-righteous and hell-bent on angry, vengeful feminism. That’s what I’m inferring from him giving me a Sacagawea coin,” Swift says. “Hey, maybe he was trying to do it in honor of a powerful Native American woman. I didn’t ask.” Where is the coin now? “My lawyer has it.” I ask her, why get louder about LGBTQ rights now? “Rights are being stripped from basically everyone who isn’t a straight white cisgender male,” she says. “I didn’t realize until recently that I could advocate for a community that I’m not a part of. It’s hard to know how to do that without being so fearful of making a mistake that you just freeze. Because my mistakes are very loud. When I make a mistake, it echoes through the canyons of the world. It’s clickbait, and it’s a part of my life story, and it’s a part of my career arc.” I’d argue that no heterosexual woman can listen to “You Need to Calm Down” and hear only a gay anthem. “Calm down” is what controlling men tell women who are angry, contrary, or “hysterical,” or, let’s say, fearing for their physical safety. It is what Panic! at the Disco singer Brendon Urie says to Swift in the beginning of the “ME!” music video, prompting her to scream, “Je suis calme!” I cannot believe it is a coincidence that Swift, a numbers geek with an affinity for dates, dropped the single—whose slow, incessant bass is likely to be bumping in stadiums across the world in 2020 if she goes on tour—on June 14, a certain president’s birthday. It’s enlightening to read 13 years of Taylor Swift coverage—all the big reviews, all the big profiles—in one sitting. You notice things. How quickly Swift went from a “prodigy” (The New Yorker) and a “songwriting savant” (Rolling Stone) to a tabloid fixture, for instance. Or how suspect her ambition is made to seem once she acquires real power. Other plot points simply look different in the light of #MeToo. It is hard to imagine that Swift’s songs about her exes would be reviewed as sensationally today. I wonder if, in 2019, any man would dare grab the microphone out of a young woman’s hands at an awards show. I stared into space for a good long while when I was reminded that Pitchfork did not review Taylor Swift’s 1989 but did review Ryan Adams’s cover album of Taylor Swift’s 1989. I ask Swift if she had always been aware of sexism. “I think about this a lot,” she says. “When I was a teenager, I would hear people talk about sexism in the music industry, and I’d be like, I don’t see it. I don’t understand. Then I realized that was because I was a kid. Men in the industry saw me as a kid. I was a lanky, scrawny, overexcited young girl who reminded them more of their little niece or their daughter than a successful woman in business or a colleague. The second I became a woman, in people’s perception, was when I started seeing it. “It’s fine to infantilize a girl’s success and say, How cute that she’s having some hit songs,” she goes on. “How cute that she’s writing songs. But the second it becomes formidable? As soon as I started playing stadiums—when I started to look like a woman—that wasn’t as cool anymore. It was when I started to have songs from Red come out and cross over, like ‘I Knew You Were Trouble’ and ‘We Are Never Ever Getting Back Together.’ ” Those songs are also more assertive than the ones that came before, I say. “Yeah, the angle was different when I started saying, I knew you were trouble when you walked in. Basically, you emotionally manipulated me and I didn’t love it. That wasn’t fun for me.” I have to wonder if having her songwriting overlooked as her hits were picked apart and scrutinized wasn’t the biggest bummer of all. Swift: “I wanted to say to people, You realize writing songs is an art and a craft and not, like, an easy thing to do? Or to do well? People would act like it was a weapon I was using. Like a cheap dirty trick. Be careful, bro, she’ll write a song about you. Don’t stand near her. First of all, that’s not how it works. Second of all, find me a time when they say that about a male artist: Be careful, girl, he’ll use his experience with you to get—God forbid—inspiration to make art.” Without question the tenor of the Taylor Swift Narrative changed most dramatically in July 2016, when Kim Kardashian West called her a “snake” on Twitter, and released video clips of Swift and Kanye West discussing the lyrics to his song “Famous.” (No need to rehash the details here. Suffice it to say that Swift’s version of events hasn’t changed: She knew about some of the lyrics but not others; specifically, the words that bitch.) The posts sparked several hashtags, including #TaylorSwiftIsASnake and #TaylorSwiftIsCanceled, which quickly escalated into a months-long campaign to “cancel” Swift. To this day Swift doesn’t think people grasp the repercussions of that term. “A mass public shaming, with millions of people saying you are quote-unquote canceled, is a very isolating experience,” she says. “I don’t think there are that many people who can actually understand what it’s like to have millions of people hate you very loudly.” She adds: “When you say someone is canceled, it’s not a TV show. It’s a human being. You’re sending mass amounts of messaging to this person to either shut up, disappear, or it could also be perceived as, Kill yourself.” I get a sense of the whiplash Swift experienced when I notice that, a few months into this ordeal, while she was writing the songs that an interpolation of a ’90s camp classic, Right Said Fred’s “I’m Too Sexy.”) Nonetheless, most critics read it as a grenade lobbed in the general direction of Calabasas. One longtime Nashville critic, Brian Mansfield, had a more plausible take: She was writing sarcastically as the “Taylor Swift” portrayed in the media in a bid for privacy. “Yeah, this is the character you created for me, let me just hide behind it,” she says now of the persona she created. “I always used this metaphor when I was younger. I’d say that with every reinvention, I never wanted to tear down my house. ’Cause I built this house. This house being, metaphorically, my body of work, my songwriting, my music, my catalog, my library. I just wanted to redecorate. I think a lot of people, with Reputation, would have perceived that I had torn down the house. Actually, I just built a bunker around it.” In March, the snakes started to morph into butterflies, the vampire color palette into Easter pastels. When a superbloom of wildflowers lured a mesmerizing deluge of Painted Lady butterflies to Los Angeles, Swift marked it with an Instagram post. She attended the iHeartRadio Music Awards that night in a sequin romper and stilettos with shimmery wings attached. Swift announced the single “ME!” a month later, with a large butterfly mural in Nashville. In the music video for the (conspicuously) bubblegum song, a hissing pastel-pink snake explodes into a kaleidoscope of butterflies. One flutters by the window of an apartment, where Swift is arguing in French with Urie. A record player is playing in the background. “It’s an old-timey, 1940s-sounding instrumental version of ‘You Need to Calm Down,’ ’’ Swift says. Later, in the “Calm Down” video, Swift wears a (fake) back tattoo of a snake swarmed by butterflies. We are only two songs in, people. Lover, to be released on August 23, will have a total of 18 songs. “I was compiling ideas for a very long time,” Swift says. “When I started writing, I couldn’t stop.” (We can assume the British actor Joe Alwyn, with whom Swift has been in a relationship for nearly three years, provided some of the inspiration.) Swift thinks Lover might be her favorite album yet. “There are so many ways in which this album feels like a new beginning,” she says. “This album is really a love letter to love, in all of its maddening, passionate, exciting, enchanting, horrific, tragic, wonderful glory.” I have to ask Swift, given how genuinely at peace she seems, if part of her isn’t thankful, if not for the Great Cancellation of 2016, then for the person she now is—knowing who her friends are, knowing what’s what. “When you’re going through loss or embarrassment or shame, it’s a grieving process with so many micro emotions in a day. One of the reasons why I didn’t do interviews for Reputation was that I couldn’t figure out how I felt hour to hour. Sometimes I felt like: All these things taught me something that I never could have learned in a way that didn’t hurt as much. Five minutes later, I’d feel like: That was horrible. Why did that have to happen? What am I supposed to take from this other than mass amounts of humiliation? And then five minutes later I’d think: I think I might be happier than I’ve ever been.” She goes on: “It’s so strange trying to be self-aware when you’ve been cast as this always smiling, always happy ‘America’s sweetheart’ thing, and then having that taken away and realizing that it’s actually a great thing that it was taken away, because that’s extremely limiting.” Swift leans back in the cocoon and smiles: “We’re not going to go straight to gratitude with it. Ever. But we’re going to find positive aspects to it. We’re never going to write a thank-you note.” Though people will take the Perry-Swift burger-and-fries embrace in the “You Need to Calm Down” video as a press release that the two have mended fences, Swift says it’s actually a comment on how the media pits female pop stars against one another. After Perry sent Swift an (actual) olive branch last year, Swift asked her to be in the video: “She wrote back, This makes me so emotional. I’m so up for this. I want us to be that example. But let’s spend some time together. Because I want it to be real. So she came over and we talked for hours. “We decided the metaphor for what happens in the media,” Swift explains, “is they pick two people and it’s like they’re pouring gasoline all over the floor. All that needs to happen is one false move, one false word, one misunderstanding, and a match is lit and dropped. That’s what happened with us. It was: Who’s better? Katy or Taylor? Katy or Taylor? Katy or Taylor? Katy or Taylor? The tension is so high that it becomes impossible for you to not think that the other person has something against you.“ Meanwhile, the protesters in the video reference a real-life religious group that pickets outside Swift’s concerts, not the white working class in general, as some have assumed. “So many artists have them at their shows, and it’s such a confounding, confusing, infuriating thing to have outside of joyful concerts,” she tells me. “Obviously I don’t want to mention the actual entity, because they would get excited about that. Giving them press is not on my list of priorities.” At one point, Swift asks if I would like to hear two other songs off the new album. (Duh.) First she plays “Lover,” the title track, coproduced by Jack Antonoff. “This has one of my favorite bridges,” she says. “I love a bridge, and I was really able to go to Bridge City.” It’s a romantic, haunting, waltzy, singer-songwritery nugget: classic Swift. “My heart’s been borrowed and yours has been blue,” she sings. “All’s well that ends well to end up with you.” Next, Swift cues up a track that “plays with the idea of perception.” She has often wondered how she would be written and spoken about if she were a man, “so I wrote a song called ‘The Man.’ ” It’s a thought experiment of sorts: “If I had made all the same choices, all the same mistakes, all the same accomplishments, how would it read?” Seconds later, Swift’s earpods are pumping a synth-pop earworm into my head: “I’d be a fearless leader. I’d be an alpha type. When everyone believes ya: What’s that like?” Swift wrote the first two singles with Joel Little, best known as one of Lorde’s go-to producers. (“From a pop-songwriting point of view, she’s the pinnacle,” Little says of Swift.) The album is likely to include more marquee names. A portrait of the Dixie Chicks in the background of the “ME!” video almost certainly portends a collaboration. If fans are correctly reading a button affixed to her denim jacket in a recent magazine cover, we can expect one with Drake, too. Lover. “We met at one of her shows,” says McCartney, “and then we had a girls’ night and kind of jumped straight in. In London we’ll go on walks and talk about everything—life and love.” (Swift has no further fashion ambitions at the moment. “I really love my job right now,” she tells me. “My focus is on music.”) Oh, and that “5” on the bullseye? Track five is called “The Archer.” Yet something tells me the most illuminating clue for reading both Lover and Reputationmay be Loie Fuller, the dancer to whom Swift paid homage on tour. As Swift noted on a Jumbotron, Fuller “fought for artists to own their work.” Fuller also used swirling fabric and colored lights to metamorphose onstage, playing a “hide-and-seek illusionist game” with her audience, as one writer has put it. She became a muse to the Symbolists in Paris, where Jean Cocteau wrote that she created “the phantom of an era.” The effect, said the poet Stéphane Mallarmé, was a “dizziness of soul made visible by an artifice.” Fuller’s most famous piece was “Serpentine Dance.” Another was “Butterfly Dance.” Swift has had almost no downtime since late 2017, but what little she does have is divided among New York, Nashville, Los Angeles, and Rhode Island, where she keeps homes—plus London. In an essay earlier this year, she revealed that her mother, Andrea Swift, is fighting cancer for a second time. “There was a relapse that happened,” Swift says, declining to go into detail. “It’s something that my family is going through.” Later this year, she will star in a film adaptation of Andrew Lloyd Webber’s Cats as Bombalurina, the flirtatious red cat. “They made us the size of cats by making the furniture bigger,” she says. “You’d be standing there and you could barely reach the seat of a chair. It was phenomenal. It made you feel like a little kid.” But first, she will spend much of the summer holding “secret sessions”—a tradition wherein Swift invites hundreds of fans to her various homes to preview her new music. “They’ve never given me a reason to stop doing it,” she says. “Not a single one.” Speaking of: Inquiring fans will want to know if Swift dropped any more clues about how to decode Lover during this interview. For you I reviewed the audio again, and there were a few things that made my newly acquired Swifty sense tingle. At one point she compared superstardom in the digital age to life in a dollhouse, one where voyeurs “can ‘ship’ you with who they want to ‘ship’ you with, and they can ‘favorite’ friends that you have, and they can know where you are all the time.” The metaphor was precise and vivid and, well, a little too intricately rendered to be off the cuff. (Also, the “ME!” lyric: “Baby doll, when it comes to a lover. I promise that you’ll never find another like me.”) Then there was the balloon—a giant gold balloon in the shape of a numeral seven that happened to float by while we were on her roof, on this, the occasion of her seventh album. “Is it an L’?” I say. “No, because look, the string is hanging from the bottom,” she says. It might seem an obvious symbolic gesture, deployed for this interview, except for how impossible that seems. Swift let me control the timing of nearly everything. Moreover, the gold seven wasn’t floating up from the sidewalk below. It was already high in the sky, drifting slowly toward us from down the street. She would have had to control the wind, or at least to have studied it. Would Taylor Swift really go to such elaborate lengths for her fans? This much I know: Yes, she would.

#taylor swift #vogue #article

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mandaloriangf · 4 years

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hey if you watch taylor swift's documentary miss americana, she talks a lot about how she was always praised when she was younger for being the "ideal celebrity" because she never brought up politics or anything. she was also influenced by her childhood heroes, the dixie chicks, being blacklisted completely when they criticized bush, and she was terrified of the same thing happening to her. she was under a lot of pressure from the media to be "a good girl" and stay quiet (1/?)

her first time speaking up politically was during the 2018 midterms, where she openly supported one candidate over another and encouraged people to register to vote, which increased voter registration by a huge amount. she made the post because the other candidate was openly homophobic, racist and misogynist, and she couldn't handle not speaking up. there's a scene in the documentary where her dad, and a bunch of her producers, record label, etc. are strongly telling her not to make the post (2)

but she says she has to go through with it and argues about it with them. they're worried she could lose a lot of fans and that it could be a major safety issue for her (since she already has huge issues with people breaking into her houses or stalking her). she answers that the candidate she is opposing wants to repeal protections for women against stalking and abuse and stuff like that, and that she has to take a stand. (3/?)

with 'you need to calm down' she was criticized a lot for being 'performative' but the reason she did it is she thought she had already been pretty open about being accepting of the lgbtq+ community, but her really good friend todrick hall was TERRIFIED to come out to her because he didn't know what her reaction would be, and she realized she needed to make a bigger statement if one of her close friends was completely unaware of her position on the matter. (4/?)

todrick helped her direct the music video, and she asked a lot of members of the lgbtq+ community if what she was doing was ok, and asked for their opinions on the song and music video to make sure she was being an ally and not overstepping. she also got as many lgbtq+ people in the music video as possible, purposefully collabed with brendan urie and spotlighted lesser known lgbtq+ artists. she also hand selected the drag queens in the music video and they were all shocked she knew who they were

anyways I know you don't like taylor and I'm not trying change that or excuse her actions - she definitely could have done more, sooner. I'm just trying to explain why she didn't speak up sooner and why she realized she had to. on social media, she's also been taking care to spotlight lesser known female poc and lgbtq+ artists that she loves and has really just been making an effort to be an ally in every way possible. she's definitely not perfect, but she's trying! (last one I swear lol)

She’s never claimed to be an activist & imo that’s an odd expectation to put on her. she’s a musician first and occasionally talks about politics on the side just like most celebrities? Not saying she’s above criticism but she faces uncommonly intense scrutiny compared to other people at her level of fame. People make absurd claims abt her with NO evidence and it becomes gospel among people who hated her to begin with. I’m not trying to be rude but the biases against her deserve critical thought

for the record im coming at this as a former swiftie, so this is not me irrationally hating on her

i haven’t seen the documentary since i dont have netflix and also haven’t been a fan in a long time, but i have seen the scene you talked about since it was going around on twitter months ago. the general consensus was that it was highly staged (most likely, given the nature of the documentary) and also dripping with privilege.

my issue with her isn’t that she was unproblematic but silent, but that she was notoriously problematic AND silent. i’d argue that the first time she really became political was in 2014 when she began to embrace feminism coincidentally as the 1989 era began, but the problem was that she still didnt seem to grasp what it actually was, given that she paraded around a group of women she stopped hanging out with like a year later and used them to tear down katy perry in the bad blood video.

like, i understand her being young and afraid to stand up for something when her career was first beginning. but after years and years and years, especially by the time she was willing to stand up to misogynistic men in 2014 and beyond, she still didn’t really do much else, you know? and a lot of it always seemed to center around her.

but anyway, with you need to calm down, todd in the shadows made an excellent video about it here. maybe im biased because im critical of her work regardless, but as a bi woman, i found the song and video insulting and condescending. shade never made anybody less gay is easily one of her worst if not the worst line she’s ever written. she conflates her internet haters with violent homophobes and then ends the video with her ending the feud with katy yet it was released during pride and meant to be some sort of anthem when born this way came out in 2011 and, while undeniably flawed, did a much better job of getting the point across. taylor’s contemporaries have been saying the same stuff, but like, 10+ years earlier.

i guess for me, im just really tired of people praising her for doing this that others have done for much, much longer. im fine with her making a post like she did for the midterms, it felt genuine! but other stuff like you need to calm down comes off as patronizing and that scene from the documentary feels like it tries to position her as this almost like katniss figure which is just....tone deaf considering people like the ferguson protesters have been murdered for years. but thats all just me.

#ask amanda #long post #anonymous

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ts1989fanatic · 5 years

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TS7 is finally here!

If you’re like me or any of the millions of Swifties out there, the arrival of this next era is just as exciting as a brand-new bookshelf full of reads you get to experience for the first time.

After listening to the album on repeat all weekend, I decided to celebrate Lover with a book roundup inspired by each of the songs (since it’s the only thing I’ll be listening to for the foreseeable future, don’t @ me.).

ts1989fanatic an interesting perspective well written obviously a swiftie.

1. “I Forgot That You Existed” (Best Friends Forever, by Jennifer Weiner)

You heard it from Taylor first: indifference is the new vengeance. This solid album-opener is upbeat and poppy, a nice contrast with the lyrics about the (final?) end of a broken relationship, friendship (or feud), when you actually forget that the person you once had so much ire for still lives. She transitions from “Your name on my lips, tongue-tied/Free rent, living in my mind” to “forgot that you existed/and I thought that it would kill me, but it didn’t” with ease. But of course, insisting that you forget someone existed while singing about them would introduce interesting tension into any relationship. It reminded me of Jennifer Weiner’s Best Friends Forever, about what happens when a former friend shows up on your doorstep in a crisis, insisting you’re the only one who can help them out of a tight spot (when you’d rather do anything but).

2. “Cruel Summer” (Do You Want to Start a Scandal, by Tessa Dare)

Lyrically and sonically, this is one of my favorites on the entire album (it’s so good it should have been a single!) It’s got an Out of the Woods meets Getaway Car vibe in terms of the melody. Wistful, a bit haunting, but also a total bop. “So cut the headlights, summer’s a knife/I’m always waiting for you just to cut to the bone” describes a low point in Swift’s life (Summer 2016, ugh), juxtaposed with the high of discovering new love. There are so many books I could have picked for this, but “I don’t want to keep secrets just to keep you” reminded me of the Regency romance trope where the heroine has a secret, or finds herself in a situation where her reputation is at stake, but is still tempted by a handsome rogue who might lead her into temptation and true love. (Sound a bit familiar?) Do You Want to Start a Scandal by Tessa Dare feels like the perfect accompaniment to this song about a woman who must prove her innocence in the face of a sullied reputation or be forced to marry a man she doesn’t think she could ever love.

3. “Lover” (Roomies, by Christina Lauren)

The title track (and the one I’ve been singing in the shower for days) is a swoony daydream of a couple in complete harmony, as Swift spins wedding vow-like lyrics such as “With every guitar string scar on my hand/I take this magnetic force of a man to be my…lover/My heart’s been borrowed and yours has been blue/all’s well that end’s well to end up with you/swear to be overdramatic and true/to my…lover.” But Swift is all about balance in her songs, so imagery of keeping up the Christmas lights in “our place” is juxtaposed with suspicion that “everyone who sees you wants you.” This track reminded me of Roomies by Christina Lauren, with its musician main character and the trope of having to share a space while inevitably falling in love.

4. “The Man” (The Whisper Network, by Chandler Baker)

The double-standards between men and women have been explored in songs and novels since both art forms existed. Swift has already confronted the media’s perception of her as a victim, as a girl who goes on too many dates but can’t make them stay, etc. But in “The Man”, she more directly confronts how different she’d be treated if she were the opposite gender. How could I not think of the new thriller The Whisper Network, about a group of women who come forward about their male boss’ behavior of harassment in the workplace. Instead of continuing to suffer in silence, they tell the truth, resulting in an explosive conflict. I sort of saw the ending coming, but was very glad I was right.

5. “The Archer” (Pride and Prejudice, by Jane Austen)

Another slower, lyric-driven track on the album with gut-punching truths about love, friendship, and holding on to the one who has your heart. “The Archer” is associated with being a Sagittarius (which Swift is), but also her dynamic with the world. “Who could ever leave me, darling?/But who could stay?” is self-aware in a new way for Swift, as is “I never grew up, it’s getting so old” or “I see right through me.” This is one of my favorite tracks on the album, as Swift confronts her cultivated image as both archer and prey of fame and of love. Listening to the rising energy of the track as it builds to a anti-fairy-tale crescendo plus Swift’s lyrics made me think of Pride and Prejudice: Elizabeth Bennet is forced to acknowledge how her own prejudices have made it difficult for others to love her, but that she is deserving of an imperfect love. (And how could “All of my enemies started out friends” not remind you of awful Mr. Wickham?)

6. “I Think He Knows” (The Duke and I, by Julia Quinn)

After a slower song, this heats things up a bit, describing the early sizzle of a relationship before it even starts. For an entire album that sings the praises of a man, I liked the moment in the pre-chorus where she says “He’s so obsessed with me, and boy, I understand.” Own your worth, girl! The bridge was my favorite part of this song (as it often is with Swift; girl knows how to bridge) as it played with tempo and rhyme. “Lyrical smile, indigo eyes, hand on my thigh/We can follow the sparks, I’ll drive.” Swift explores the tension of the moment between seeing someone and initiating contact—songs like these always sting with a bit of danger, too, because the man knows she wants him but neither of them say anything in public about it. She’s whispering in the dark, which gives me serious secret romance vibes. The Duke and I by Julia Quinn is about Simon, who is planning to propose to his BFF’s sister even though he doesn’t actually love her. It’s an arrangement that suits them both, but before they both know it, Daphne is giving Simon serious “I Think he Knows” vibes.

7. “Miss Americana & the Heartbreak Prince” (The Cheerleaders, by Kara Thomas)

If you don’t get the oft-spoken adage that “politics is like high-school,” this song takes the metaphor to the next level. Subtly political but 100% heartbreaking, Swift reimagines the political sphere (and her role in it) as a high school romance, moving from “American glory, faded before me,” painting the democratic 2016 election loss as a ripped-up prom dress (from Miss Americana, who assumed she would win.) Oozing drama and storytelling the way only Swift can, I love the moody elements of the brokenhearted girl contrasted with the new riff on a cheerleading chant (Go Fight Win!). This song is about mourning loss and then finding the strength to say “I know we’re going to win,” but it’s haunting melody and lyrics led me to pick a Cheerleader-inspired thriller. The Cheerleaders is about a string of cheerleaders murdered in a small town five years ago… and just when everyone thinks it’s time to move on, one girl becomes the center of a mystery that never truly died.

8. “Paper Rings” (The Royal We, by Heather Cocks and Jessica Morgan)

I’m on my fourth listen of the album and this might be my favorite track on it (though that changes minute by minute, with an album as dynamic as this—just to further accentuate the point, by the time of posting this piece, my new favorite might be I Think He Knows?). It’s a totally retro, ’60s style song—a totally fresh sound for Swift, and one that fits perfectly with her new aesthetic. (Makes me wonder why this wasn’t one of the singles released before the record.) It is a gold-mine for Swiftian lyricism, with so many gems I can’t possibly call them all out, and it moves so fast (like a good read) that you both want to cascade over them and pause to hear each line at least 5x before it passes you by. It’s an unabashed love song, relishing in the joy of knowing you’re with the one you love so much that “I like shiny things, but I’d marry you with paper rings”. The line that stuck out the most was “I hate accidents except when we went from friends to this,” which made me think of when Bex Porter goes to Oxford in The Royal We and, completely by accident, falls in love with the heir to the throne.

9. “Cornelia Street” (Passion on Park Avenue, by Lauren Layne)

“Cornelia Street” is sort of the antithesis to I Think He knows. It’s about remembering the early days of a new relationship (“We were a fresh page on the desk/filling in the blanks as we go”) and being more than willing to give up all the good that comes with fresh starts in order to settle into something real. It aches with melancholy, because any time we give something up should be a little sad—but it brims with hope and Swift’s trademarked optimism about love. “I hope I never lose you, hope it never ends/I’d never walk Cornelia Street again/ That’s the kinda heartbreak time could never mend.” I had to pick an NYC-set story for this, like Lauren Layne’s Passion on Park Avenue. The city is another character in the romance between a successful jewelry-business owner and the son of the woman her mother used to work for.

10. “Death By a Thousand Cuts” (Please Don’t Go Before I Get Better, by Madisen Kuhn)

Inspired by the Netflix movie Something Great, this is one of the few sad songs on the record, about a girl going through a breakup who can’t help but linger in happier memories. (For the record: “I dress to kill my time” is genius, as are so many of these lyrics.) Only Swift is so good at pairing such devastating messaging with a pop beat you can’t help but want to sing. This song was the hardest one to pick a book for (especially because it’s already inspired by a movie) so I decided to go with a poetry collection! Please Don’t Go Before I Get Better is all about the aches and sun rays of growing up, told in a staggeringly relatable voice that will make you want to curl up on the couch and cry your eyes out.

11. “London Boy” (Red, White and Royal Blue, by Casey McQuiston)

This is 100% about Joe Alwyn, but also… Taylor dated at least two Brits that we know of before him, so this song is also about what we already knew (“the rumors are true”): she has a penchant for London Boys. Essentially a road map of her favorite places in the city, this indulgent ditty trades “Tennessee Whiskey” for “A gray sky, a rainy cab ride” and of course, her man by her side. Red, White, and Royal Blue is the perfect pick for this song, about two boys who fall in love (after a rough start where they were almost enemies) amidst those gray, rainy skies… but one of them happens to be the son of an American President, and the other, the current Prince of England.

12. “Soon You’ll Get Better (feat. Dixie Chicks)” (Swamplandia! by Karen Russell)

Of all the songs on the album, this one gave me the most vintage Swift vibes. There’s no denying that she is an astonishingly talented songwriter, especially when you listen to what is essentially her greatest fear laid bare on this track with just a bit of guitar and the Dixie Chicks harmonizing in the background. Here, the story shines: Swift’s mother has been sick for a number of years, and while they’ve mostly kept the details of that battle private, this is the most vulnerable moment of love for her mother on an album mostly about finding true love. “Holy orange bottles, each night I pray to you/Desperate people find faith, so now I pray to Jesus, too.” A friend of mine recently lost their mother just after getting married, and it made me marvel at how life often delivers us highs and lows to grapple with simultaneously. While all of this was going on—Kanye and Kim, Joe and London, another world tour, another album—in the background, Swift has been terrified of losing her mother. This song made me think of Swamplandia!, a novel about a young girl living in a gator-wrestling theme park where her mother used to be the main event, until she passed away. Now, in the wake of her death, the girl and her siblings must grapple with their mother’s legacy as a competing business rises up to swallow the success she built on the swamp.

13. “False God” (City of Girls, by Elizabeth Gilbert)

Is that a saxophone in the background of a Taylor Swift song? This slow, jazzy number is all about love and desire—and how we come back to it even when the world around us (and sometimes we, ourselves) put it in jeopardy. “And I can’t talk to you when you’re like this/Staring out the window like I’m not your favorite town/I’m New York City” and other lyrics referencing New York seem to be the grounding force in an otherwise tumultuous relationship. Multiple times on this record Swift has alluded to rough patches in her current happiness, but connection is always the solution to fixing it. She seems to say that if you treat your relationship like it’s your religion, you can get through anything. This is one of the sexier songs on the album, but it’s also got serious NYC vibes, so I’m picking City of Girls by Elizabeth Gilbert: a novel all about relishing romance in the glitzy 1940’s New York Theater scene, but also how desire can either set us on the road to ruin, or redemption.

14. “You Need to Calm Down” (The Seven Husbands of Evelyn Hugo, by Taylor Jenkins Reid)

This song has done what Swift does best: inspire conversation and a bit of controversy. Acknowledging that it was past time for her to be an outspoken ally for the LGBTQIAP+ community, YNTCD tackles the various ways communities are pitted against one another (especially on the internet.) The first verse examines her personal haters (“Say it in the street, that’s a knock-out/But you say it in a Tweet, that’s a cop-out), the second calls out homophobes (“Shade never made anybody less gay”), and the third examines how her relationships with her female contemporaries have often been antagonistic, something she herself has been responsible perpetuating in the past with songs like “Bad Blood” and “Better Than Revenge” (“We all know now, we all got crowns/you need to calm down.”) The Seven Husbands of Evelyn Hugo is about a famous actress who hid the great female love of her life behind multiple male partners and uses her platform to tell the truth (all while hiding one last devastating secret). While Taylor herself has not come out as part of the LGBTQ community, she has come out as an ally, and this book made me think about the issues of privacy, platform, allyship, and identity that the song also confronts. If there’s more to the story of Swift’s relationship to the LGBTQIAP+ community, she’s going to share it on her own terms.

15.“Afterglow” (Queenie, by Candice Carty-Williams)

This song ranks high on my favorites from the album, and it’s a rare genre from Swift: the apology song. (The other famous one is Speak Now’s “Back to December.”) In this mid-tempo song with slamming drums and a breathy falsetto, Swift yearns for the partner she pushed away to meet her in the moments after the fight ends. “It’s all me, in my head/I’m the one who burned us down/ but it’s not what I meant,” she insists. There’s still hope here though, as opposed to earlier songs on the record that signal the doom of a friendship or a breakup after-the-fact. Queenie, by Candice Carty-Williams, is a novel about a girl coming to terms with her role in a failed relationship, a career she can’t seem to succeed in, and friends she unknowingly betrays. “Why’d I have to break what I love so much?” is a question asked in this song’s chorus, and one Queenie must answer in order to find real, lasting happiness.

16. “ME! (feat. Brendon Urie)” (Crazy Rich Asians, by Kevin Kwan)

This self-love anthem is bubblegum sweet and full of earworms: the “Shake it Off“ of the TS7 Era. It makes me think of lightning-fast beach reads that you can’t put down and that feel so good to read but also have a deeper meaning to them. Just because it’s not the most lyrically advanced of her songs doesn’t mean this bop doesn’t deserve to be celebrated— it reminded me of how romances constantly get a bad rep (lol, see what I did there?) as somehow lesser than other genres. I love that Taylor doesn’t care about what other people think and is 100% focused on being her authentic self— just like the heroine of Crazy Rich Asians, Rachel Chu. When confronted with the wealth and expectations of her boyfriend Nick’s family (who don’t think she’s good enough for him), she insists it’s her individuality that makes her the perfect partner for him.

17. “It’s Nice to Have a Friend” (This Love Story Will Self-Destruct, by Leslie Cohen)

This track might be my second favorite? It’s so different (Ukulele? Trombone? Is that what I’m hearing?) and such a contrast to the beginning of the album, the opener closes the door on a once meaningful friendship. It’s also a deceiving song, in that I’m still not 100% sure what it’s about. I think Swift is exploring the importance of friendship in all its forms: in childhood (“School bell rings, walk me home”) to adolescence “Something gave you the nerve/to touch my hand”) to romantic love (“Church bells ring, carry me home/rice on the ground looks like snow”). Ultimately, she may be saying that the most important thing about a romantic partner is that they make you feel like you have a friend—when you’re young, the thing that matters most is feeling seen by other people. If your lover is also your best friend, then you know they always have your back. A love story that takes place over two characters’ twenties, This Love Story Will Self-Destruct is about the missteps, betrayals, beautiful moments and connection that forms between two people over a decade.

18. “Daylight” (Evvie Drake Starts Over, by Linda Holmes)

“My love was as cruel as the cities I lived in.” What a way to begin this album closer. Swift’s last tracks have a tradition of being the ones that are most emblematic of her current state of mind, but they also have developed certain themes over time. Renewal, starting over, self-reflection, and hope are all subjects “Daylight” sheds a little light on. She acknowledges past failings (“I wounded the good and trusted the wicked”) and what she wants for the future (“I once believed love would be [burning red]/but it’s golden”). A book that feels like daylight on your skin is what’s needed for this song, and I think Evvie Drake Starts Over is the perfect pick: a story about a woman still grieving the loss of her husband but who finds herself moving on with a former major league baseball player. Both of them have pasts they are healing from, but together, they find hope for the future. “I’ve been sleeping so long in a twenty-year dark night/and now I see daylight.” And, unlike (I think?) any other song in her catalogue, she speaks in the end, not sings, in a direct appeal to her audience. Her very last words are “You are what you love.” Well, I love Taylor Swift. I love a good song lyric to sink my teeth into, or to sing. I love love. And I love a good story, whether it comes from a song or a book, and when you’re done with the album, I hope you find some here.

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makistar2018 · 5 years

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Taylor Swift Says She Will Rerecord Her Old Music. Here’s How.

The singer and songwriter could gain control by creating new master recordings of material that has been sold. It’s a drastic but not unheard-of move.

By Joe Coscarelli Aug. 22, 2019

When Taylor Swift took to Tumblr earlier this summer to decry the sale of the Nashville-based Big Machine Label Group, the owner of her first six multiplatinum albums, to the powerful music manager Scooter Braun, she kick-started an industrywide conversation about master recordings and artists’ rights.

The $300 million deal “stripped me of my life’s work,” she wrote, and left her back catalog “in the hands of someone who tried to dismantle it.”

She said Braun, who has worked with Swift’s longtime foil Kanye West, had subjected her to years of “incessant, manipulative bullying.” With the master recordings of her albums now under the purview of Braun’s Ithaca Holdings, the company could dictate how her songs are sold and used moving forward.

(At the time, Scott Borchetta, the Big Machine founder, pushed back against Swift’s statement, saying he had given her the opportunity to earn back her masters through a new deal with his label. In November, Swift decamped for Universal Music Group’s Republic Records in a multiple album agreement that allowed her to own her future masters.)

Now, ahead of the release of her new album, “Lover,” on Friday, Swift, ever the tactician, has reignited the industry battle with an out-of-left-field proposition: She could rerecord her old music and release new versions that she would own.

Though the idea had previously been floated on Swift’s behalf by no less than Kelly Clarkson, Swift publicly raised the possibility herself for the first time in a pretaped interview with “CBS Sunday Morning” set to air this weekend. In an excerpt released on Wednesday, the interviewer Tracy Smith asked if Swift had considered that option. “Oh yeah,” Swift said, according to the CBS transcript.

Smith followed-up, “That’s a plan?,” to which Swift replied, “Yeah, absolutely.”

A representative for Swift declined to detail her intentions or answer questions about past contract stipulations. Universal Music declined to comment; Braun and Borchetta did not respond to questions. But this is how things might shake out should Swift choose to pursue such a drastic — if not unheard-of — move.

How could this be possible?

Music rights are infamously complicated, but owning the master recordings — the original copies of an artist’s work — and the associated copyright is not everything. While the owner of a master typically has the ability to sell songs and albums, as well as license the recordings to movies, television and video games, there are separate rights for the composition itself, which is usually split among the songwriters. When a song is covered, for instance, the songwriters are compensated; when it is sampled from the original recording, both the songwriters and the owner of the master benefit.

In most standard recording contracts, labels retain ownership over masters in return for the investment they make in unproven artists in the form of recording, promotion and other expenditures.

But because Swift is credited as a lead writer across her entire catalog — excluding some songs on her 2007 Christmas EP — she could essentially give herself permission to record “cover versions” of her own compositions without having to touch the masters owned by Big Machine and Braun.

What could stop her?

On the one hand, not many practical concerns, given that this is Taylor Swift, one of the most connected, wealthy and powerful people in the modern music industry. “She certainly has the money to be able to do this, which is always going to be an issue in this situation,” said Mark Tavern, a former major-label record executive and a professor of music business at LaGuardia Community College. “It’s one thing to make acoustic versions, it’s another to do a full pop production and make them competitive” with the originals, he added.

If Swift were to attempt a note-for-note recreation that could replace the old versions in loyal fans’ collections, she would probably need the support of her past collaborators, from co-writers on her early songs, like Liz Rose, to the pop producers Max Martin, Shellback and Jack Antonoff. “That would be smoother and prevent backlash in public,” Tavern said, adding: “Each of those co-writers stands to make a ton of money from any of those rereleases.

”Still, Swift’s past contracts with Big Machine, where she first signed as a teenager in 2005, could include language that would complicate things. Restrictions on rerecording songs have been common since the Everly Brothers put out fresh versions of past hits on a new label in the early ’60s, according to Tavern. Such terms typically bar artists from releasing rerecorded work for three to five years, or more, from its release. In Swift’s case, “We haven’t seen the contracts, but it’s pretty standard language in everyone’s contract,” Tavern said.

Swift’s first album on Big Machine, her self-titled debut, came out in 2006, while her most recent, “Reputation,” was released in 2017. In theory, should her contracts have time restrictions in place, she could begin releasing new versions on rolling basis, starting at the beginning.

In an appearance Thursday on “Good Morning America,” Swift alluded to these contract restrictions more specifically: “My contract says that starting November 2020, so next year, I can record albums one through five all over again,” she said. “It’s next year, it’s right around the corner — I’m going to be busy, I’m excited.”

“I think that artists deserve to own their work,” she added. “I just feel very passionately about that.”

What would this look like in practice?

Taking into consideration any restrictions, Swift could opt to rerecord entire albums, or start with her most-played singles. Those updated versions might then be released in physical forms, as new merchandise, or be uploaded to streaming services alongside the originals, leaving listeners the choice of whether to listen to “Love Story” or, say, “Love Story (2020 Version)” on Spotify or Apple Music. (Via her publishing contracts as a songwriter, Swift could also urge anyone looking to license her songs in the future to take her new renditions instead of the Big Machine versions.)

In an interesting twist, Swift’s current label and distributor, Universal, is also the distributor of Big Machine, which could leave the corporation competing against itself.

At the same time, any attention given to the rereleases could rub off on the old versions, helping the bottom line of Braun, Borchetta and Big Machine. “I think there will be some benefit to the original streaming masters as people go and compare,” Tavern said. “I don’t think that people are going to stop streaming those masters.”

For Swift, however, the maneuver could be more of a statement than a financial play. “Knowing how she likes to kind of twist the knife a little bit, this could be a great opportunity for her to do that,” Tavern said. “It’s the ultimate way that she could get back at Big Machine and thumb her nose at Scooter.”

Has anyone ever pulled this off before?

In addition to the Everly Brothers, various acts have gone down this path, or at least threatened to. Most famously, Prince vowed to rerecord his entire catalog while feuding with his label, Warner Bros., in the 1990s, but released only select tracks before reaching an agreement to gain ownership of his masters.

More recently, as the industry went digital, Def Leppard blocked its label, Universal, from releasing its catalog online and instead sold what the band playfully called “forgeries” of its biggest hits, “Pour Some Sugar on Me” and “Rock of Ages.” (“I had to sing myself into a certain throat shape to be able to sing that way again,” said the Def Leppard frontman Joe Elliott at the time.) The parties eventually came to an agreement over the original music.

The pop singer Jojo went even further last year, releasing newly recorded versions of her first two albums, which were not available on streaming services, after her rerecording clauses ran out.

How serious is Swift about this?

She has yet to reveal more about her plans, but she has signaled that she means it. On Tumblr, where her most dedicated fans, known as Swifties, congregate, she has been known to boost fan theories and insights she agrees with. After the CBS interview excerpt surfaced on Wednesday, Swift went on a “liking” spree, throwing her support behind breathless posts like “HAHAHAHAHA HE BOUGHT HER MASTERS FOR MILLIONS OF DOLLARS BEHIND HER BACK AND NOW SHES MAKING THEM WORTHLESS” and “I’m so freaking proud of Taylor controlling her life, accomplishments, work, her art, her story, and her life,” as another fan wrote. “THATS WHAT MY BABY DESERVES.”

The New York Times

#taylor swift #masters #rerecord #2019.08.22

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hearyourheart · 5 years

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Taylor Swift on Sexism, Scrutiny, and Standing Up for Herself

I have a sliver of an idea what to expect. A few weeks earlier, I spent a day at the video shoot, in a dusty field-slash-junkyard north of Los Angeles. Swift had made it a sort of Big Gay Candy Mountain trailer park, a Technicolor happy place. The cast and crew wore heart-shaped sunglasses—living, breathing lovey-eyes emoji—and a mailbox warned, LOVE LETTERS ONLY.

Swift and a stream of costars filmed six scenes over about a dozen hours. The singer-songwriter Hayley Kiyoko, known to her fans as “Lesbian Jesus,” shot arrows at a bull’s-eye. The YouTube comedian-chef Hannah Hart danced alongside Dexter Mayfield, the plus-size male model and self-described “big boy in heels.” The Olympic figure skater Adam Rippon served up icy red snow cones. Swift and her close friend Todrick Hall, of Kinky Boots and RuPaul’s Drag Race, sipped tea with the cast of Queer Eye.

The mood was joyous and laid-back. But by the end of the day, I wasn’t sure what the vignettes would add up to. There were shoot days and cameos I wouldn’t observe. For security reasons, the song was never played aloud. (The cast wore ear buds.) Even the hero shot, in which Swift and Hall sauntered arm in arm through the dreamscape at golden hour, was filmed in near-total silence.

For weeks afterward, I tried to sleuth out a theory. I started casually. There was a “5” on the bull’s-eye, so I did a quick search to figure out what that number might mean. Immediately I was in over my head.

Swift has a thing for symbols. I knew she had been embedding secret messages in liner notes and deploying metaphors as refrains since her self-titled debut in 2006—long before her megafame made her into a symbol of pop supremacy. But I hadn’t understood how coded and byzantine her body of work has become; I hadn’t learned, as Swift’s fans have, to see hidden meanings everywhere. For instance: In the 2017 video for “Look What You Made Me Do,” a headstone in a graveyard scene reads NILS SJOBERG, the pseudonym Swift used as her writing credit on Rihanna’s hit “This Is What You Came For,” a Swedish-sounding nod to that country’s pop wizards.

After an excessive amount of ad hoc scholarship—a friend joked that I could have learned Mandarin in the time I spent trying to unpack Swift’s oeuvre—I was no closer to a theory. Pop music has become so layered and meta, but the Taylor Swift Universe stands apart. Apprehending it is like grasping quantum physics.

My first indication of what her new album, Lover, would be about came just after midnight on June 1, the beginning of Pride Month, when Swift introduced a petition in support of the federal Equality Act. This legislation would amend the Civil Rights Act to outlaw discrimination based on gender identity and sexual orientation. (It has passed the House, but prospects in Mitch McConnell’s Senate are unclear.) Swift also posted a letter to Senator Lamar Alexander, Republican of Tennessee, asking him to vote yes. The request, on her personal letterhead (born in 1989. LOVES CATS.), denounced President Trump for not supporting the Equality Act. “I personally reject the president’s stance,” Swift wrote.

Back in the kitchen, Swift hits play. “The first verse is about trolls and cancel culture,” she says. “The second verse is about homophobes and the people picketing outside our concerts. The third verse is about successful women being pitted against each other.”

The video is, for erudite Swifties, a rich text. I had followed enough clues to correctly guess some of the other cameos—Ellen DeGeneres, RuPaul, Katy Perry. I felt the satisfaction of a gamer who successfully levels up—achievement unlocked!The video’s final frame sends viewers to Swift’s change.org petition in support of the Equality Act, which has acquired more than 400,000 signatures—including those of Cory Booker, Elizabeth Warren, Beto O’Rourke, and Kirsten Gillibrand—or four times the number required to elicit an official response from the White House.

“Maybe a year or two ago, Todrick and I are in the car, and he asked me, What would you do if your son was gay?”

We are upstairs in Swift’s secret garden, comfortably ensconced in a human-scale basket that is sort of shaped like a cocoon. Swift has brought up an ornate charcuterie board and is happily slathering triple-cream Brie onto sea-salt crackers. “The fact that he had to ask me . . . shocked me and made me realize that I had not made my position clear enough or loud enough,” she says. “If my son was gay, he’d be gay. I don’t understand the question.”

I have pressed Swift on this topic, and her answers have been direct, not performative or scripted. I do sense that she enjoys talking to me about as much as she’d enjoy a root canal—but she’s unfailingly polite, and when we turn to music, her face will light up and she will add little melodic phrases to her speech, clearly her preferred language.

“If he was thinking that, I can’t imagine what my fans in the LGBTQ community might be thinking,” she goes on. “It was kind of devastating to realize that I hadn’t been publicly clear about that.”

I understand why she was surprised; she has been sending pro-LGBTQ signals since at least 2011. Many have been subtle, but none insignificant—especially for a young country star coming out of Nashville.

In the video for her single “Mean” (from 2010’s Speak Now), we see a boy in a school locker room wearing a lavender sweater and bow tie, surrounded by football players. In “Welcome to New York,” the first track on 1989, she sings, “And you can want who you want. Boys and boys and girls and girls.” Two years later, she donated to a fund for the newly created Stonewall National Monument and presented Ruby Rose with a GLAAD Media Award. Every night of last year’s Reputation tour, she dedicated the song “Dress” to Loie Fuller, the openly gay pioneer of modern dance and theatrical lighting who captured the imagination of fin-de-siècle Paris.

Swift, who has been criticized for keeping her politics to herself, first took an explicit stance a month before the 2018 midterms. On Instagram, she endorsed Democrats for the Tennessee Legislature and called out the Republican running for Senate, Marsha Blackburn. “She believes businesses have a right to refuse service to gay couples,” Swift wrote. “She also believes they should not have the right to marry. These are not MY Tennessee values.”

Swift says the post was partly to help young fans understand that if they wanted to vote, they had to register. To tell them, as she puts it, “Hey, just so you know, you can’t just roll up.” Some 65,000 new voters registered in the first 24 hours after her post, according to Vote.org.

Trump came to Blackburn’s defense the following day. “She’s a tremendous woman,” he told reporters. “I’m sure Taylor Swift doesn’t know anything about her. Let’s say I like Taylor’s music about 25 percent less now, OK?”

In April, spurred by a raft of anti-LGBTQ bills in Tennessee, Swift donated $113,000 to the Tennessee Equality Project, which advocates for LGBTQ rights. “Horrendous,” she says of the legislation. “They don’t call it ‘Slate of Hate’ for nothing.” Swift especially liked that the Tennessee Equality Project had organized a petition of faith leaders in opposition. “I loved how smart it was to come at it from a religious perspective.”

Meanwhile, the “Calm Down” video provoked a Colorado pastor to call Swift “a sinner in desperate need of a savior” and warn that “God will cut her down.” It also revived heated debate within LGBTQ communities about the politics of allyship and corporatization of Pride. Some critics argued Swift’s pro-LGBTQ imagery and lyrics were overdue and out of the blue—a reaction the new Swift scholar in me found bewildering. Had they not been paying attention?

Nor did it strike me as out of character for Swift to leverage her power for a cause. She pulled her catalog from Spotify in 2014 over questions of artist compensation. She stared down Apple in 2015, when the company said it would not pay artists during the launch of its music service. (Apple reversed itself immediately.) As a condition of her record deal with Universal Music Group last year, the company promised that it would distribute proceeds from any sale of its Spotify shares to all of its artists. And this summer, Swift furiously called out Scott Borchetta, founder of Big Machine Label Group, for selling her master recordings to the music manager Scooter Braun. (When I ask Swift if she tried to get her masters from Big Machine, her whole body slumps with a palpable heaviness. “It was either investing in my past or my and other artists’ future, and I chose the future,” she says of the deal she struck with Universal.)

Swift’s blunt testimony during her 2017 sexual-assault case against a radio DJ—months before the #MeToo reckoning blew open—felt deeply political to me and, I imagine, many other women. Swift accused the DJ, David Mueller, of groping her under her skirt at a photo session in 2013. Her camp reported the incident to his employer, who fired him. Mueller denied the allegation, sued Swift for $3 million, and his case was thrown out. Swift countersued for a symbolic $1 and won.

In a Colorado courtroom, Swift described the incident: “He stayed latched onto my bare ass cheek” as photos were being snapped. Asked why photos of the front of her skirt didn’t show this, she said, “Because my ass is located at the back of my body.” Asked if she felt bad about the DJ’s losing his job, she said, “I’m not going to let you or your client make me feel in any way that this is my fault. Here we are years later, and I’m being blamed for the unfortunate events of his life that are the product of his decisions—not mine.”

When Time included Swift on the cover of its “Silence Breakers” issue that year, the magazine asked how she felt during the testimony. “I was angry,” she said. “In that moment, I decided to forgo any courtroom formalities and just answer the questions the way it happened...I’m told it was the most amount of times the word ass has ever been said in Colorado Federal Court.”

Mueller has since paid Swift the dollar—with a Sacagawea coin. “He was trolling me, implying that I was self-righteous and hell-bent on angry, vengeful feminism. That’s what I’m inferring from him giving me a Sacagawea coin,” Swift says. “Hey, maybe he was trying to do it in honor of a powerful Native American woman. I didn’t ask.” Where is the coin now? “My lawyer has it.”

I ask her, why get louder about LGBTQ rights now? “Rights are being stripped from basically everyone who isn’t a straight white cisgender male,” she says. “I didn’t realize until recently that I could advocate for a community that I’m not a part of. It’s hard to know how to do that without being so fearful of making a mistake that you just freeze. Because my mistakes are very loud. When I make a mistake, it echoes through the canyons of the world. It’s clickbait, and it’s a part of my life story, and it’s a part of my career arc.”

I’d argue that no heterosexual woman can listen to “You Need to Calm Down” and hear only a gay anthem. “Calm down” is what controlling men tell women who are angry, contrary, or “hysterical,” or, let’s say, fearing for their physical safety. It is what Panic! at the Disco singer Brendon Urie says to Swift in the beginning of the “ME!” music video, prompting her to scream, “Je suis calme!”

I cannot believe it is a coincidence that Swift, a numbers geek with an affinity for dates, dropped the single—whose slow, incessant bass is likely to be bumping in stadiums across the world in 2020 if she goes on tour—on June 14, a certain president’s birthday.

It’s enlightening to read 13 years of Taylor Swift coverage—all the big reviews, all the big profiles—in one sitting. You notice things.

How quickly Swift went from a “prodigy” (The New Yorker) and a “songwriting savant” (Rolling Stone) to a tabloid fixture, for instance. Or how suspect her ambition is made to seem once she acquires real power.

Other plot points simply look different in the light of #MeToo. It is hard to imagine that Swift’s songs about her exes would be reviewed as sensationally today. I wonder if, in 2019, any man would dare grab the microphone out of a young woman’s hands at an awards show. I stared into space for a good long while when I was reminded that Pitchfork did not review Taylor Swift’s 1989 but did review Ryan Adams’s cover album of Taylor Swift’s 1989.

I ask Swift if she had always been aware of sexism. “I think about this a lot,” she says. “When I was a teenager, I would hear people talk about sexism in the music industry, and I’d be like, I don’t see it. I don’t understand. Then I realized that was because I was a kid. Men in the industry saw me as a kid. I was a lanky, scrawny, overexcited young girl who reminded them more of their little niece or their daughter than a successful woman in business or a colleague. The second I became a woman, in people’s perception, was when I started seeing it.

“It’s fine to infantilize a girl’s success and say, How cute that she’s having some hit songs,” she goes on. “How cute that she’s writing songs. But the second it becomes formidable? As soon as I started playing stadiums—when I started to look like a woman—that wasn’t as cool anymore. It was when I started to have songs from Red come out and cross over, like ‘I Knew You Were Trouble’ and ‘We Are Never Ever Getting Back Together.’ ”

Those songs are also more assertive than the ones that came before, I say. “Yeah, the angle was different when I started saying, I knew you were trouble when you walked in. Basically, you emotionally manipulated me and I didn’t love it. That wasn’t fun for me.”

I have to wonder if having her songwriting overlooked as her hits were picked apart and scrutinized wasn’t the biggest bummer of all. Swift: “I wanted to say to people, You realize writing songs is an art and a craft and not, like, an easy thing to do? Or to do well? People would act like it was a weapon I was using. Like a cheap dirty trick. Be careful, bro, she’ll write a song about you. Don’t stand near her. First of all, that’s not how it works. Second of all, find me a time when they say that about a male artist: Be careful, girl, he’ll use his experience with you to get—God forbid—inspiration to make art.”

Without question the tenor of the Taylor Swift Narrative changed most dramatically in July 2016, when Kim Kardashian West called her a “snake” on Twitter, and released video clips of Swift and Kanye West discussing the lyrics to his song “Famous.” (No need to rehash the details here. Suffice it to say that Swift’s version of events hasn’t changed: She knew about some of the lyrics but not others; specifically, the words that bitch.) The posts sparked several hashtags, including #TaylorSwiftIsASnake and #TaylorSwiftIsCanceled, which quickly escalated into a months-long campaign to “cancel” Swift.

To this day Swift doesn’t think people grasp the repercussions of that term. “A mass public shaming, with millions of people saying you are quote-unquote canceled, is a very isolating experience,” she says. “I don’t think there are that many people who can actually understand what it’s like to have millions of people hate you very loudly.” She adds: “When you say someone is canceled, it’s not a TV show. It’s a human being. You’re sending mass amounts of messaging to this person to either shut up, disappear, or it could also be perceived as, Kill yourself.”

An overhaul was in order. “I realized I needed to restructure my life because it felt completely out of control,” Swift says. “I knew immediately I needed to make music about it because I knew it was the only way I could survive it. It was the only way I could preserve my mental health and also tell the story of what it’s like to go through something so humiliating.”

I get a sense of the whiplash Swift experienced when I notice that, a few months into this ordeal, while she was writing the songs that an interpolation of a ’90s camp classic, Right Said Fred’s “I’m Too Sexy.”) Nonetheless, most critics read it as a grenade lobbed in the general direction of Calabasas.

One longtime Nashville critic, Brian Mansfield, had a more plausible take: She was writing sarcastically as the “Taylor Swift” portrayed in the media in a bid for privacy. “Yeah, this is the character you created for me, let me just hide behind it,” she says now of the persona she created. “I always used this metaphor when I was younger. I’d say that with every reinvention, I never wanted to tear down my house. ’Cause I built this house. This house being, metaphorically, my body of work, my songwriting, my music, my catalog, my library. I just wanted to redecorate. I think a lot of people, with Reputation, would have perceived that I had torn down the house. Actually, I just built a bunker around it.”

In March, the snakes started to morph into butterflies, the vampire color palette into Easter pastels. When a superbloom of wildflowers lured a mesmerizing deluge of Painted Lady butterflies to Los Angeles, Swift marked it with an Instagram post. She attended the iHeartRadio Music Awards that night in a sequin romper and stilettos with shimmery wings attached.

Swift announced the single “ME!” a month later, with a large butterfly mural in Nashville. In the music video for the (conspicuously) bubblegum song, a hissing pastel-pink snake explodes into a kaleidoscope of butterflies. One flutters by the window of an apartment, where Swift is arguing in French with Urie. A record player is playing in the background. “It’s an old-timey, 1940s-sounding instrumental version of ‘You Need to Calm Down,’ ’’ Swift says. Later, in the “Calm Down” video, Swift wears a (fake) back tattoo of a snake swarmed by butterflies.

We are only two songs in, people. Lover, to be released on August 23, will have a total of 18 songs. “I was compiling ideas for a very long time,” Swift says. “When I started writing, I couldn’t stop.” (We can assume the British actor Joe Alwyn, with whom Swift has been in a relationship for nearly three years, provided some of the inspiration.)

Swift thinks Lover might be her favorite album yet. “There are so many ways in which this album feels like a new beginning,” she says. “This album is really a love letter to love, in all of its maddening, passionate, exciting, enchanting, horrific, tragic, wonderful glory.”

Swift’s new 18-track album, Lover, will be released August 23.

I have to ask Swift, given how genuinely at peace she seems, if part of her isn’t thankful, if not for the Great Cancellation of 2016, then for the person she now is—knowing who her friends are, knowing what’s what. “When you’re going through loss or embarrassment or shame, it’s a grieving process with so many micro emotions in a day. One of the reasons why I didn’t do interviews for Reputationwas that I couldn’t figure out how I felt hour to hour. Sometimes I felt like: All these things taught me something that I never could have learned in a way that didn’t hurt as much. Five minutes later, I’d feel like: That was horrible. Why did that have to happen? What am I supposed to take from this other than mass amounts of humiliation? And then five minutes later I’d think: I think I might be happier than I’ve ever been.”

She goes on: “It’s so strange trying to be self-aware when you’ve been cast as this always smiling, always happy ‘America’s sweetheart’ thing, and then having that taken away and realizing that it’s actually a great thing that it was taken away, because that’s extremely limiting.” Swift leans back in the cocoon and smiles: “We’re not going to go straight to gratitude with it. Ever. But we’re going to find positive aspects to it. We’re never going to write a thank-you note.”

Though people will take the Perry-Swift burger-and-fries embrace in the “You Need to Calm Down” video as a press release that the two have mended fences, Swift says it’s actually a comment on how the media pits female pop stars against one another. After Perry sent Swift an (actual) olive branch last year, Swift asked her to be in the video: “She wrote back, This makes me so emotional. I’m so up for this. I want us to be that example. But let’s spend some time together. Because I want it to be real. So she came over and we talked for hours.

“We decided the metaphor for what happens in the media,” Swift explains, “is they pick two people and it’s like they’re pouring gasoline all over the floor. All that needs to happen is one false move, one false word, one misunderstanding, and a match is lit and dropped. That’s what happened with us. It was: Who’s better? Katy or Taylor? Katy or Taylor? Katy or Taylor? Katy or Taylor? The tension is so high that it becomes impossible for you to not think that the other person has something against you."

Meanwhile, the protesters in the video reference a real-life religious group that pickets outside Swift’s concerts, not the white working class in general, as some have assumed. “So many artists have them at their shows, and it’s such a confounding, confusing, infuriating thing to have outside of joyful concerts,” she tells me. “Obviously I don’t want to mention the actual entity, because they would get excited about that. Giving them press is not on my list of priorities.”

At one point, Swift asks if I would like to hear two other songs off the new album. (Duh.) First she plays “Lover,” the title track, coproduced by Jack Antonoff. “This has one of my favorite bridges,” she says. “I love a bridge, and I was really able to go to Bridge City.” It’s a romantic, haunting, waltzy, singer-songwritery nugget: classic Swift. “My heart’s been borrowed and yours has been blue,” she sings. “All’s well that ends well to end up with you.”

Next, Swift cues up a track that “plays with the idea of perception.” She has often wondered how she would be written and spoken about if she were a man, “so I wrote a song called ‘The Man.’ ” It’s a thought experiment of sorts: “If I had made all the same choices, all the same mistakes, all the same accomplishments, how would it read?” Seconds later, Swift’s earpods are pumping a synth-pop earworm into my head: “I’d be a fearless leader. I’d be an alpha type. When everyone believes ya: What’s that like?”

Swift wrote the first two singles with Joel Little, best known as one of Lorde’s go-to producers. (“From a pop-songwriting point of view, she’s the pinnacle,” Little says of Swift.) The album is likely to include more marquee names. A portrait of the Dixie Chicks in the background of the “ME!” video almost certainly portends a collaboration. If fans are correctly reading a button affixed to her denim jacket in a recent magazine cover, we can expect one with Drake, too.

She recently announced a fashion collection with Stella McCartney to coincide with Lover. “We met at one of her shows,” says McCartney, “and then we had a girls’ night and kind of jumped straight in. In London we’ll go on walks and talk about everything—life and love.” (Swift has no further fashion ambitions at the moment. “I really love my job right now,” she tells me. “My focus is on music.”) Oh, and that “5” on the bullseye? Track five is called “The Archer.”

Yet something tells me the most illuminating clue for reading both Lover and Reputation may be Loie Fuller, the dancer to whom Swift paid homage on tour. As Swift noted on a Jumbotron, Fuller “fought for artists to own their work.” Fuller also used swirling fabric and colored lights to metamorphose onstage, playing a “hide-and-seek illusionist game” with her audience, as one writer has put it. She became a muse to the Symbolists in Paris, where Jean Cocteau wrote that she created “the phantom of an era.” The effect, said the poet Stéphane Mallarmé, was a “dizziness of soul made visible by an artifice.” Fuller’s most famous piece was “Serpentine Dance.” Another was “Butterfly Dance.”

Swift has had almost no downtime since late 2017, but what little she does have is divided among New York, Nashville, Los Angeles, and Rhode Island, where she keeps homes—plus London. In an essay earlier this year, she revealed that her mother, Andrea Swift, is fighting cancer for a second time. “There was a relapse that happened,” Swift says, declining to go into detail. “It’s something that my family is going through.”

Later this year, she will star in a film adaptation of Andrew Lloyd Webber’s Catsas Bombalurina, the flirtatious red cat. “They made us the size of cats by making the furniture bigger,” she says. “You’d be standing there and you could barely reach the seat of a chair. It was phenomenal. It made you feel like a little kid.”

But first, she will spend much of the summer holding “secret sessions”—a tradition wherein Swift invites hundreds of fans to her various homes to preview her new music. “They’ve never given me a reason to stop doing it,” she says. “Not a single one.”

Speaking of: Inquiring fans will want to know if Swift dropped any more clues about how to decode Lover during this interview. For you I reviewed the audio again, and there were a few things that made my newly acquired Swifty sense tingle.

At one point she compared superstardom in the digital age to life in a dollhouse, one where voyeurs “can ‘ship’ you with who they want to ‘ship’ you with, and they can ‘favorite’ friends that you have, and they can know where you are all the time.” The metaphor was precise and vivid and, well, a little too intricately rendered to be off the cuff. (Also, the “ME!” lyric: “Baby doll, when it comes to a lover. I promise that you’ll never find another like me.”)

Then there was the balloon—a giant gold balloon in the shape of a numeral seven that happened to float by while we were on her roof, on this, the occasion of her seventh album. “Is it an L’?” I say. “No, because look, the string is hanging from the bottom,” she says.

It might seem an obvious symbolic gesture, deployed for this interview, except for how impossible that seems. Swift let me control the timing of nearly everything. Moreover, the gold seven wasn’t floating up from the sidewalk below. It was already high in the sky, drifting slowly toward us from down the street. She would have had to control the wind, or at least to have studied it. Would Taylor Swift really go to such elaborate lengths for her fans? This much I know: Yes, she would.

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recommendedlisten · 5 years

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It’s been awhile since Recommended Listen has done one of these, but back by popular (content) demand, the weekly Best of the Rest column has returned to highlight the rest of the week’s great music you should know. Leading into it, Massachusetts DIY scene favs Future Teens and Dump Him both tried to figure out ways to move forward while Big Thief are proving to be unstoppable with their creative genius. The return of Vivian Girls is arguably being enjoyed more so the second time around, Chelsea Wolfe’s natural instincts are giving us even more reasons to appreciate her dark art, and NYC post-punks Bodega continue to live up to the promise of being shiny new models. Meanwhile, Field Mouse succeeded at finding meaning in everything as modern punk scene cult hero Chris Faren searched for his within a screen. There’s a lot more to cover here, so let's get down to the music business.

Here’s the best of the rest from the week of August 11th, 2019…

Antagonize - Slip Death EP [Triple B Records]

The last time I saw Aaron Bedard, he was being showered in balloons and kids walking all over each others’ heads as part of the final bow of Bane, the seminal melodic hardcore band who very much helped make the New England hardcore scene what it is today. Bedard returned to the stage a year ago with a new band called Antagonize, and after throwing down some demos and promos, they’ve released their debut EP Slip Death on the great Boston hardcore label Triple B Records this past week (label leader Sam Yarmuth designed its cover art much like he did for the vinyl reissue of the 2001 Bane classic Give Blood.) Bedard’s intensity has not slowed down with the passing of time either. In fact, it’s become exponentially more confrontational as he and the band thrash through fast, visceral existentialist dread. Throw them on a bill with the likes of Fury, Fiddlehead, Turnstile, or any of the countless names coming out of the Triple B roster right now, and Antagonize -- and Bedard -- know exactly what the scene needs at this moment.

Slip Death by ANTAGONIZE

Charli XCX feat. Sky Ferreira - “Cross You Out” [Atlantic Records]

On September 13th, Charli XCX will release her long awaited “proper” third studio effort Charli. Between years of experimental EPs and one-off singles, it’s been awhile since we heard her target her vision for mass consumption with major label approal, and she’s bringing some of music’s most intriguing voices into the fold with her to get that across. We already heard her team with Lizzo on “Blame It On Your Love” and Christine and the Queens for “Gone”. Its latest preview “When You’re Not Around” is one for Twitter pop fandom, however, as it sees Charli XCX joining forces with Sky Ferreira on the A.G. Cook-produced track. The two artists have been heralded as pop music’s most underrated creators for the better part of this decade, so to hear Charli and Ferreira’s paths cross seamlessly into this digital slowburn as they put the collective shit they’ve dealt with personally over the years behind them is a fitting way for it to happen.

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Code Orange - “Let Me In” [WWE Music]

At least weekend’s WWE Summerslam, rebooted horror heel Bray Wyatt returned after months of being kept off screen in action with a brand new character persona called the Fiend that saw him evolving from the creepy bayou cult leader of previous and into a psychotic children’s program host who turns into a deranged monster wearing a mask designed by horror film makeup legend Tom Savini. In helping get this new terrifying character’s image over with the crowd and viewers watching was Code Orange, one of the most exciting bands in hardcore and metal going right now, who reinterpreted Wyatt’s old theme “Live In Fear”, a sinister, swampy piece of occult rock originally recorded by Mark Crozier, under its new name “Let Me In” and making it into their own heavy pummeling likeness, adding layers of deeper darkness to Wyatt’s Fiend character in the process. This isn’t Code Orange Kids first foray in soundtracking WWE superstars' themes, as they backed Incendiary’s Brendan Gorrone live as goth anti-hero Aleister Black made his way to ring during NXT Takeover Brooklyn III. Now that Black is on the main roster, inevitably he will cross paths with the Fiend at some point, making you wonder where Code Orange's loyalty will lie...

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The Highwomen - “Highwomen” [Low Country Sound / Elektra Records]

The Highwomen -- a.k.a. the country songwriting supergroup of Brandi Carlile, Maren Morris, Amanda Shires, and Natalie Hemby -- are one of the most exciting things to happen to country music this year. On September 6th, they will release their eponymous debut album, and to date, the foursome have proven themselves quickly to be working flawlessly as a well-woven collective where nothing remotely resembling an ego outshine the other in its first coupling of singles “Redesigning Women” and “Crowded Table”. It’s latest is a goosebump-inducing sunset song that hears each member sharing a piece of the narrative that tell a greater story about their ability to overcome all and any hurdle. “We are the daughters of the silent generations / You send our hearts to die alone in foreign nations,” their voices collect in its final moments. “They may return to us as tiny drops of rain / But we will still remain/ And we’ll come back again and again and again.

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Miranda Lambert - “Bluebird” [RCA Nashville / Vanner Records]

Beyond the Highwomen, Miranda Lambert is now joining the highly anticipated of new Nashville releases with her seventh studio effort Wildcard, due out on November 1st. Her last effort was the excellently crafted post-divorce catharsis The Weight of These Wings, but judging by the sounds of WIldcard’s first single “Bluebird”, Lambert is getting back to her old high jinks of sorry not sorry whip-smart lyricism and folding them into cool, flawless country-pop. “And if the house just keeps on winning / I got a wildcard up on my sleeve / And if love keeps giving me lemons / I'll just mix 'em in my drink,” goes its chorus. Lambert’s undefeated streak will likely continue with this as well as her tour behind the LP, which sees her bringing along her Pistol Annies sisters, Maren Morris, and Ashley McBridge along for the ride on select dates for her Roadside Guitars and Pink Guitars tour, kicking off in September.

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Octo Octa - “Can You See Me?” [T4T LUV NRG]

Back in July, Octo Octa, the electronic dance outlet of Maya Bouldry-Morrison, dropped “Spin Girl, Let’s Activate”, the leadoff single from her forthcoming third album Resonant Body, set for release on September 6th. The listen was fully in motion with a bright luminosity radiating from with Bouldry-Morrison she says was inspired after a year of tremendous change and personal growth. That expanded energy extends even further in its subsequent listen “Can You See Me?” in which she allows emotions to overflow onto the soundboard through an empath in samples vocals and a cosmic tidal of synth arpeggios running through whichever cracks in its constant break beats they can find. It’s invigorating, and both as a measure of her art and being, there’s really no avoiding Octa Octa’s presence being made known here.

(Sandy) Alex G - “Southern Sky” / “Near” [Domino Records]

Rocket was a very special album in the prolific catalog of (Sandy) Alex G, though it wouldn’t be a surprise if the experimental indie pop wunderkind’s new album House of Sugar, set for release on September 13th, bests it in its own way. So far, we’ve heard the warped and rickety storytale standout “Gretel” and the earnest ode to a friend and place passed on “Hope”, and this past week, he introduced two more in “Southern Sky” and “Near”. The former, which includes an animated video by frequent visual collaborator Elliot Bech, is a country-stained sigh featuring Emily Yacina that hits a similar backwoods bliss that “Bobby” did two years ago, while the latter retreats to pinbacked repetition, wonky loops and samples that warp the canvas with Alex Giannascoli’s signature smeared fingerprints. (Sandy) Alex G will also be touring extensively behind the effort starting this October, with dates featuring the likes of Tomberlin, ARTHUR and Corey Flood.

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Taylor Swift - “Lover” [Republic Records]

The last we heard of Taylor Swift was her divisive post-pop call-out Reputation, and with its tinge of industrial bangers and stadium-translating success, it’s safe to say it aged better than what anyone expected upon release. Her new album Lover is on the way next week, and so far, two of its early singles have been absolute dogshit while the other was just so-so. In the streaming era, it comes no surprise that there will be 18 tracks total on the album, which means there’s bound to be some duds. Hopefully they’re more like it’s title track, though. Jack Antonoff seems to be one of the few people who knows what to do with making Swift sound like a breath of fresh air in spite of her missteps in this lash-batting late night bar crawler that is the Jekyll to Swifty’s drunken Hyde. She really could have reverted full-on back to country-pop and easily gotten away with it...

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Queen of Jeans - “Only Obvious to You” [Topshelf Records]

The surprises within Queen of Jeans’ sound are unraveling themselves quickly, but in subtle gestures leading up to the dreamy Philly indie-pop band’s release next week of their sophomore effort If you’re not afraid, I’m not afraid. So far, they’ve delivered a devastating blow to the ego in doo-wop form with "U R My Guy” and searched for a way out of a dead end relationship on “All the Same”. “Only Obvious to You” steps away from pastel lights and balloon grandeur, leaving plenty of room fordark space in between two warm bodies for the distance to hit hard. “Love will fuck you over hard,” Miriam Devora repeatedly reminds herself in the listen’s closing moments, and in the listen’s video shot at Philly Pride, they want to do their community a solid by letting it be known that no matter how you love, pain is pain, and your feelings are valid, too. This autumn, they’ll be mending broken hearts on the road alongside tourmates From Indian Lakes.

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Whitney - “Used to Be Lonely” [Secretly Canadian]

Someone in Whitney’s camp had to have intentionally planned to have the Chicago country soul duo’s sophomore effort Forever Turned Around be released at the final breaths of summer and the cusp of autumn’s cupping season on August 30th, because “Used to Be Lonely” is the kind of listen that tugs at the heartstrings of both the, uh, lonely and not so lonely, in a way that will make those with someone feel warm gratitude to have someone by their side, and those who don’t romanticize about the day it happens to them. Its accompanying visuals, directed by Austin Vesely, are on point just as well, as it captures a budding romance developing at the kind of midwestern country fair in a small town you’d hit up some weekend in September when you could use a slice of simplicity in your life of how even the most humble moments can feel extraordinary if you’re sharing them with the right person. If not, Whitney will bring it to you when they roll through your city this autumn.

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#the best of the rest #songs #antagonize #charli xcx #sky ferreira #code orange #the highwomen #miranda lambert #octo octa #(sandy) alex g #taylor swift #queen of jeans #whitney #new music & videos

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