#alison is the greatest

[zambibou]

[alexisntedgy]

alison cooper my outwardly unhinged queen

“is it playing an april fools prank on a bunch of dead people, maybe?” “it isn’t not that”

*plays the piano with a taxidermy dog from over 100 years ago*

*to pat of all people* “so how did you die :p”

*uses a ghost to cheat at poker*

“julian you were in politics, you must know a few dirty tricks”

*gets dead ww2 officer to spy on houseguest*

*tries to fake a haunting in an actual haunted house because all her ghosts made a ghost-union and went on strike*

“accept you’re a better poet than you are a teacher and that is really saying something-”

“it’s hardly fair to single out kitty, is it-“ “is there something you’d like to share 👁️ 👁️”

“i’m just taking robin for a walk”

*watches a bunch of ghosts perform a panto of cinderella*

*does a handmade repair job on a painting of a deceased relative that’s over 100 years old*

she used julian’s drink mixing tips at an actual party????

“my great aunt died” “oh I’m sorry” “no it’s alright i never met her”

“they found a stuka divebomber in the woods 👀” (no they did not)

yea nothing will go wrong if I give a ghost internet access- ah he’s spent all my money on mobile game upgrades

“I’m just talking to one of the ghosts that live here”

“-nobody will let slip any detail about the little lad- damn it.” “so it’s a boy then?” “what?” “damn it-“

“WHO U GONNA CALL? 📞 👻”

[sestrahulk]

My story is an embroidery with many beginnings and no end. But I will start with the thread of my sestra Sarah, who stepped off a train one day and met herself.

Happy 6th anniversary to the series finale of Orphan Black!

[faeryworlds]

TAG DROP PART 1

[ourloveblackout]

Taylor Swift at the Grammys ~ Lockscreens

Taylor Swift at the Grammys

💅🎶 draw the cat eye sharp enough to kill a man 🎶💅

Please like or reblog if you use or save.

[whentherewerebicycles]

crashed around 10:30 last night / woke up at 5:30 still feeling pretty wrung out. but I honestly think it’s just the intense comedown from *gestures vaguely* everything—lots of emotional ups and downs this spring plus extensive travel and trying to engineer a baby or whatever. I think having the signed offer will make me feel a lot better, as I’ll be able to switch fully into excited looking-ahead mode. but oh man… I am so excited. I am sure that, like all jobs, this job has its own issues and frustrations that will reveal themselves in time, but mostly I just feel this immense, immense wave of relief about getting to do values-aligned work that uses my knowledge/creativity/skills. I’m also nervous but excited about moving into a real leadership position for the first time. my bleh current job felt like such a massive step back in terms of responsibilities and agency—largely because of my lead’s micromanagement and refusal to trust me with anything, but also just because I think the role was much more junior than I realized going into it. ahhhhhh I’m just SO EXCITED to get to work with smart people who care about learning on cool projects that help students. I’m even excited to figure out who the difficult eccentric academic personalities are ahaha. god and I hope I make friends!!!!! work friends!!!!! I got really good vibes from the two women I’ll be working with most closely and I am also excited to work with the two profs who were on the committee, who seem to have one of the most delightful odd couple friendships I’ve ever seen. just!!!! ahhh!!!!!!!!! and I’m gonna be people’s BOSS for the first time so that is going to be a whole new fascinating skillset to learn!!!!!! ok I’m rapidly talking myself out of my post-stress haze and into giddy excitement ahaha so I think maybe today I’ll spend some time journaling about the future to gently help ease myself out of the “work is pointless misery” mindset and into the kind of headspace I have been longing to get back to (work is a joy! work is hard but gives me purpose and meaning!!). whooHOOO let’s GO!!!!!!!!!!!

[bandsanitizer]

everything by jongho of ateez - 3:06

[makingqueerhistory]

Spooky Queer Books

Since spooky season is starting, I thought I would share a list of my favourite queer books that are great for this time of year.

Some of these links are affiliate links.

It Came from the Closet: Queer Reflections on Horror

Joe Vallese

Horror movies hold a complicated space in the hearts of the queer community: historically misogynist, and often homo- and transphobic, the genre has also been inadvertently feminist and open to subversive readings. Common tropes--such as the circumspect and resilient "final girl," body possession, costumed villains, secret identities, and things that lurk in the closet--spark moments of eerie familiarity and affective connection. Still, viewers often remain tasked with reading themselves into beloved films, seeking out characters and set pieces that speak to, mirror, and parallel the unique ways queerness encounters the world.It Came from the Closet features twenty-five essays by writers speaking to this relationship, through connections both empowering and oppressive. From Carmen Maria Machado on Jennifer's Body, Jude Ellison S. Doyle on In My Skin, Addie Tsai on Dead Ringers, and many more, these conversations convey the rich reciprocity between queerness and horror.

Into the Drowning Deep

Mira Grant

The ocean is home to many myths, But some are deadly... Seven years ago the Atargatis set off on a voyage to the Mariana Trench to film a mockumentary bringing to life ancient sea creatures of legend. It was lost at sea with all hands. Some have called it a hoax; others have called it a tragedy. Now a new crew has been assembled. But this time they're not out to entertain. Some seek to validate their life's work. Some seek the greatest hunt of all. Some seek the truth. But for the ambitious young scientist Victoria Stewart this is a voyage to uncover the fate of the sister she lost. Whatever the truth may be, it will only be found below the waves. But the secrets of the deep come with a price.

The Devouring Gray

C. L. Herman

After her sister's death, seventeen-year-old Violet Saunders finds herself dragged to Four Paths, New York. Violet may be a newcomer, but she soon learns her mother isn't: They belong to one of the revered founding families of the town, where stone bells hang above every doorway and danger lurks in the depths of the woods. Justin Hawthorne's bloodline has protected Four Paths for generations from the Gray--a lifeless dimension that imprisons a brutal monster. After Justin fails to inherit his family's powers, his mother is determined to keep this humiliation a secret. But Justin can't let go of the future he was promised and the town he swore to protect. Ever since Harper Carlisle lost her hand to an accident that left her stranded in the Gray for days, she has vowed revenge on the person who abandoned her: Justin Hawthorne. There are ripples of dissent in Four Paths, and Harper seizes an opportunity to take down the Hawthornes and change her destiny--to what extent, even she doesn't yet know. The Gray is growing stronger every day, and its victims are piling up. When Violet accidentally unleashes the monster, all three must band together with the other Founders to unearth the dark truths behind their families' abilities...before the Gray devours them all.

Tell Me I'm Worthless

Alison Rumfitt

Three years ago, Alice spent one night in an abandoned house with her friends, Ila and Hannah. Since then, Alice's life has spiraled. She lives a haunted existence, selling videos of herself for money, going to parties she hates, drinking herself to sleep. Memories of that night torment Alice, but when Ila asks her to return to the House, to go past the KEEP OUT sign and over the sick earth where teenagers dare each other to venture, Alice knows she must go. Together, Alice and Ila must face the horrors that happened there, must pull themselves apart from the inside out, put their differences aside, and try to rescue Hannah, whom the House has chosen to make its own. Cutting, disruptive, and darkly funny, Tell Me I'm Worthless is a vital work of trans fiction that examines the devastating effects of trauma and how fascism makes us destroy ourselves and each other.

[mikelogan]

TAYLOR ALISON SWIFT is an American singer-songwriter recognized for her songwriting, musical versatility, artistic reinventions, and influence on the music industry.

Swift has been referred to as one of the greatest songwriters of all time by several publications. English-language scholars have noted that her literary and melodic sensibility and verbal writing style are rare amongst her peers. Swift divides her writing into three types: "quill lyrics," referring to songs rooted in antiquated poeticism; "fountain pen lyrics," based on modern and vivid storylines; and "glitter gel pen lyrics," which are lively and frivolous. Swift has influenced numerous music artists and her albums have inspired an entire generation of singer-songwriters. Journalists praise her ability to reform industry practices, noting how her actions changed streaming policies, prompted awareness of intellectual property in new musicians, and reshaped ticketing models. Senior artists such as Paul McCartney, Mick Jagger, Madonna, and Dolly Parton have praised her musicianship. Carole King regards Swift her "professional granddaughter" and thanked her for "carrying the torch forward." Springsteen called her a "tremendous" writer, while Ringo Starr and Billy Joel considered Swift the Beatles' successor. Britney Spears labeled Swift "the most iconic pop woman of our generation."

[noel-fielding-web-page]

‘The fact that I’m still here is amazing’: Noel Fielding on Bake Off, booze and the Boosh

He has gone from cult niche to smash hit and he still can’t believe it. As Bake Off returns, the comic talks about his ‘feral’ upbringing, his party years – and the day Hammond fell out of a hammock

Noel Fielding’s highlight of the new series of The Great British Bake Off wasn’t a show-stopping cake. In fact, it wasn’t any type of baked goods. It wasn’t even a shot of a squirrel with outsized testicles. It was his co-host Alison Hammond falling out of a hammock.

“I’ll never be able to unsee it,” he says. “What I love about Alison – and I mean this with the greatest of respect – is that she’s an absolute klutz. If anyone’s going to fall out of a hammock, it’ll be her. She also fell backwards off one of the workbenches while showing off. Don’t worry, she was OK. No Hammonds were harmed in the making of this series.”

As the autumnal fixture returns to our screens, Fielding promises a 15th series on peak form. “It’s a belter,” he says. “There are some very special bakers in the tent this year. Somehow the standard keeps getting higher. These unbelievable young bakers are way better than they should be for their age. It’s a vintage year. One of the best yet.”

By stealth, the surrealist goth has become a Bake Off veteran. This is Fielding’s eighth series at the helm, meaning he’s now served a longer stint than original hosts Mel Giedroyc and Sue Perkins. “Who knew that was going to happen?” he marvels. “Maybe Paul Hollywood’s hypnotised me. I can’t escape the tractor beam of those blue eyes. I loved that original lineup, with Mary [Berry], Mel and Sue, as much as anyone. When me and Sandi [Toksvig] took over, we were terrified. We knew it was a massive risk. We said: ‘Let’s see if we can last one series.’ The fact that I’m still here is amazing.”

A family affair? … (from left) Fielding, Alison Hammond, Paul Hollywood and Prue Leith. Photograph: Mark Bourdillon/Channel 4

Toksvig later admitted “I felt my brain atrophying” after three series of glazes and ganaches. How does Fielding keep it fresh? “Sandi, as we know, is a massive brain. She went to Cambridge, she’s super-smart, she writes, she does politics, she needs to be stimulated. She never stays anywhere too long, except QI which is the perfect show for her. The difference between us is that I’ve always really enjoyed hanging out with the bakers. I befriend them and get them to open up. Nobody expected that to be my strength. I assumed it’d be the sketches and banter. In fact, I’m fascinated by the people. I feel protective of them. If Paul and Prue [Leith] are hard on them, I’m absolutely livid. It’s devastating when they leave. This year I was particularly fond of one baker. When I had to send them home, I cried.”

Hammond is his third co-host. “It feels like I’ve done three different shows,” he says. “First with Sandi, under enormous pressure but we pulled it off. Then with Matt [Lucas], which was a privilege because he’s a comedy genius. Now I’m enjoying it more than ever. Alison’s not a comedian, so she’s not as neurotic about jokes as I am, but she’s a brilliant improviser and instinctively funny. She slotted right in. Paul and Prue are very fond of her. Even my kids adore her. We’re having a blast.”

Judges and presenters refer to “the Bake Off stone” – a tendency to gain weight during each 10-week run. In her sophomore series, Hammond valiantly attempted to resist. “She tried to eat less this year but Alison’s quite childlike. She said: ‘Noel, stop me eating cake, I want to be good.’ The next time I saw her, she was literally like [he mimes shovelling in cake]. Alison has a good time all the time. You don’t want her to not be eating the cakes.”

Fielding, now 51, had a “feral” upbringing in Croydon. Hammond was raised in a Birmingham council house. He relishes these “two working-class kids galloping around Welford Park”, the Grade I-listed Berkshire estate where the marquee is pitched each summer. “If you’ve grown up in a working-class environment and go to a stately home, you’re like: ‘Woah! This is like Willy Wonka’s factory.’ We’re like urchins in front of Dame Prue. I permanently feel like I’ve come to sweep Prue’s chimney.” He describes Bake Off’s star quartet as “a funny old family”. Who’s who? “Prue and Paul are Mum and Dad, obviously. Alison’s the wild daughter. I reckon I’m the cat. Or am I the dog? Paul would say I’m the teenage son who’s secretly a vampire.”

‘We knew it was a massive risk’ … Fielding with Sandi Toksvig on the 12th series of The Great British Bake Off. Photograph: Channel 4/Love Productions/Mark Bourdillon/PA

The last time we spoke, Fielding reflected on his 00s era as a hedonistic scenester. “I took partying to its logical conclusion,” he said. “When you’ve been partying with Kate Moss and Courtney Love, you’ve gone as far as you can go. A few friends ended up in rehab. I was sick of partying anyway and lucky enough to have my family at the right time [he has two daughters with wife Lliana Bird]. It was like: ‘This is what I was looking for!’”

He returns to the theme today, pondering how Bake Off arrived at the right time. “When I got this job, I’d just had my first child, I was painting a lot and had a different lifestyle. This show fitted that phase. You want to match your career to where you are in life. It’s mainstream, family-friendly and my kids love it, so it suits me. I love not partying – and I never thought I’d say that.”

A fellow comic turned artist provides career inspiration. “I’d love to concentrate on art more as I get older. I love what Vic Reeves [Jim Moir] is doing, making art documentaries and his Painting Birds series. Vic and Bob [Mortimer] were a big influence on me. Now he looks genuinely happy. I’d love to do something similar.”

Claudia Winkleman jokes that she gets mistaken for Fielding. Does it happen the other way round? “I did see a trailer for The Traitors out of the corner of my eye and go: ‘I swear I didn’t film that.’ But no, Claudia looks like a beautiful 60s model. I look like a melted candle. A wax model of Roy Orbison that’s been left too near the radiator. It’s flattering for me but harsh on her.”

Earlier this year, Fielding scored a streaming hit with The Completely Made-Up Adventures of Dick Turpin. After wrapping filming on Bake Off, he’s off to shoot the highwayman sitcom’s second series. Has he learned to ride a horse? “I can get on and off, that’s all I need. Luckily it’s a comedy, so I don’t need to look impressive. One thing I enjoyed was that it’s made by Apple, so there’s a bit of a budget. With The [Mighty] Boosh, it was always a financial struggle to bring your vision to life. If you do fantastical stuff, you’re forever going: ‘We want an underwater race with people riding porpoises but that’d be all the budget gone.’ We’d end up using bits of animation to work around it. With Apple, they go: ‘Yeah, we can do that. Fine, let’s blow up a carriage.’ I’m like: ‘What, really? It won’t be a model?’”

He has formed an unlikely double act with Hugh Bonneville, who plays Dick’s thief-catching nemesis. “You can never predict who you’ll have chemistry with. I’ve learned a lot from Hugh. He’s a really skilful comic actor. And Mark Heap, who plays my dad, has the best timing of anyone ever.” As well as starring, Fielding has a writing credit. In the pilot episode, Heap tells him: “You always were a bit weird. Drawing, coming up with funny ideas, wearing strange outfits.” Was that line autobiographical? “I did write that scene, yeah,” admits Fielding.

Slice of history … Fielding (left) with his Mighty Boosh co-star Julian Barratt Photograph: Martin Argles/The Guardian

He also drew the amusingly rubbish “Wanted” posters that appear in the show. “I’d send them to the director and he’d go: ‘No, not bad enough, do another, make it more ridiculous!’ I’d end up doing them left-handed in about 10 seconds.” There’s even a role for his brother Michael, who played Naboo in The Mighty Boosh: “I put my brother in everything I can. He’s not only very funny but it means I get to hang out with him all day.”

While we’re on the Boosh, was he aware that this year marks the 20th anniversary of the comedy troupe’s TV incarnation? “Does it? Oh wow. Me and Julian [Barratt, his comedy partner] were proud of everything the Boosh did – the live shows, radio series, TV show. We probably should have made a film. People wanted more and that would’ve been a nice way to finish. Julian’s the funniest person I’ve ever worked with, hands down.” Of today’s comedy crop, he rates James Acaster highly.

Would the duo ever reform? “What we had together was so special. Comedy double acts are such rare beasts, like unicorns. I’ll probably never meet anyone like that again but I loved it while it lasted. We stopped at the right time, before the quality dipped. The Boosh was all-consuming, like being in a band. It’s difficult to recreate that when you’re older. You don’t have the same drive and energy. As much as I’d love to get back together, I wouldn’t want to do something that wasn’t as good.”

Going from Boosh to Bake Off has been an unexpected journey. “When the Boosh ended, because it had been a cult hit, I wanted to make something more avant garde and experimental to satisfy my art school side. So I did [Channel 4 sketch series] Luxury Comedy. After that, I didn’t know what to do with myself, then Bake Off came along. It was a huge curveball for me. I love that it’s old-fashioned TV. Millions watch it weekly. People come up and talk to me about the latest episode. It feels like being part of British culture. There’s so much choice now, thousands of shows on streaming, but shows like Strictly, Gogglebox and Bake Off somehow still cut through.”

After dismal weather all series, the sun even came out for this year’s final. “It had been raining and storming but as soon as we went to announce the winner, sunshine started beaming down.” Fielding grins. “Bake Off’s like that. There’s something magical about it.”

Guardian, 14.09.2024

[scifigeneration]

Blade Runner soundtrack at 30: how Vangelis used electronic music to explore what it means to be human

by Alison Cole, Composer and Lecturer in Screen Composition, Sydney Conservatorium of Music at the University of Sydney

In June 1994 the late composer Evangelos Odysseas Papathanassiou – better known as Vangelis – released his soundtrack for the 1982 film Blade Runner. It would go on to become emblematic of his skills, with only a handful of soundtracks reaching a similar level of cult status.

Prior to this, sci-fi film scores tended to be characterised by orchestral sound palettes. For instance, John Williams’ 1991 Star Wars soundtrack leaned on the London Symphony Orchestra to communicate the vastness of a galaxy far, far away.

Vangelis, on the other hand, used an electronic approach to bring a subtlety and complexity that shifted the focus inwards. His ability to communicate deep emotion, alongside expansive philosophical concepts, was perhaps his greatest achievement with Blade Runner.

Missing pieces

Director Ridley Scott’s Blade Runner was adapted from Phillip K. Dick’s 1968 sci-fi novel Do Androids Dream of Electric Sheep? – which itself was a thoughtful examination of empathy and what it means to be human. The emotional gravitas of the original story, along with Vangelis’ accompanying timbral exploration, created an aural experience that was new to sci-fi films at the time.

Vangelis began work on the score in 1981. He received edited footage scene-by-scene on VHS tapes and created live takes in his studio with his synthesiser collection.

However, the first official soundtrack was delayed some 12 years after the film’s release, due to what was reportedly an ongoing disagreement with producers.

When it finally was released, purists viewed it as more of an album than a soundtrack. They criticised it for not having much of the music used in the original film, and for including pieces that never appeared in the film, such as Main Titles and Blush Response.

While the 2007 version (a 25th anniversary edition) included some unreleased material, parts of the original soundtrack remain unreleased even today.

A symmetry between newness and nostalgia

By emphasising longer drawn out notes, rather than thick instrumental combinations, Vangelis thoughtfully taps into the atmosphere of Scott’s visual world to create something truly unique.

Early sci-fi movies such as Forbidden Planet (1956) and The Day The Earth Stood Still (1951) often used electronic instruments developed in the early to mid-1900s, such as the theremin and the modular synthesiser. While these instruments helped augment concepts such as aliens, spaceships and robots, they did this somewhat simplistically.

A more sophisticated perspective pervades through Blade Runner, which combines film-noir instrumentation with classical, electronic, jazz and Middle Eastern music genres.

Specifically, Vangelis leverages the different sound qualities of synthesisers – such as bright and airy, thin and cold, or dark and thick – to at once capture emotion and highlight the complex ideas in the film’s narrative. In the final act, expansive synths dominate as the film reaches an intellectual and emotional climax.

While the synthesisers lend an artificial timbre to the score, the musicality simultaneously communicates life and feeling. In this way the foreign and familiar became enmeshed.

The film’s retro costuming and brutalist architecture also set up an expectation for the soundtrack. At times, the score will meaningfully go against this expectation by delving into a more nostalgic sound. The track Love Theme is a perfect example.

Innovative takes

Vangelis’ innovative use of dialogue in the soundtrack also helped to translate the complexities of the human condition. The tracks Main Titles, Blush Response, Wait for Me and Tears in Rain all feature dialogue in a way that makes them feel like a part of the film’s DNA.

The soundtrack’s arrangement was also uncommon for its time, as it mirrored the action narrative sequence. Tracks 1 through 4 are mixed as a single ongoing track. Tracks 5 through 7 are separated by silence, while tracks 8 through to 12 are also combined into a single piece. While this technique is common in electronic composition now, it was unique at the time.

The films dark, fraught and sad dystopian themes are further highlighted through collaborations with Welsh singer Mary Hopkins in Rachel’s Song, and Greek singer Demis Roussos in Tales of the Future.

Today, the Blade Runner soundtrack remains the most beloved of Vangelis’ works by his ardent fans – and it continues to commands its place in the 20th-century electronic music canon.

[alexisntedgy]

[sama-not-sam]

who: Sama and OPEN where: the main kitchen when: a little after 7am on Sunday morning

Sama had a lot of experience with hitting the ground running after a long flight. She’d tried innumerable tricks over the years, gleaned from coworkers and articles and even the occasional blog post, and she’d found what worked for her. An eye mask to sleep on the flight was crucial, as was putting her hair up in a clip so it didn’t get flat and splashing cold water on her face in the airport bathroom. Of course the most important step was coffee, but only after she’d reached her ultimate destination. If Sama tried to drink coffee before a flight it just made her antsy while she was on the plane, and these days people tended to get nervous if there was an antsy brown person on a plane.

The venti iced coffee Sama got from the Starbucks at JFK gave her the buzz to drive from the city to Woodrow House, in a rental car because she refused to ask one of the drivers to pick at 3:00am, but by the time she pulled up the drive, it was long gone. Sama chose to ignore the mess of feelings bubbling up at the sight of the place where she’d done most of her growing up in favor of focusing on her current objective: more coffee. She carried her suitcase into the kitchen with her, hoping to avoid the sound of the wheels rolling across the entry hall carrying up the stairs. It would be great if Alison’s room wasn’t on the second floor, but she doubted anything in this house had changed that much.

The coffee maker was one thing that had changed, however, and Sama noticed that immediately. Gone was the familiar coffee pot that had been state of the art when Sama left but, she had to remind herself, that had been 14 years ago. State of the art in 1991 was not state of the art in 2005, and Richard had always loved having the latest and greatest. This coffee maker was very fancy, and not a model Sama was used to, but she wasn’t going to let that stop her. She found the light roast coffee, she needed the extra acidity in the morning, a travel mug, so she could bring her coffee into the shower with her, and made sure the reservoir had enough water in it. 

With her hands planted on the counter to either side of the coffee maker, Sama stared it down. “You will not be the coffee pot to defeat me,” she muttered, as much to herself as to the appliance.

[a-writer-on-elm-street]

whenever i think about lawrence it genuinely makes me so sad like slowly watching him decline in that bathroom to the point where he had no choice but to saw his foot off, probably thinking his family were already dead, and then having to drag himself through those tunnels lost and alone, knowing he had to leave adam behind, thinking that he's going to die before he can find help.

and then he wakes up having survived, with no way back to adam and no idea where he is. and then once john's finished taking care of him he has to lose his family for a second time because he isn't the same larry alison married. that person died in the bathroom with adam.

now, with no family to go back to, he's left with nothing, no one. only john kramer and heaps of survivor's guilt. he has to live the rest of his life with adam's death on his conscience, and the only thing that can even begin to dull that pain is his new position as john's 'greatest asset'. john probably makes him feel useful, like he has a purpose. a reason to be alive. and so he continues to work for him, because it gives him purpose, it makes him feel like he's doing something. it doesn't matter whether it's good or bad. it's something.

but this clearly isn't enough to fill that hole in his life, to ease that pain, and we see that when he picks up that hacksaw. ruthless doctor gordon falls away and for the first time we finally see lawrence again. lawrence gordon who was determined to get both he and adam out of that bathroom alive. if only for a second, we see all that pain and regret rise to the surface, and then it's gone again, pushed back down because it's too much to bear.

lawrence gordon died in that bathroom, leaving only the ruthless doctor to carry on.

[garbagequeer]

swifties seem to talk a lot about how any criticism of pop star taylor swift must be misogyny then turn around and do the weirdest misogyny themselves. for example taylor swift lyrics in her adult life will be like i DO NOT Want. to get married. bitches keep saying taylor swift get married and i say im fucking busy and shit. then her own fans will be like oh she's soooo going to marry her newest boy toy of 2 months. and i say well not to come to the aid of a millionaire but do leave her alone and do get a job. then taylor swift will write a song about her experience of being a kid with an adult boyfriend and people will be like great breakup song only the people who have experienced the greatest pain that exists in this world and is the most womanly pain which is a normal breakup with a normal man who treated you normal will get this one. like again not to defend internationally known pop star and millionaire and co2 machine taylor alison swift but man. she is like a person with a life outside of being in love or out of love. as are all women. as well as a person who makes music using creativity and making shit up and not just her diaries. as are all artists