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certified-crystalclod · 4 years ago

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Why you should stop making characters “aracial”

We see aracial characters mainly in podcasts or tabletop games. Sometimes they can be seen in comics. Aracial characters are made so the fans can assign them their own race/ethnicity headcanons. They could also be seen as cop outs because the creator doesn’t have to put effort into putting representation into their media. It’s just an easy way to make everyone happy. This post will tell you why aracial characters actually doesn’t help create representation and actually lessens it.

(TL;DR: Aracial characters cause harm because the default headcanon is to make the character white. There’s no good representation with it and causes discourse and BIPOC fans to be attacked and leave the fandom. To portray a good BIPOC character, do enough research to where you feel comfortable writing them. To have some gender-ambiguity, set a region with no specifics. For example, say your character is South-East Asian but no specific country. Representation in media matters and doing a cop-out isn’t the way to do it.)

Before we begin, let’s start with some definitions.

Aracial: without race or race distinctions

Race: the idea that the human species is divided into distinct groups on the basis of inherited physical and behavioral differences

Ethnicity: the fact or state of belonging to a social group that has a common national or cultural tradition, common set of folklore, ancestry, language, history, society, culture, nation, religion, or social treatment within their residing area

Nationality: the state of being part of a nation whether by birth or naturalization or ties to a specific nation

BIPOC: Black, Indigenous, Person of Color. Used when referring to all 3. POC is not synonymous with Black or Indigenous.

Race coding: writing an aracial character to be a specific race/ethnicity without explicitly saying it in the story

Headcanon: to note a particular belief which has not been used in the universe of whatever program or story they follow, but seems to make sense to that particular individual, and as such is adopted as a sort of "personal canon"

Canon: A piece of work -usually in reference to literature- that was written by the original author

I may not use all these words but they are nice to know. Lets begin.

Why are aracial characters bad?

Aracial characters aren’t inherently bad. If you make your characters race-ambiguous you’re not some type of bad person who’s too lazy to do real representation. You’re just got the right idea, wrong action. Aracial characters are just... not the best. Sure this means you can make your favorite character whatever race/ethnicity you want, but this can also cause discomfort and discourse.

In the early stages of fandoms (2000-2010s) lots of headcanons for these characters were mainly white. There was hardly any representation so you had to make it yourself. When there was representation, it came off as back-handed and hardly had any effort put into it. The art would look great but they didn’t have the right hair or facial features. They just looked like a white character with a tan.

Then came race coding. Creators, purposefully or accidentally, would put in subtle hints at a characters race/ethnicity. This would be through the way they talked, the celebrations they had, their traditions, or their struggles. This mainly happened with alien or non-human characters. Examples of these would be the majority of the Homestuck trolls, Steven Universe gems, and various podcast characters. BIPOC and white fans would figure out their hints and announce them, saying it would be wrong to headcanon them as anything otherwise. This is true as doing so would erase their identity and representation. As this grew, racism within fandoms grew. People would say “they don’t have a race! We can depict them however they want!” and throw fits when told the damage they’re doing.

Aracial characters can allow the freedom to depict your fans to project onto your characters but it also allows racism and attacks on harmless headcanons. It seems they can work but most of the time they do more damage.

How can I play/create a BIPOC character without accidentally doing harmful stereotypes?

You should always do research. When you play a wizard, what do you do? Research the spells it can do, the languages it can learn, and other important factors. When you play/write a BIPOC character, do the exact same thing. Research experiences, languages, clothing, and traditions. Is your character poor, well-off, or rich? Do they have immigrant parents, are they an immigrant themself, or have they been a citizen all this time and not understand the struggles of undocumented people? Are they in touch with their culture or slowly losing it? All of these can affect the way your character acts, talks, and grows.

If you’re a white person or simply someone who is writing out of your culture, this can be scary. You don’t want to accidentally say something wrong or put a harmful stereotype onto your character. To avoid this, research the stereotypes. See how they are subtly put into media like movies and TV shows. You may have seen some and not noticed because you never knew. When you have these, you’ll know how to avoid them.

Don’t see your character as a political thing. If you think “this is groundbreaking. I’m playing/writing a character of a different culture and must do everything right! I will be the best!” then you’re doing it wrong. Portray your character as you would if they were the same race as you. Or if you had them as aracial. Do not see them as scary because you might fuck up or brave because you’re stepping out of your comfort zone. They are a human being just like you. Sort of.

How can I allow my audience to portray my characters how they want and also have proper representation?

Maybe you don’t want to have a set race/ethnicity in place because you’re afraid or uneasy. That’s alright. Some of us need baby steps. What you can do is give them a region or race but no specifics.

For example, you can have a Latine or Hispanic character without specifically saying “They’re Mexican!” or “They’re Chilean!” This allows this group of people to say “Hey! I’m Latine or Hispanic! I can portray them in my culture!” This allows your audience to have a variety of cultures to choose from.

Having free-range like this with your characters is fun. It allows people to choose what they think best fits the character while also having some representation. It’s not a constant battle of headcanons and constant white characters. Nothing wrong with them it’s just seems to be the default when it comes to headcanons.

Representation in media matters, especially in ones where there is free will to interpretation. BIPOC do not get to see ourselves in media everyday so when we can put it in ourself, we do exactly that. We make the characters live our lives through our traditions and music and style and just everything.

When the representation is poor and lazy, it shows how much a creator doesn’t care about their audience and how they only care about their image. This can be seen in aracial characters. It’s just a cop-out so creators don’t have to worry so much about it and leave the work to everybody else.

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taylorswifthongkong · 4 years ago

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

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

Is he your brother?

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

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

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

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

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

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

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

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

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

What are your favorite William Bowery conspiracies?

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

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

Did you find it freeing?

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

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

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

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

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

Does it still feel like that?

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

When did you first learn about Rebekah Harkness?

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

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

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

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

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

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

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

F---ing fantastic.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Yeah, I assumed you wrote "Cardigan" first.

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

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

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

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

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

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

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

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

This interview has been edited and condensed.

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

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

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smellycinnamonthundahfudge · 3 years ago

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fuck it. have the five page essay-ish thing i wrote on hoax.

it's so underrated and contains so many references to taylor's one great true love... that she lost.

(but there's also a bit about what the album cover means since i just think it adds to the evidence of something)

Let me take you on a journey, more specifically, the journey taylor’s music brought me to.

But fine for irl context, and disclaimer as well, I’m a new swiftie.

Yes, folklore was the one that really really pulled me in.

I’ve always loved her music, those that I knew of anyways, and she’s always held a special place in my heart and some part of me always knew that I was always going to explore her discography someday… and those days and months of exploring aforementioned music finally arrived.

So, for context, I’ll say that I mostly loved her bops. I always knew and loved her as that teenage girl feeling of wanderlust, and just wonder, and sweetness, and love…

That was what taylor was to me, the feeling of love.

It’s only when I very quite recently really really grew up and at the same time, taylor’s most popular music at the time, folklore, also happened to be really grown up, is when I realized and found out that taylor always had this depth to her.

So, for me, debut to speak now and half of red will always have that child-like wanderstruck look of awe and love vibe and feeling to me, cause nostalgia, it’s what I spent my life thinking of it and her as.

Also it’s been some time since I fully listened to those albums, so the journey/throughline narrative that I see from taylor’s discography is

Debut – young kid figuring it all out, emotional but sweet

Fearless – growth, ambition, dreams, complexity of wanting someone you know you’re not supposed to

Speak now – cinematic movie like quality of storytelling, these are fantasies, epics, novels all on their own, legend

Red – reckless abandon, intense extreme adult love, and also growth

1989 – true love, actual adulthood, scandal, gossip, hiding, protecting what’s important, dwindling mercurial highs

Rep - …

One thing that I started to notice only on 1989 and then it looked to be the case for the ff albums too, is that the latter half of one album oft bleeds onto the next one

So like the sound of I know places and even kinda wonderland to some extent, is very similar to reputation’s sound.

Then idk, new year’s day being a really sweet love song transitioning into lover

And then it’s nice to have a friend’s simple acoustic nostalgia & daylight’s nature imagery transitioning into folklore

And theeenn I’m betting the lakes as a positive song is a foreshadowing for the more softer positive outlook evermore is going to have, compared to folklore at least

But I honestly believe that if you look at the albums themselves, debut to speak now and red all seem to be about fleeting romances that pass and go

But 1989, that’s when things start to get real, and I believe, that’s when taylor really starts to get her muse…

Cause if you look at from 1989 to folklore evermore heck even to the rerelease of fearless and red…

These songs seem to be stemming from one relationship

A relationship that’s secret, that’s fragile and delicate, and complicated and complex

And correct me if I’m wrong, but…

Is king of my heart the first time taylor ever used the term, the one???

The one real thing you’ve ever known?? All too well

One touch you are in love??? One step one night

Point is, I think starting from 1989, most of the songs taylor wrote and sung about could all be attributed to just one person.

A tumultuous complex but nevertheless real and true love.

And I bring up the one connection because the one clearly parallels king of my heart

And all at once, YOU ARE THE ONE I HAVE BEEN WAITING FOR

why would taylor write about losing someone that she thought she was the one if the person you think it’s about is still supposedly with her when she wrote it?

And finally, in taylor’s announcement of folklore, she wrote about an exiled man walking the bluffs of a land that isn’t his own, wondering how it all went so terribly, terribly wrong.

And in its music video, you get the same imagery?

…

You know where, … you… also… get… the same… exact… imagery…?

The folklore album cover.

Where it’s taylor, walking, in the middle, so small in the grand vast bluffs of a land that wasn’t her own.

In every single music video for every folklore song, the only ONE, THE ONLY ONE, where you get the same imagery, the same color palette as the album cover, is exile.

Which is about someone, a man walking the bluffs of a land that isn’t his own.

So if taylor is the man, then she’s

I can see you standing, honey

With his arms around your body

Guess who she has a close relationship with, who betrayed her, who got married to someone else?

*regina george anger screaming*

Me is a breakup song.

Taylor rereleasing red second has so much more weight to it now.

“In the land of heartbreak, moments of strength, independence, and devil-may-care rebellion are intricately woven together with grief, paralyzing vulnerability and hopelessness.”

moments of strength, independence, and devil-may-care rebellion – me, I PROMISE THAT YOU’LL NEVER FIND ANOTHER LIKE ME.

WATCH MISS AMERICANA AND I DARE YOU TO NOT SEE ME AS A SPITEFUL/VINDICTIVE/REBELLIOUS BREAK UP SONG

grief, paralyzing vulnerability and hopelessness – FOLKLORE.

Then I guess, fine… we’ll get to why hoax is so fucking meaningful yet you don’t understand why it is.

Yes, my only one.

Smoking gun.

I saw someone call this a reference to the fire and ash in mtr, but I also think of this as someone being your one weakness…

Think about it like this, in reputation

And what if the one person who kept you alive through all that

Betrayed you too.

Taylor talks so deeply and passionately over how much this person matters, they were her smoking gun.

Because they were what kept her going through the death of her reputation.

When no one trusted her that one person did.

They were her smoking gun.

My eclipsed sun.

Lover ended with daylight.

Taylor called reputation as night time.

And now what once was daylight has now been eclipsed over, by betrayal grief sadness desolation.

(darling this was just as hard as when they pulled me apart, folklore is as dark as rep)

Winless fight – ma & thp, fight that someday we’re gonna win.

They or she didn’t.

Frozen ground brings me back to holy ground and to doht, my love had been frozen

The imagery of hoax’s lv, is of a cliffside overlooking an ocean

Which brings me back to gorgeous, of OCEAN blue eyes looking in mine, I feel like I might sink and drown and die

Screaming, similar to mtr’s I still talk to you when I’m screaming at the sky

(sidenote might not related to taylor references, but that line gives me hopelessness give me a reason to live vibes, and what with gorgeous’ line of sink and drown and die and this is me trying’s Pulled the car off the road to the lookout Could've followed my fears all the way down…

Anw… the sidenote is cause that feeling of hopelessness just really resonates with me personally, kind of the type screaming at the universe, at whatever’s out there why… sigh…)

Faithless love – false god

Hoax – illicit afairs

Blue… rep (delicate)

Best laid plan – dbatc, paper cut stings from our paper thin plans

Sleight of hand???

Five whole minutes pack us up leave me with it???

Could barren land also be bluffs of a land that isn’t his own?? Idk… *shruggie*

Ash from your fire mtr

New york, DBATC, 1989, false god, cornelia street

Hero died, remember when I said I’d die for you? False god

What’s the movie for, exile, I think I’ve seen this film before

You knew it still hurts underneath my scars from when they pulled me apart

Like I said, reputation… who was her saving grace/smoking gun from all that

THEY WERE THE ONE, THE ONLY ONE, TAYLOR HAD WHEN SHE WAS PULLED APART

SO THEY KNEW, THEY KNEW HOW MUCH IT HURT HER

BUT THEY BETRAYED HER ANYWAYS.

Password let you in the door, I knew you’d come back to me, front porch light cardigan

What you did was just as dark, just as hard

Why wouldn’t it be?

They were the one she had throughout all that turmoil… yet they betrayed her too…

Kingdom come undone – komh, we rule the kingdome inside my room

Beaten my heart – KOMH, dbatc

The feeling of thinking you found the one, the one you’re going to spend the rest of your life with… the one you would throw away all of this for…

Don’t want no other shade of blue but you, no other sadness in the world would do

You don’t want anyone else but them if they were the one you were going to throw it all away for…

You don’t wanna say goodbye…

You just wanna keep feeling the pain, the love, the conflict that you had with them…

You don’t wanna say goodbye

#hoax #folklore #hoax taylor swift #taylor swift #i love you taylor #gaylor swift #writing #songs #music #love #<3

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kaylor · 4 years ago

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i had some thoughts last night in bed about long live making a subtle reappearance in folklore because i've decided to interpret it for the most part as a retrospective of her own life and career and how her fame and success have changed her, not necessarily for the better. long live was a celebration of "look what we achieved" and i think there's subtle nods in folklore's lyrics to this achievement and her general career trajectory.

"the kingdom lights shine just for me and you" -> "my kingdom come undone" where in addition to the relationship interpretation ("the kingdom inside my room") this is about the kingdom she once ruled but now no longer feels in control of. what she created for herself became detrimental, toxic, dangerous. also cheeky nod to tiwwchnt "i don't like your kingdom keys, they once belonged to me" which you can potentially interpret as taylor again talking to her new self from the perspective of her old self. fame changed her for the worse, but she had marvelous time doing it.

"i had the time of my life fighting dragons with you" -> "my winless fight" / "when i'd fight you used to tell me i was brave" - there are so many lyrics about fighting in her music it's literally super hard to pinpoint which specific fight she's talking about, but in the context of long live she fought so hard for her chance at this career and to do it her way, and has kept fighting to maintain it, to stay on top, to break all those records (you know she does that on purpose, it's no surprise). but it sounds like she's tired of it, tired of constantly fighting herself because at this point in her career her only competition is herself. despite herself, she's so tired of it. she can't ever win.

"bring on all the pretenders, i'm not afraid" -> "i'm a mirrorball / the masquerade revelers" AND "you turned into your worst fears" she went from not being afraid to be herself in an industry full of fakes and phonies to becoming one of them. we are the mask and the wearer. when you're always performing when do you know which version of you is the real one? she's lost herself in the performance, she no longer feels capable of being "authentic" because she no longer knows what that means. she's become another masquerade reveler.

"you held your head like a hero on a history book page" -> "you knew the hero died so what's the movie for?" is just "you either die a hero or you live long enough to see yourself become the villain" taylor killed her old self (the hero, "you had to kill me but it killed you just the same") and became the villain ("i'll be the actress starring in your bad dreams"/"so light me up"). she said reputation was a character she played but again, mask and wearer.

"all the years that we stood there on the sidelines wishing for right now" -> "drove my car off the road to the lookout, could have followed my fears all the way down" if you interpret the line from this is me trying not literally, but instead as taylor pausing to take stock of her life, her career, and contemplating whether she should desert the top spot she fought for her entire life. she turned into her worst fears so she would rather be back at the bottom, have a normal life again. if that could ever be possible. she knows, however, that despite herself she will keep aspiring to climb higher, do better, outdo herself, beat herself. "i'm here in your doorway" - despite herself she will keep holding on to her career, she will keep showing up at your party.

"may these memories break our fall" -> "when she fell she fell apart" & "watch my shattered edges glisten" ok fine the first one is a rep poem line but it's literally been stuck in my brain since last night, because the memories didn't break her fall because when it all comes down to it, the fame, the applause, the fans, the success, it all won't save you when you're at rock bottom with only yourself to reckon with. when you strip all that away, the things you convinced yourself would keep you afloat, and then you sink? you fall anyway? what happens then?

#ok i did NOT proofread this at all so #thanks if you even read half of it #taylor swift #ts

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path-of-my-childhood · 4 years ago

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

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

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

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Is he your brother?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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oneweekoneband · 4 years ago

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her Nebraska (1982)

In July I flew to Massachusetts with a plague on, and I felt that it was wrong, but my mother had begged and I’d been out of work for months. Mornings there I ran in long, uneven ovals on the same roads I’d memorized in high school. There’s no sidewalks, but the few feet of dirt between the craggy pavement and the open mouths of the fields serve all right for a single body in motion. When a truck comes up close from behind, the ground shakes, and I step away bouncingly from the street toward thigh-high yellow weeds and grass, and keep going. I was slowly picking my way back in that dirt, sweat-slick from only a plodding couple of miles in peak summer heat, and sucking the wet cotton of my mask in between my teeth on every inhale, when Taylor Swift announced she was releasing a surprise album produced by the guy from The National. Not the guy from The National, like, the voice, but the guy from The National whose photo was circulated on Twitter earlier this year as some kind of antifa super soldier, which isn’t the case, but would’ve been rad. First, I stopped dead to send some outraged, misspelled text messages, and then I ran home faster than I’d moved in years.

Tall, blonde, patrician pop star Taylor Swift is to me something like a cross-between a wife and a boogeyman. Bound we’ve been since we were really children. Time and its changes haven’t rid me of her, and what’s worse is I have never quite been able to wish they would, though I claim as much all the time. Countless hours of my one wild and precious life have been spent on endlessly analyzing the minutiae of Taylor Swift’s music, the mind that made it, the real world events which influenced it. And though all the while I have known she is only a person, and that people, while each strange and lovely in their own ways, are, in the end, mostly dull, needful in just the regular manner, the fantasy is better, the sick dream of a megalomaniac songstress, curious, thrilling, probably evil, and I choose that. I don’t know Taylor Alison Swift, born to this world in, I presume, the usual way. But my Taylor Swift? I’m a renowned expert. I’ve always eaten up stories—movies, music, celebrity news, the one my grandfather tells about falling off his bike once in Ireland as a boy and his face “cracking open like an egg”—like a starved dog. I’m obsessive about my interests, but not inclined to intense fandom, and certainly not fandom in the mode of the stan. For one, I’m too self-absorbed. But caring intensely for a famous person is falling in love with a ghost, and that’s all right—I mean, what the hell? We’re here together just dying... Let’s enjoy—but is an affair best undertaken with the knowledge that everyone alive has their own complex interiority, as unruly as your own, and that you, a stranger, are not in any real way connected to the lawless, blurry middle of that celebrity, and will never be. It’s freeing and fun to know this. I mean, these people are basically in your employ. Glamorous dollhouse dwellers. Acknowledging that uncrossable distance allows for a different, healthier closeness of pure imagination. My feelings, then, can comfortably be at once both fiercely intense and entirely silly. I am a foremost scholar in the art of the Taylor Swift who exists in my head. The real person raised in Pennsylvania I don’t know at all. I have some conjectures on the matter, and, as with all my conjectures, every hackneyed theory, each picky little opinion, I’m sure they’re perfect, brilliant, just absolutely right, but that’s still all they are. Taylor Swift, figure of the cultural imagination, is the Jodie Comer to my Sandra Oh in Killing Eve, annoying and pretty in frills, taunting me endlessly and holding us trapped together in a dance of most enchanting death. But the real Taylor Swift has favorite bed sheets and a social security number and a British boyfriend, none of which I have any desire to know about, and if I saw her at a restaurant I’d politely avert my eyes before, yes, dive-bombing the group text. There’s nobody on Earth I’d stand in line to speak to, but then I’ve been speaking to a certain figment of Taylor Swift for nearly half my life.

I went to a Taylor Swift concert the night before I moved into college in 2009. My father’s work friend, firefighter by day, near professional gambler by night, got comped tickets to the Fearless Tour stop taking place at the nearby casino, and he let me have them as a reward, mainly, for happening to be seventeen. Live in-person and performed acoustically, “Fifteen” made me cry. A few years after that, in the thick, sticky part of my first post-college summer, I wrote approximately twenty-three million words about her in these very pages. (”Pages”) At that point, Taylor’s most recent release was 2012’s Red, and the work I produced that long ago July about Taylor and her career, writing I was fairly pleased with at the time, feels now, besides just being extremely clearly written by a twenty-one year old, strange to me for the way it favors the sweet over the sour almost uniformly. There is a wholesome kind of ardor in that writing which maybe I’ve outgrown the ability to hold. Or maybe Taylor just proceeded to spend the next half a decade plus releasing one bad single after another, and it was taste—and trespasses against taste—and not some shift in my nature which altered the tenor of our bond. I have real love for my particular image, gleaned from public statements and published art, of smart, bizarre famous woman Taylor Swift, and I admire the bulk of her output very much. I’m just no longer so inclined to fawn. This is not to say I am here to offer a Taylor Swift hate screed. I couldn’t swing it, and, anyway, I’m not a pop feminist-for-hire circa 2010. But we’re older now. Things are different. At twenty-eight, twenty-nine this month—Taylor will, also this December, turn thirty-one—I regard Taylor Swift warily, like an ex with whom you have a tentative friendship, perpetually on the brink of falling one way or the other into hatred or delight, only to wobble back the opposite direction again at the slightest provocation, but still, despite best efforts, even, I regard her all the time.

folklore was released at midnight on July 24th 2020, but I was at a cabin in rural Vermont without Internet or cell service. I drank Bud Light seltzers with my mother while watching the eerie pandemic return of Major League Baseball, and when I got into a strange bed there I stewed, knowing there were people out in the world all over who were hearing Taylor Swift songs I never had, and that this was a fundamental wrong, a disruption in the balance of the universe. I listened to it the next morning in a Dunkin’ Donuts parking lot.

And folklore is great. That’s the terrible thing. Slightly less great, maybe, than some people have insisted, tricked, I think, by just the pronounced shift in sound. But it’s great. A little gift I asked for a thousand times and was still surprised to get, like a wife who didn’t expect her henpecked husband to ever follow through and buy the paraffin wax hand bath as-see-on-TV. For years, I’ve been halfheartedly insisting that Taylor had a great album in her. I’d say it even, perhaps especially, while she stubbornly fed me gruel. Or worse, gruel with the occasional whiff of something better. With a ripe, little raspberry dropped into the slop. The bright, villainous thrill of “Getaway Car” made me believe Taylor, my Taylor, was in there somewhere under the lacquer of sequins and synth, which, while not objectionable by default, seemed a costume, and an ill-fitting one. The lived-in world of “Cornelia Street” made those old scars sting. That gay “Delicate” video. When she did “Call It What You Want” on SNL and played guitar while wearing an ugly sweater. If the abominable “ME!”, lead single off Lover, was the stick, 1989’s “Clean” was the carrot. I was Charlie Brown, and Taylor my Lucy, yanking the football back again and again. Over drinks I still yelled that Taylor Swift’s next album would be, “her Nebraska”, referring to my favorite Bruce Springsteen record, and learned to live with that egg on my face for good. I suppose I even came to like it. There was something inherently funny in taking up, like, “blind faith in the as of yet untapped greater artistic potential of massively wealthy and popular singer Taylor Swift” as my totally inane personal cause du jour, and eventually it was a bit, a gag I performed to be obstinate and didactic, but way down somewhere awful near my kidneys I meant it the whole while. And then she did it. A pandemic befell the world and amid a sea of human suffering Taylor Swift remembered she can write. She wrote, and with a massive, crucial assist from Aaron Dessner, whose music on this record is sometimes so beautiful it actually angers me, as the last thing I needed in already perilous times was to be made to try and marry my uniquely perverse emotional responses to beloved divorced dad band The National and fucking Taylor Swift, she made an album which, if not her Nebraska, per se (I’ve come to realize that a major part of believing Taylor Swift will one day make an album I find as quietly devastating and gorgeous as Nebraska is knowing that no album will ever actually be Her Nebraska... That each will, rather, to me, be more and more evidence that it’s coming still, more proof that the limit is untouched, on and on ad infinitum, or at least until the seas take us into a place of salty peace.) is a shocking credit to all my hard-fought and deluded confidence. folklore is great. This fact has made me feel almost equally as disoriented from my understanding of the world as the time-melting COVID-19 lockdowns have, and it turned my Spotify year in review annual collective AI humiliation kink thing into a glaring indictment of my mental state, but still, I mean... It’s great.

In talking about folklore a bit this week, there are a number of specific topics I intend to cover—what a thrill it is to hear Taylor say “fuck”; Taylor’s terrifying birth chart; the astoundingly perfect bridge of “the last great american dynasty”; “because my ass is located at the back of my body”; the bit in last year’s “Lover” where deranged WASP Taylor Swift implies that to “leave the Christmas lights up til January” is some signifier of being a love-struck bohemian, when actually everyone who doesn’t employ domestic staff to take their lights down does this; how reputation is the best of the Taylor Swift records released in the latter half of the 2010s, actually, and the people who can’t see that are cowards—but intend mostly to let the muse move me where she will. Against the advice of my better angels, she—that tie-in marketing eldritch terror—always does.

#taylor swift #folklore

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whatiwillsay · 4 years ago

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late stage swiftgron - the folklore era - 1.0

this post will include all relevant and major activities between taylor and dianna since taylor announced folklore on the morning of July 23, 2020.

click here for a dianna’s spotify masterpost (we are only including the most loud spotify activities on this post but it’s all very interesting)

tagging @jennyboom21, @goldenageofsomethingblue, and @tayloragron to help me out if i miss something (and ofc all of you swiftgrons who help out with the blog, don’t hesitate to let me know if i miss something major)

JULY 23, 2020

- 8 AM EASTERN - TAYLOR ANNOUNCES FOLKLORE TO COME OUT AT MIDNIGHT

- THAT AFTERNOON - DIANNA UPLOADS A NEW PLAYLIST TO SPOTIFY ENTITLED I’LL BE AROUND, WITH ONE SONG ON IT - ‘I’LL BE AROUND’ BY FLOOR CRY:

- DIANNA ALSO STREAMS THE SONG ‘I LOVE YOU SO’ BY THE WALTERS:

this song contains a very loud lyric that makes us believe ‘the 1′ is about dianna:

JULY 24, 2020

- MIDNIGHT - FOLKLORE COMES OUT

- SOME TIME THAT AFTERNOON - DIANNA ATTENDS NAYA RIVERA’S FUNERAL IN LA

JULY 25, 2020

- AFTERNOON - DIANNA TURNS OFF HER SPOTIFY LISTENING FOR THE REST OF THE DAY AND INTO THE NEXT DAY (WE THEORIZE TO LISTEN TO FOLKLORE)

- DIANNA’S SOON TO BE EX HUSBAND, WINSTON MARSHALL, POSTS THIS SHADY ASS PIC TO INSTAGRAM WITH THE CARDIGAN LYRICS WHILE HE PLAYS A BOARD GAME WITH HIS BAND MATE

JULY 29, 2020

- DIANNA POSTS A LOUDLY DOLLY BIRTHDAY POST FOR MOLLY’S BIRTHDAY

- TAYLOR RELEASES THE “cabin in candlelight” VERSION OF CARDIGAN

JULY 30, 2020

- DIANNA IS RATHER ACTIVE ON SPOTIFY INCLUDING A STREAM OF ‘HAPPY TOGETHER’ COVERED BY FLOOR CRY WHICH SEEMS TO BE A DOLLY SONG (there is a very cute video of them goofing around on a beach, pretending to make out, being very adorable and affectionate with each other - dianna posted it and specifically edited it to add the song happy together)

- THE BLOG GETS AN ANON REMINDING US HOW DIANNA WOULD LISTEN TO PALE BLUE EYES BY THE VELVET UNDERGROUND AROUND THE TIME SWIFTGRON WAS BREAKING UP IN 2013, WE PUBLISH AND DISCUSS ON MAIN

AUGUST 4, 2020

- DIANNA STREAMS PALE BLUE EYES BY VELVET UNDERGROUND ON HER PUBLIC SPOTIFY 5 DAYS WE DISCUSSED HER LISTENING TO THAT SONG IN 2013 HERE ON THE BLOG

- TAYLOR IS SPOTTED IN CAPE COD

AUGUST 5, 2020

- TAYLOR NO-HOMO’S BETTY ON COUNTRY RADIO

- DIANNA STREAMS PALE BLUE EYES AGAIN

AUGUST 6, 2020

- KEVIN TEASES SWIFTGRON ON SHOWMANCE AND TALKS ABOUT TAYLOR LOOKING FOR SOMEONE (LIKELY DIANNA) ON THE GLEE SET IN FEBRUARY OR MARCH 2014, POSSIBLY CONFIRMING THAT SWIFTGRON PINING WENT ON LONGER THAN WE EARLIER THOUGHT

- TAYLOR IS SPOTTED BRIEFLY IN LA WITH JOE

AUGUST 8, 2020

- DIANNA IS CONFIRMED TO BE BACK IN NYC

AUGUST 9, 2020

- DIANNA TRULY SNAPS, CRAVES WET PUSSY ON MAIN IN THE PLATFORM PRESENTS EDWARD SNOWDEN SKIT. WE LIKE TO PRETEND THAT SHE DID THIS TO MAKE UP FOR TAYLOR’S NO-HOMO OF BETTY

AUGUST 15, 2020

- BOTH OUR GIRLS POST TO SOCIAL MEDIA ABOUT SUPPORTING THE USPS WITHIN THE SAME HOUR

- DIANNA IS ON A FRIEND’S SOCIAL MEDIA IN CONNECTICUT

AUGUST 18, 2020

- THE LAKES (WHICH IS A SONG ABOUT TAYLOR WAITING FOR HER MUSE) AND THE DELUXE VERSION OF FOLKLORE COMES OUT

- TAYLOR DISCUSSES THE MEANING BEHIND EXILE ON RADIO

AUGUST 19, 2020

- DIANNA’S DIVORCE IS ANNOUNCED AROUND 8 AM EASTERN TIME

AUGUST 20, 2020

- ESCAPISM FOLKLORE CHAPTER RELEASED

AUGUST 21, 2020

- DIANNA IS SPOTTED IN NYC WITH HER HAIR CUT AND FRESHLY DYED

- DIANNA GAY RUMORS SWIRL AS WELL AS HER CONNECTION TO TAYLOR, IT ALL SEEMS TO BE PICKING UP STEAM, THE BLOG PREDICTS A JOE x TAYLOR STUNT

- DIANNA’S WIKIPEDIA PAGE IS EDITED, A MORE FEMININE PICTURE IS MADE HER MAIN PICTURE, SEVERAL PEOPLE ARE EDITING HER PERSONAL LIFE SECTION. SWIFTGRON RUMORS ARE ADDED TO IT:

IT APPEARS AS THOUGH A USER GOING BY KINGSIF MAKES THESE EDITS:

AUGUST *22*, 2020

- IT IS ONE OF DIANNA’S GOOD FRIEND’S, SELBY’S BIRTHDAY. SELBY (WHO WAS AT THE FUN CONCERT IN FALL 2013) POSTS TO INSTAGRAM WITH BOTH MTR AND WILDEST DREAMS PLAYING IN THE BACKGROUND. DIANNA DOES NOT PUBLICLY WISH HER A HAPPY BIRTHDAY (tho she didn’t post for selby’s birthday last year, however she didn’t like molly’s selby birthday dedication and she usually does comment on posts molly has made for selby’s birthday or like it or both in the past, she also didn’t comment on or like tracy dubb’s selby birthday post)

AUGUST 23, 2020

- SLEEPLESS NIGHTS FOLKLORE CHAPTER RELEASED

AUGUST 24, 2020

- DIANNA IS IN CHILMARK, MA AT A LAKE WITH FRIENDS (it’s probably a coincidence but this location is not too far a drive or ferry ride from taylor’s place - about an hour)

AUGUST 25, 2020

- DIANNA IS HAPPY AND FRESH AND CUTE ON THE SHIVA BABY LIVE STREAM

AUGUST 26, 2020

- SALTBOX FOLKLORE CHAPTER RELEASE

- THE BLOG POSTS THE SPOTIFY SINCE FOLKLORE MASTERPOST

- A FEW HOURS LATER SPOTIFY GLITCHES AND/OR DIANNA GOES PRIVATE ON SPOTIFY, IT IS HARD TO TELL WHICH HAPPENED OR IF BOTH THINGS HAPPENED. SHE DOESN’T STREAM AGAIN UNTIL 9/2/2020

- DIANNA IS PAPPED IN NYC CARRYING A BOOK DESCRIBED AS RAUNCHY AND QUEER LMAO

- DIANNA SHOWS UP IN INSTAGRAM STORIES OF SOMEONE WEARING A MASK AND A DETROIT BLOWS SHIRT

AUGUST 28, 2020

- DIANNA SHOWS UP IN A DOG’S INSTAGRAM POSTS, RARE BTS FOOTAGE OF HER IN HER AMAZING ROMEO DRAG FOR HER ROMEO AND JULIET PHOTOSHOOT FROM 2019

- TAYLOR NATION POSTS A PICTURE OF TAYLOR WITH WINE FROM THE FOLKLORE LIVE CHAT THAT TOOK PLACE THE EVENING OF THE 23RD RIGHT BEFORE FOLKLORE DROPPED TO CELEBRATE NATIONAL *RED* WINE DAY

AUGUST 29, 2020

- DIANNA’S INVOLVEMENT IN A PLAY OR FILM ADAPTATION OF A TALE OF TWO CITIES GOES PUBLIC ON INSABELLA MACPHERSON’S INSTAGRAM. THE QUOTE REFERENCED IS, “IT WAS THE BEST OF TIMES IT WAS THE WORST OF TIMES”

- THE OSSA YOUTUBE CHANNEL SNAPS AND SENDS SWIFTGRON MAINSTREAM SHOWING THAT NO, THEY’RE NOT OVER SWIFTGRON SO WHY SHOULD WE BE OVER IT? THEY ADD SWIFTGRON RUMORS TO A VIDEO TALKING ABOUT WHO ALL THE GLEE CAST HAS DATED.

as of 9-4-2020 9 am central this video now has 115 k views:

AUGUST 30, 2020

- DIANNA’S OLD BOSS RYAN MURPHY FOLLOWS TAYLOR ON INSTAGRAM, MAKING HER THE 13TH PERSON HE FOLLOWS (we speculate that taylor’s music will be featured on his upcoming movie, the prom)

- TAYLOR WINS VMA FOR BEST DIRECTION FOR THE MAN, SHE GIVES A DIGITAL ACCEPTANCE SPEECH AND ENDS IT WITH A TENDER “I HOPE I GET TO SEE YOU SOON.”

AUGUST 31, 2020

- THE BLOG REQUESTS DIANNA TO COME BACK TO SPOTIFY:

SEPTEMBER 2, 2020

- DIANNA COMES BACK TO SPOTIFY WITH TWO VERY INTERESTING PLAYLISTS (songs that seem to specifically and blatantly reference taylor’s lyrics)

SEPTEMBER 3, 2020

- DIANNA PAPPED IN NYC OUT BOOK SHOPPING

SEPTEMBER 4, 2020

- CAM SNAPS AND DECIDES TO CELEBRATE THE FAIRFAX FLEA MARKET ANNIVERSARY BY MAKING THIS MASTERPOST. HAPPY SWIFTGRONTEMBER.

what does it all mean?

as you all know, this blog does not think swiftgron is together (other than being friendly and on cordial or even close terms) however we do think swiftgron is being referenced by kevin, her wikipedia, and that news video as part of a narrative. we are not entirely sure what that narrative is but we have two very specific ideas. if you hang around the blog or discord you probably know what our two theories are. we are not comfortable blogging them publicly right now.

the usps post coordination is very loud to us as well along with the outside sources commenting on swiftgron.

it is not just our small circle of delulu 2020 swiftgrons that notice something going on with the girls. they are referencing each other and seem to be circling one another and normal people are taking note.

i probably missed a lot so please ping me if i did (esp about taylor, we don’t track her as closely as we do dianna, we’re going to start though) and please read over this post with big swiftgron intelligence agency eyes 👀👀👀! if there are connections and “coincidences” that stand out to you anon the blog or comment please!

and that’s what you missed on swiftgron

#timeline #late stage swiftgron #swiftgron folklore era 1.0 #spotify #magick #swiftgron #gaylor swift

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kaylorrehabcenter · 4 years ago

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Gold Rush and Happiness are Sisters

Gather round everyone and witness the clown try to prove that Taylor Swift wrote songs about a married (now pregnant) woman in the year of our lord 2020.

Also this is a seven page doc in my google docs so like. Get a cup of tea and some popcorn.

Ok full disclosure this is…..mostly me clowning. Like seriously. Don’t take my words as the word of God, this is just my interpretation and how I listen to the songs. And as a (former? Idk man) Kaylor I’m going to want to make these songs about my ship. Acknowledge your biases kids.

Also like. I change my mind a lot, but for a while this theory that Gold Rush and Happiness are connected has been stuck in my head and I wanted to write it down and post it in case anyone else got something out of this.

If you read my last post on Gold Rush (here!) you’ll know I don’t think of it as a happy song. To elaborate further- I think it’s Taylor catching herself looking back on Karlie/that time in her life (Because I think Karlie is emblematic of the 1989 era for Taylor and is thus tied to the pain that came out of that, along with her ties to the masters heist) and reminding herself it wasn’t good and ended for a reason.

“Gleaming, twinkling/eyes like sinking ships on waters/so inviting, I almost jump in”

“But I don’t like a gold rush”

The sinking ship line makes me laugh. I like to think it’s Taylor saying she’s literally sunk our (dead) ship, but that’s mostly regressing to 2015 tumblr humur.

To the actual analysis, she almost jumps into these waters, maybe it’s literal (don’t text your ex kids, write a bop like closure instead) or maybe it’s more metaphorical. She almost allows herself to think the good times were the only times. Maybe there’s a desire to move back to nyc, capture the magic that she may have felt during the era.

“I don’t like that flying feels like falling till the bone crush”

But that’s the thing. It feels like flying at the time, but it isn’t a feeling that can last. These relationships built on temporary promises (we’re assuming here Taylor was a side thing for Karlie, not that serious and built not to last, even if there were genuine romantic feelings on both sides, which I think there were to some level) won’t last, and will hurt when they do end. At least, this one did.

“Everyone wonders what it would be like to love you”

Everybody wants who she’s singing about and is imagining what it would be like to be with them, they think it would be a fairytale. Hell, Taylor probably thought their relationship would be a fairytale against her better judgement. Karlie is a celebrity and a model no less, yes she has other things going for her (Koding and investments), her brand and her success in the fashion world depends to some degree people desiring and fantasizing about her.

“I don’t like that anyone would die to feel your touch”

The funny thing about that, Taylor’s the only one who knows the pain of that relationship, of being a side thing and never committed to. It’s draining. It's difficult. She isn’t allowing herself to jump into those waters.

“I see me padding across your wooden floor/with my Eagles t shirt hanging on the door”

I point out this line mostly because it feels like a Delicate call back (Echoes of your footsteps on the stairs). Am I reaching though? Probably. Also as someone with parents about the same age as Taylor’s (give or take ten years), I like the Eagles reference. Stream Hotel California for clear skin <3

“At dinner parties, I call you out on your contrarian shit”

Taylor was the first person to call Karlie out on her “I’ve tried!!” bullshit, how cute. <3

Besides this line being very iconic, it also shows to me that Taylor’s been frustrated with Kar even when she was busy giving her heart eyes. She’s a frustrating person to be around even when you are “turning her life into folklore”.

“What must it be like to grow up that beautiful?/With your hair falling into place like dominoes”

Damn that’s a gay couples lines you got there Tay. Wonder if you’re wondering what it must’ve been like for Kar to grow up in the model industry, and all of the pressure and exhilaration that entails. From a male’s perspective ofc.

I also take the dominoes line to be Taylor saying what must’ve it been like to have this easy idyllic childhood. Maybe Taylor is the first time Karlie’s been with a girl outside of a hookup and didn’t have to go through the pain of realizing she was into women until later in life. (Not that that’s not painful, it’s just different, and allows you to have a perfectly straight childhood/teenagerhood)

“And the coastal town we wandered 'round had nеver seen a love as pure as it/And thеn it fades into the gray of my day-old tea/'Cause it could never be”

Maybe this relationship never existed in the way she thought at all. You know Carrie Fischer’s character in When Harry Met Sally and how until she meets the right guy, she spends the whole movie insisting that whatever married guy she’s seeing really loves her!! And he’s gonna leave his wife for her!! That’s what these two songs make me think about, waking up and realizing they were never going to leave their wife, you were projecting this whole story onto someone else, but that doesn’t mean there was no value in what happened.

“And the coastal town we never found will never see a love as pure as it/'Cause it fades into the gray of my day-old tea/'Cause it will never be”

The coastal town seems an obvious Rhode Island reference, to get more specific it reminds me of when Josh and Karlie visited Taylor at her Rhode Island home in 2014 and Josh looks peeved as hell. 1, 2 Also if I remember correctly, enty has a blind where he says there was a huge fight between Josh and Taylor which ended in Taylor not wanting to be around him again. Just interesting to note. (And if anyone has the receipt, please send it my way!)

Taylor may have been projecting this fairytale narrative at the time of being able to make it work, of being friends with Josh even but it didn’t work and the fairytale is left to be folklore, never made real.

The outro is the same as the intro to the song, implying to me that while she’s telling herself it was bad, you weren’t happy, she’s still catching herself missing it and what she had with Karlie. She left a part of her back in New York see, and she can’t stop her mind from retracing old footsteps.

Now, onto how I think Happiness and how I think it connects. I’m about to audition for the national team in the reaching Olympics. Wish me luck. :)

A bit of a preamble though, I don’t take this song ~super~ literally. Depending on what day of the week it is I think it’s probably her divorcee rpg simulator or her closing the book on her ex situationship gf on her own terms ~in a straight way~. So not to discredit this whole ass post but. Take with a grain of salt.

“Honey, when I'm above the trees/I see this for what it is”

See that bold bit? That’s the main connective tissue between these songs. She’s finally woken up and now that she’s this far removed from the relationship she sees what it was. To add to the pain of it all, this is especially potent if you wonder if Karlie gaslit Tay into thinking this wasn’t a big deal, they were just fucking around when Karlie has literal Softest Love Song You Are In Love dedicated to her.

“But now I'm right down in it, all the years I've given/Is just shit we're dividin' up”

This seems to me to be a masters heist reference. Karlie since Lover, is musically tied to this event in Taylor’s life, it’s what I think is keeping Tay from making a clean break from her so to speak.

“Showed you all of my hiding spots/I was dancing when the music stopped”

This seems to be a Rep era/dwoht reference. Yes, Taylor constantly references dancing, but the hiding spots (loved you in secret! you had turned my bed into a sacred oasis!) combined with the dancing when the music stopped (I'd kiss you as the lights went out! Swaying as the room burned down!) brings out the full kaylor clown in me.

“There'll be happiness after you/But there was happiness because of you/Both of these things can be true”

This is probably some of the most gut wrenching lyrics Taylor’s ever written. Damn, imagine having that written about you. Anyway, the point here is the thesis of this whole damn post. Gold Rush is Taylor catching herself daydreaming about the happy parts, and reminding herself about the bad to make her snap out of it. Happiness is her coming to terms that both parts of that relationship were true. Things aren’t that simple.

“Haunted by the look in my eyes/That would've loved you for a lifetime/Leave it all behind”

This feels very Cruel Summer doesn’t it? “I love you ain’t that the worst thing you’ve ever heard?” These lines make this relationship read as two things to me. One, it was very one sided, and Taylor/the narrator, was obviously left behind at the end of it when she was heavily invested into making this work. And 2, it was doomed from the beginning. Again. Big cruel summer energy here.

Or it’s a divorcee rpg simulator 3000. Now with extra glamour and opportunities to dramatically drink wine in dressing gowns.

I don’t have a lot to say about the second verse of the song that. Karlie has a nice smile, Gatsby reference, dig at whoever the next person to take Taylor’s place as a side fling (or a dig at Josh, or a baby reference since that’s what the Gatsby line refers to). The only other thing worthy of note for this post is the line following the Gatsby reference.

“No, I didn't mean that/Sorry, I can't see facts through all of my fury”

is the next line, where she regrets what she just said and admits to saying overly harsh things and overlooking the truth of the matter when she’s angry, which to me feels like a big Afterglow/Me! reference.

“There'll be happiness after me/But there was happiness because of me/Both of these things, I believe”

I think a lot of what Taylor’s doing emotionally in the chorus is legitimizing this relationship for herself. Yeah, Josh and Karlie will have a happy life in Florida with Ivanka and them, but Taylor also made Karlie happy too and she doesn’t want Karlie to forget it.

It reminds me of the way she talks about August, that she genuinely loves James/Karlie, and thinks they have something. But she’s just the pit stop on the commitment highway, and the depth of her feelings for the other person will never be acknowledged. It’s exhausting you know?

“In our history, across our great divide”

“Guilty, guilty reaching out across the sea/That you put between you and me”

Nothing to see here, just a nifty parallel. Karlie doesn’t want wrinkles in her new life see.

“There is a glorious sunrise/Dappled with the flickers of light/From the dress I wore at midnight, leave it all behind/And there is happiness”

This bit (which has some of my favorite imagery in this whole dang album!!!) reminds me of the end of the Wildest Dreams mv where she runs out to the car with the lover following her after the big charade of pretending not to care as much as she does, while knowing you aren’t the one that got picked.

Interestingly, if you look at the shot of the four characters together near the end, the outfits parallel the ones worn by Kar, Tay, and Josh at the 2014 Met Gala. This was of course the one where Tay and Kar got ready together and Karlie proceeded to spend the night with Josh and where Tay just looks. Miserable. (see here!)

The line also parallels Wildest Dreams lyrically.

“Say you'll remember me standing in a nice dress/Staring at the sunset, babe”

Which you know. Worth noting.

The last line (And there is happiness) seems to point to there being happiness in leaving the bad situation just as much as there was happiness in the situation. It’s Time to Go anyone?

“I can't make it go away by making you a villain/I guess it's the price I paid for seven years in Heaven”

A series of thoughts. One, I love the first line where Taylor acknowledges anger isn’t going to make it better. There’s only so much being angry in this situation will do, and it’s not like Taylor’s record is clean here either. (I mean I assume. We know she went psycho on the phone anyway)

Two. Seven years in heaven is both a play on a famous game/turn of phrase (Seven minutes in heaven) but one of the more bold references to Karlie in her whole damn discography. Do I think they’ve been together for seven years straight? Not really. But do I think Taylor saw an opportunity and jumped on it? Yep.

“And I pulled your body into mine/Every goddamn night, now I get fake niceties”

No thoughts head empty this line is a sucker punch and I love it. If anyone needs me I’ll be watching her perform ikywt on the vsfs and crying to yail.

“All you want from me now is the green light of forgiveness”

Oh look! Another Gatsby reference. Or Taylor calling Karlie out on profiting off of her association with Tay after they clearly did not end on good terms. (Folklore themed maternity shoot anyone?) I mean, whatever floats your boat.

A bit on the green light metaphor from Gatsby, because it’s worth noting even if I don’t have much more to say on it here.

“Situated at the end of Daisy’s East Egg dock and barely visible from Gatsby’s West Egg lawn, the green light represents Gatsby’s hopes and dreams for the future. Gatsby associates it with Daisy, and in Chapter 1 he reaches toward it in the darkness as a guiding light to lead him to his goal.”

Yes I copied that from Spark Notes. No I am not sorry. I have an exam tomorrow and I’m writing about a dead ship on a dead social media website. Sometimes we do what we must do.

I love the ending of this song, I really really do, it feels like taking in a breath of air and finally feeling free of the weight you’re carrying. It feels like a final goodbye, like Tay’s getting closure on her own terms and I truly love that for her. Bb’s stepping out into the daylight. <3

There is happiness

In our history, across our great divide

There is a glorious sunrise

Dappled with the flickers of light

From the dress I wore at midnight, leave it all behind

Oh, leave it all behind

Leave it all behind

And there is happiness

So, what was this whole seven page post for then?

Gold Rush and Happiness being connected has been a theory rattling around in my brain for forever and I’ve wanted to write it down for just as long. The tldr of it all is pretty simple, Gold Rush is about her reminiscing about the good parts of Kaylor, and pulling herself out of it, reminding herself it was bad and bad for her. Happiness is her legitimizing the relationship, and moving on while acknowledging there was bad and good in their story. It just took me seven goddamn pages to articulate that.

If you’ve reached the end of this. Damn. Thanks. Go get a snack or something, you deserve it after reading this.

#<3 #hope this entertains y'all like i said been wanting to write it down for a while #hope i explained my points well!!!#kaylor lyrics #kaylor analysis #gold rush analysis #happiness analysis #oh and let me know if the links work!

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ewdaviddd · 4 years ago

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folklore think piece

for a lower case album such as this, i will be writing a lowercase think piece on the subject. i will not explain why. you get it or you don’t.

the 1: i have never been in love or any type of romantic relationship that left me with lasting feelings of any kind. but, on my fourth listen through of this song today, what once was just a promising and fun intro to this peasant girl summer gut punch, brought me to actual tears as i sat on the toilet in my lime green childhood bathroom as if i were mourning the one that got away (another great song). however, i am an expert on being hung up on the past, the “what could have been”, and made up hypotheticals. this song also introduces the film motif seen a lot in this album. i think dating an actor has really gotten to her. anyway what a killer way to begin, top notch stuff. how can a song be so fun and so soul crushing at the same time?

cardigan: when did taylor wear black lipstick? this is important to me. an old cardigan is an inherently bisexual article of clothing. that is not an opinion. i read it somewhere today and i believe it. this is the tip of the queer-coding ice berg in folklore, never fear. another reference, “tried to change the ending / peter losing wendy”. this year i wrote a movie script where both peter and wendy were both gay. coincidence? probably. basically this one is classic taylor poetry on every level and it being one of a trio in a larger story makes it that much better. yet again, high school romance is not a universal experience (like for me for instance) but haunting my “what-ifs” is going to haunt me for a long time. and the thought of someone saying i was their favorite cardigan makes me want to scream into a pillow.

the last great american dynasty: my favorite ts songs have always been the ones with detailed characters and stories and this one introduces the trope of the “mad woman” who comes back later on as well a long with many fun character details. at first this song is just cheeky and cute, very visual, a fun world to jump into. but then this particular stretch of lines makes your heart drop into your chest and reminds you why taylor isn’t just always fun and always cute and always creative, she also holds the ability to nimbly sock you in the gut when you least expect: “fifty years is a long time / holiday house sat quietly on that beach / free of women with madness, their men and bad habits / and then it was bought by me.” my jaw is still on the floor. and i’ve never bought a house myself. but i’ve spent numerous christmases having a marvelous time ruining everything (so i’ve been told) so this song still applies to my life.

exile (ft. bon iver): i’m gonna be honest. for as long as i can remember i have strongly disliked bon iver and i never remembered why. it is a matter of principle at this point. i just don’t trust him. but then taylor announced she wrote a song with him which filled me with tremendous anxiety. but i can rest easy. much like “the last time” this song is a ts and male artist collaboration i can get behind. also the film motif again: the only time i’ve left a theatre when i didn’t like a movie was never because movie tickets are so expensive and if i’m shelling out 11 dollars to sit in a chair, i’m staying the whole time no matter how bad the ending. but i probably would have left my sister’s keeper if i had seen it before if i’m being honest. so i get it. thats why i read spoilers for everything i watch before watching it, because the anxiety of worrying about how it ends make me not enjoy it in the first place. the end of this song: the call and response felt… ethereal? i felt like i was watching a broadway musical from the splash zone seats, crying as i was spat on.

my tears ricochet: this song is what i picture stepping outside in the middle of the night when an inch or so of snow has just fallen and i can see the flakes fall in front of a street light sounds like. or the scorned secret ex lover throwing themselves onto the coffin demanding to know why they weren’t enough. which is to say it feels like a sign from some sort of god. yet again, haunting is brought up, an overt reference to the fact that this album will live in my brain rent free for eternity. for some reason this song reminds me of the relationship between hamilton and burr when burr kills hamilton. that could be because i just watched the disney+ recording last week. one lives, one dies, but neither survive, both pay for it. Which is a super romantic and understanding view on murder. both musical experiences equally chilling and moving. if i die under mysterious circumstances this will for sure be played at the funeral.

mirrorball: first off, this is my mom's favorite which is very important. also, it has skewered a very specific but also universal insecurity of mine; existing just to please others and yet miserably failing. it is comforting that ts is not a “natural’ and feels she must always “try try try” because i too lack natural ability, but also rarely “try” even just the one time. the best way i can describe listening to this song is walking through a silent disco where everyone else is listening to some classic lady gaga jam and you are listening to a calming lullaby sung very far away. but don’t let the soothing sounds fool you. it still will have you reflecting on what it means to look and be looked at. a dark rabbit whole, like falling through the looking glass. i’ve never actually read that book though so i could be wrong.

seven: i’m dumb and on my first listen of this song i thought she “hit her peak” at 7 clock as opposed to age seven. but i always saw taylor swift as someone with an early bedtime. also a fun discovery while writing this, “seven” is the 7th song on the track list. clever. although this song is young and innocent and so nostalgic for a time when screaming ferociously was a widely accepted form of expression, it also sounds like a very old secret someone is whispering to me. a love from long ago that lasts beyond the person being in your life, passed down to me and it all just sounds a little gay. not just because of the specific line to hiding in the closet. but that certainly doesn’t go unnoticed. when i was seven i was definitely in love with girls and assumed that was just what friendship was, playing pirates and making plans of running away together.

august: the eighth track for the eighth month. her mind. also my birth month so that’s special. controversial opinion: from what i’ve read most people seem to think illicit affair is the third song in the triage of teen love. i will strongly make the case that it's actually this one. first of all, the subject: a short lived summer fling, which is specifically mentioned later in “betty”. the central heartbreak of this song is liking someone who always belonged to someone else. yes, this song is a window into a different summer, far from pandemic central and the escapist imagery is delightful. but a whole song from the pov of the “other woman” to james and betty is just so much more fun. and there are two more specific lyrics that prove my point. “remember when i pulled up and said "get in the car”” you will see later comes back from the other person’s perspective. and most of all: the repeated line, “meet me behind the mall”? only teenagers make plans to meet up behind a mall. i rest my case. so now we have cardigan and august. two pieces of the puzzle.

this is me trying: i’m glad i now have a succinct message to send to anyone when they ask me what the hell i’m doing at any given moment. this song just sounds like regret and waste in the most self-assured and confident way. this is “back to december” with the training wheels off. i have no apologies for my efforts at wasting all my potential. but in this song, taylor has opened her arms to me in a warm embrace and has forgiven me for all i’ve done wrong and reminds me to not take for granted the “try”. okay mom. i’m crying again, but okay.

illicit affair: this is the kind of thing that makes you feel sixteen, living in a dull suburb, while secretly screwing your 38 year old married neighbor who’s rich but wants to be an artiste. aka like a character in euphoria or something. it’s sexy and dangerous until you think about it and then it's just dingy and creepy. but this song starts and stays beautiful. most importantly, this song is too sad and depressing frankly, to be a part of the trilogy. we could never forgive james for leaving such a mess and making her a fool. you don’t want to be this girl. you want to walk up to her and shake her and yell “you exist and will not be ruined by any dumb man”. and that’s feminism.

invisible string: is it reductive if i say this one’s about joe? all my non-stan friends have asked me which ones are about him. we forgive them and point them in this direction. because it is lovely and beautiful that we are all tied to our soulmate for our whole lives before we ever meet them (because that would in fact mean that there is someone out there for everyone which might be naive or dumb but i am both of those things and whats the point of living if you don’t believe in the power of love). this honestly gives me “begin again” vibes in the best way. it’s red-era level with the wisdom of lover-era tay. sublime.

mad woman: the second mention of the “mad woman” as both taylor herself and the character in the story. as usual, tay stays calling out double standards and the manipulation of women into “going crazy” for expressing reasonable anger. I, personally, wish i could say “fuck you forever” without someone saying i’m “overreacting”. this is my least favorite song on the album and i’d still listen to it three times in a row and need to resist the urge to set a man’s lawn on fire. just girly things.

epiphany: i know she said this one is about her grandfather’s experience in the military but all i imagine is a slow montage of harry style’s character in “dunkirk” on the beach. and it’s beautiful. and much like my sophomore in high school self reading “all quiet on the western front” it evokes a pain from deep inside me that engulfs a loss i could never describe and a sadness too awful to witness. you will listen to this song and feel absolutely powerless to the will of the universe and it’s cruelty. and the faint but steady heart monitor beep in the background… i’ve never seen “grey’s anatomy” but i can imagine why it has so many fans sobbing. and let me end on this: two soldiers in some old war (meaning both men based on dunkirk) watching each other like this and living and dying together…gay.

betty: the first verse was pulled directly out of my subconscious fantasy of being in love in high school and it being so wonderful and painful and dramatic. and taylor riding a skateboard… is a mood. the song has been out for less than a week and it’s already a cold take to talk about how this is her gayest song to date (close runner-ups being reputation’s “dress” and “cardigan”). but of course i will still talk about it. the lyrics embody such authentic awkward gay energy (see the lesbian in booksmart for reference) and having been a 17 year old only three years ago, i can say with reasonably good authority that no 17 year old straight boy could stand in front of a crowd of peers and beg forgiveness from a girl he hurt. it’s just not realistic. these are all awkward, over-dramatic, young girls stumbling through love. and it’s awesome. james is the speaker of this song, and the subject of “august”, the summer fling that was never truly there due to james’ love for betty, the titular role of this song. thus completing the love triangle. and there are so many obvious references in this song to both “august” and “cardigan”. rhyming cardigan with car again makes me want to light myself on fire in the best way. i love it. “i dreamt of you all summer long” is the final nail in the coffin for the girl in “august” who was clearly just a place-holder. totally separate from taylor swift, my favorite word is porch. so the amount of times it appears in her lyrics is wonderful. say it out loud. it just feels nice. anyway, this song makes me want to be young and dumb and in love. the second can really only be tolerated because of the first and third. i hope the story has a happy-ending. if james were a boy i’d wish him the plague.

peace: the coming-of-age movie starring james and betty (and inez) is over. we have come to “the age” i guess. there’s a thought that’s gonna fester. if this song was just the line, “would it be enough if i could never give you peace?” over and over for four minutes it would still smash me to pulp and fill my body with helium gas. i can and will cause a car wreck when this comes on the aux. if this song is what being grown up is like (bare in mind grown up to me is like, 30) then i’m ready to be done coming of age. because i already worry if i’ll be at all enough for anyone and way too much for someone at the same time. but like all good poetry, this song isn’t about what it “means”, but how it “feels”. and this is new york city, the summer, pouring rain, a long walk home, desperately fearing and hoping they are there waiting for you.

hoax: a one-sided conversation between me and my stubborn clinical depression. i too, constantly stand alone on the cliff demanding a reason. one has not yet been presented. it operates both within and and against me. i could be bigger and stronger than it. but instead i tend to it like a prickly plant. (“no other sadness in the world will do”). there is nothing both sadder and funnier then the scene in “avatar: the last airbender” when prince zuko stands alone on a cliff screaming at the sky for lightning to strike him. i don’t know why this song reminds me so much of that. what a way to end such an emotional rollercoaster. it is so emotionally draining that it simply forces me to start folklore again from the top and listen to it all over again. or take a long therapeutic nap.

there are no skips. and it will still surprise you on your 267th listen. proceed with caution.

i knew you, in a past life maybe. i have not met you yet, but folklore has made me believe you exist.

@taylorswift 10/10 good work

@taylornation this had to be shared and i don’t have a twitter so

#@taylorswift #@taylurking #@taylornation #taylor swift #folklore #ts8

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entertainment · 5 years ago

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Entertainment Spotlight: Rena Owen

Rena Owen is an international award-winning actor, and one of only 6 actors in the world to have worked with both George Lucas and Stephen Spielberg during her three decade career. You may recognize her from Freeform’s Siren, but she’s starred in dozens of other films and television shows, including the lead in Once Were Warriors, which was voted the number one film of all time in New Zealand in 2014. Rena took some time out of her packed schedule to answer some of our questions.

Is there a specific moment or event that you consider the highlight of your career up to now?

I’ll never forgot when Once Were Warriors premiered at the Cannes Film Festival in May 1994. It received rave reviews and was sold to 66 countries. It became a global success and won numerous international awards. I won 6 international best actress awards, and the film made Time Magazine’s Top 10 list of the best films in the world in 1994. The film’s success opened international doors for me and I went onto to work in different mediums in different countries and I became one of only 6 actors, and the only actress, to have worked with both George Lucas and Stephen Spielberg. Having said that, I still get more attention today for my work in Once Were Warriors and as an actor, it is a big time blessing to be in a critically acclaimed and unforgettable film that made a difference, changed people’s lives, and is a piece of work that I can forever be proud of.

What do you do to get ready for a scene?

The advantage of ‘maturing’ as an actor is; you’ve learned that you just need to bring your best self to imaginary circumstances. The best work comes out of relaxation. You’ve learned to trust the script, your director, your cast mates, and most importantly, yourself, and you’ve learned how to totally be in every moment and to relish every beat! It’s like playing an instrument and aiming to create your best music. Needless to say, I do my homework; I prepare, I break down my scenes, I learn my lines, etc, but when I hear the word, ‘action’…I let it go and it does itself. I trust my emotional intuition.

What’s the first thing (book, movie, show) that you remember being a fan of?

Once Were Warriors started as a book which I read in 1990. At the end of reading it I remember thinking, whoever wrote this book lived the lifestyle because it was so authentic. I also thought, if this book is ever made into a feature film, the mother is a role to die for! 3 years later I auditioned for Beth Heke and it was a dream come true to be cast in the leading role.

What’s the most memorable thing that’s ever happened to you on set?

I had just came to LA and Steven Spielberg was doing A.I. in Long Beach. My agent rang me and said, “Steven needs an actor, a really good actor, who can be part of this big flesh scene. We can’t tell you what you’re going to be doing, we don’t know what you’re going to be doing, but he’s just finding that, using extras, he’s not getting what he needs.”

My agent said, “The CD (Casting Director) asked if you would consider doing this, going in there, and really you might just be a little featured background artist or whatever.” I said, “I don’t care. It’s Steven Spielberg, of course I will do it.” Listen, I’m going to tell you this and this is a reflection of Steven Spielberg—I go down to Long Beach. I go on set. He comes up to me, he shakes my hand. He says, “I am a huge fan of Once Were Warriors. [Director] Lee Tamahori did a fantastic job.” I was so impressed that he knew Lee’s name and pronounced it well and knew his full name. I mean, I was so impressed by that, because this is a man who I thought wouldn’t know this little film. But it’s why they were interested in me. Then the DOP was looking at me sideways and then he goes, “Oh my God, I knew you were familiar. That’s where I know you from, Once Were Warriors.” Spielberg nudged him and said to him, “Yeah, she’s doing me a favor.” That’s classic. I’ll never forget it. From Steven’s perspective, I was doing them a favor. The role I ended up doing was being the ticket taker that stops that robotic bear from trying to sneak into the flesh fair.

Is there a subject that you know way too much about?

Mermaids! When I was first cast in Siren, I did a lot of reading online and was amazed by the enormous mermaid fandom going on around the world. I checked out mermaid conventions, listened to mermaid podcasts, and I read mermaid blogs and scientific resources. I can tell you that some societies actually believe humans are descended from mermaids, but most scientific resources believe that mermaids are entirely fictional. Additionally, there is no hard evidence that mermaids actually exist outside folklore, but reports of mermaid sightings around the world continue, and apparently there are four types of mermaids; traditional mermaids, shape shifting mermaids, human form merfolk, and skin-shedding mermaids.

What’s next for you?

Well, we just started filming Season 3 of Siren, so there is going to be a lot of Helen Hawkins in my immediate future. Looking further out, I’d love to be able to make ‘Behind the Tattoed Face.’ It’s a sweeping epic that has a very rich world, and is being lovingly referred to as ‘The Black Panther from Down Under.’ Sometimes it takes a long time to get a project made, but that’s the one I’m dying to make.

Thanks for taking the time, Rena!

Catch Siren on Thursdays at 8pm on Freeform.

#entertainment spotlight #rena owen #siren

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theswiftarmy · 4 years ago

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#30 - The 13th Song On The Playlist

William didn’t say a word, he just walked along with a small smile on his face. Billie shared a glance with William and then watched as William and Justin caught eyes. Billie found herself also smiling, unable to stop it. Then Justin smiled too, it spread contagiously. Everyone smirked and then stifled a laugh. They felt giddy out of the blue while they walked. The giddy feeling ran through them like a potent potion. The potion taking hold with each step they took down the street. While they walked Billie Eilish sang Dreams by Fleetwood Mac. This odd feeling overtook them. They all felt strangely fine. A little too fine.

“Billie. We need to go back for Billie!” Justin suddenly screamed out breaking the song.

“Justin, let her go. She’s been Swifted.” Billie said with a smile. It sounded like she was joking but, on second consideration, she seemed disassociated from her Billie serious self, like she was talking about herself as another person. Or as though thoughts were traveling through her brain from elsewhere. They all momentarily felt like conduits for thoughts that weren’t their own.

“No! I had to leave my cat on the roof of Big Machine, I’m not leaving Billie. If I hadn’t left my cat, Taylor never would have catnapped Sushi and we’d still have Taylor’s master recordings, and none of this would have happened. We wouldn’t be in this situation. Billie wouldn’t be—”

“I’m right here. Justin, I’m right here.”

“Oh. That was weird. I really thought you were still in there. In that place, with the sound walls.”

“Nah. I’m right here.” She said with a small smile.

“Yeah, we’re out of the ‘Tunnel of Lover’ and we’ve entered some sort of new land of folklore.” Kymmie joked with a laugh. “And what comes next is anyone’s guess… Right dad?”

Carl Lyle Lawyer looked down at her. “I wouldn’t be surprised if leprechauns come out of some giant shamrock holding us hostage.”

‘Watch out for Shamrock Holdings.’ Kymmie Lawyer jotted down in her journal as a note.

They began walking towards the helicopter. Right now there was no real plan, just get back to the helicopter, return back to Oak Felder’s studio, The Spaceship, figure out what to do next. Get some sleep. With no other means of transportation, no taxi, no Uber, not a single other soul in sight, they set on foot back to the downtown LA bank where the helicopter hopefully sat parked waiting on its helipad on the rooftop of the building.

“Hey dad.” Kymmie asked after a minute of walking in silence.

“Yeah?”

“What’s the song that mom likes, the one about having a fast car.” “You mean Fast Car?”

“Yeah! Fast Car… you got a fast car…” “Yeah that’s her favorite song.”

“Who sings it?”

“Why?” He questioned.

“Because I’m going to put it on my playlist.”

“Tracey Chapman. One of the greatest songwriters of all time.” Carl reminisced. “You know I met her once.”

“Really?”

“Yeah. Before you were born.”

“Oh, so in the olden days.”

Carl laughed and shook his head. “Yes, the olden days.”

Billie Eilish and Justin Bieber laughed, but then stopped when Carl turned a lawyerly stare in their direction.

“You know, you laugh, but it’s only a matter of time my friend, you too will get old.” He said.

“We’re not gonna get old.” They said back, “We’re too cool to get old.”

“Uh, it doesn’t work like that.” Scott retorted back to them. “Unless you’ve got some magic trick the rest of us don’t know about.”

“Maybe that is what is going on, maybe Taylor figured out a way to change time so she wouldn’t age! Like, change the tempo of the world to slow down time.” Billie thought out loud. “Or MAYBE she just wants more time for a specific reason?” Billie replied to her own question.

“We all want more time.” Justin replied.

“Yeah. I guess. Or to go back in time.” Billie said back.

“Why would YOU want to go back in time? You’re on top of the world right now!” Justin asked Billie.

She shrugged. “I have my reasons.”

Kymmie wrote ‘Fast Car’ by Tracey Chapman in her playlist as she listened to Justin and Billie’s conversation while the group walked towards the helipad where the helicopter was hopefully still waiting. She wrote down her entry in the number one spot on the playlist. Although, she was pretty sure she had already filled the number one spot, but now she wasn’t so positive, “Why is the first spot blank?” she thought “Was the first spot blank?”, maybe she started on number two and not number one. She wasn’t sure of anything at the moment. It was a bit like that scene in the movie Labyrinth, the one with the two doors, someone keeps changing the arrows around, but for Kymmie, someone changed the songs around, she was sure of it. But, pen and paper doesn’t move, it’s not like a computer screen, it’s not like a phone, or a tablet. PEN WRITTEN ON PAPER CAN’T JUST CHANGE ALL ON ITS OWN! That’s just not possible, she told herself. It’s not possible, right? Then she thought for a moment and forgetting she was walking down the street with a group, said to herself out loud. “Oohhh, I’m going to put a Post Malone song after that song.”

“What?! You can’t put a Post Malone song after a Tracey Chapman song.” Carl shook his head.

“It’s my playlist, I can do whatever I want!” Kymmie beamed back.

“Well, alright.” Her dad let her have the win. He wasn’t about to argue her on her own playlist. If it were his playlist, he’d have it differently. Start it off with a little bit of Stevie Wonder, nothing like singing along to Superstition. That song never gets old!

Who was going to question Kymmie’s playlist, it’s her playlist now, she found the notebook, finder’s keepers. She smiled at the journal in her hands, she inspected the front cover, worn brown leather, zodiac symbols in a circle around a young woman, long flowing hair, as though the young woman’s hair were being blown by a gust with the wind. As she shifted the journal in the light, it looked as though it moved, the leaf shapes around the woman seemed to move past her. She flipped it over to inspect the back of it. Then she inspected the inside front and back cover. She noticed at the very bottom of the last page “ME”. ME? Why is the E backwards? Kymmie thought. Then she flipped it upside down. EW? Hmmm… Weird. Maybe they’re someone’s initials… EW. Hmmm… EW…. Well, ME with a backwards E or, she flipped the diary around again, EW, or ME-EW, whoever you are, this journal is mine now. If you come looking for it, you can have it back, but for now, it’s mine. She pulled out her pen holding it just above the paper.

1) Fast Car

2) Wow.

“I would probably say wow to having a fast car, if I had a fast car.” She said aloud as she wrote on her playlist, she continued talking, “And then Billie and Justin go after that, so let’s see Billie and Justin and everyone else are driving in the fast car saying wow.”

Will B walked beside Kymmie as she wrote in the journal and talked. No words, just a grin. He took one big giant step for every two of her tiny steps. His legs shooting out far in front of him. His tall lanky body nearly twice the height of Kymmie.

“Hmmm and then I’ll put a Pedro The Lion song after that. What do you think Will?”

Will smiled as she showed him the book.

1) Fast Car

2) Wow.

3) Billie + Justin + Everyone else

4) Pedro the Lion

“Wait, timeout, you know who Pedro The Lion is, but you didn’t know who The Beatles are?” Billie asked.

“Well, there’s this boy I like in one of my classes, and he really likes Pedro The Lion, and I really like the boy, so I like his music.”

“You shouldn’t like music that people like just because you like them.” Someone said, but Kymmie wasn’t sure who said it. Maybe she said it to herself. Or maybe it was Billie. It was like hearing your own voice in a recording.

“I don’t know, I mean, it’s a good way to get introduced to new music. Plus, you always have the music. You may not always have that person. But you’ll always have the music.” Justin said to Kymmie, like he was replying to her. Maybe she did say that. Maybe she was trying to convince herself not to like the boy in her class. Or maybe it was the music she liked, and not the boy. How do you know you really like someone or something… or is it that you just like something about that someone or that you like something about SOME thing? Did you fall in love with the person in the moment, or did you just fall in love with that moment you spent with that person? What’s the phrase my ex once said to me, ‘You were just in love with being in love.’ Perhaps. I had no witty response to her, what else could I say, she started the phone call with ‘I’m hanging up if the next words out of your mouth are anything but goodbye.’ All I could do was listen to what she had to say or say goodbye, so I listened.

“Let’s see, so then after Fast Car, then Wow. with Post Malone, then there’s a lion! Maybe his name is Pedro. I don’t know.”

“Are you making a story out of your playlist?” Billie asked Kymmie.

“Maybe. That’s just how I make my playlists, I connect the songs together from one to the next by thinking out loud. Oooo, I like that song too, I’ll put Thinking Out Loud by Ed Sheeran on my playlist. So, let’s see, there’s a lion, then I have to think out loud about the lion. And someone yells ‘There’s a lion!’ Why is there a lion? And everyone is like, WHY IS THERE A LION? And it’s just like, I don’t know, there just is. Because that’s what song is currently on. Just shut up and dance with me. Ooooo, I like that song too, but I don’t know if I want it on this playlist.”

“You’re so weird.” Billie said to Kymmie.

“I mean, we’re all a little weird.” She replied.

Billie smiled, “Okay let me see your playlist so far.”

She held up the notebook. “How come we can’t each get our own line? If this were an actual playlist on a streaming device we wouldn’t all just be one song.”

“What’s wrong with a song with a whole bunch of people in it?” Carl asked. . “One of the best songs of all time had LOTS of people in it!” He reminisced to the day that song was released. “We are the world…. We are the children…” He began to sing. “We are the ones who make a brighter day, so let's start giving.”

“Father, are you singing another song from the olden days?”

“Yes, daughter. And it’s a good song too!”

She rolled her eyes, “Fine, I’ll put everyone on their own line.” She added everyone to their own line on the playlist.

Billie thought of something as she looked at the list. “Kymmie, can you add Finneas beside my name? I just, don’t know where he is, and… It would just feel better if you could add him.”

Sure, Kymmie shrugged. “I don’t see why not!”

1) Tracey Chapman - Fast Car

2) Post Malone - Wow.

5) Justin Bieber +friends (“+friends” is crossed out so it’s just Justin Bieber)

6) Billie Eilish

7) Oak Felder

8) Scott Borchetta

9) Kanye West

10) Lizzo

11) Will Way

3) Pedro the Lion – Yellow Bike

4) Ed Sheeran - Thinking Outloud

12) Lady Gaga - Paparazzi

6B) Finneas

“So, there’s a fast car, then everyone is like WOW! Then we’re all in the fast car and then there’s a lion on a yellow bike and we’re all like, let’s think about this, and we think outloud and then, the paparazzi show up.”

Billie and Justin laughed. William Way’s grin grew larger and he let out a good sized chuckle. A full belly laugh. His tall and lanky frame shaking from the belly outward.

“Sounds like a good story.” Carl said to his daughter.

“They’re kind of out of order, but I’ll just make a new list later on a fresh page once I get the playlist right. Paper is so weird. You know, like I have to make a WHOLE NEW LIST on ANOTHER PAGE, I can’t just drag and drop and reorder.” Her dad laughed.

“It’s a tough life you have to live.” Carl smiled. “You should try being a lawyer.”

“What? Why? Isn’t everything like, online, or whatever?” She replied to her dad.

“How many times have you been in my office and seen stacks of paper?” Carl quizzed her.

“Ummmm… I don’t know, I always thought you just did that to impress mom.”

“Yes, that was the key to your mother’s heart. All my boxes of legal paperwork. She married me because she’s attracted to guys who file lots of paperwork.”

Kymmie rolled her eyes again then thumbed through the pages some more and found a doodle of a cardigan. “That’s weird.”

“Well, like you said… We’re all a little weird.”

“No, dad, not what you’re talking about. This.”

“What?” Billie asked.

“That’s the same…” She started to tell Billie about the cardigan wearing cat in the smoke shape tree from the Regina Spektor echo chamber. “Nevermind.” No one else had seen it. She was sure she was the only one who had seen the cat in the tree wearing a cardigan, then she noticed the peacock. The same one from the echo rooms.

“You okay?” Billie looked at her with a concerned look.

“Yeah, just, this… book… or journal, or whatever, is weird. I wonder who it belonged to?” She turned the page and two cardigans were drawn in the margin, no, make that three, or four? She turned the page again; the whole page was full of them. She held the book up to the light again, lots of cardigans showed, faded, but they were there. If you look at it from an arm’s length you can only see just one, but as you look closer, there’s more, then a whole bunch of them… It’s like they were multiplying, out of nowhere, more and more cardigans… cardigans taking over everything!

She looked back at her playlist. A thirteenth song had appeared.

13) Jack Leopards & The Dolphin Club – Look What You Made Me Do

“What? I didn’t add that.” Kymmie whispered to herself. “This playlist is adding songs on its own, that’s not fair, this is supposed to be my playlist.” She tried to scratch out song number 13 on her playlist with her pen but the markings quickly faded away. “WHAT! This isn’t fair!!! This playlist is changing on its own—”

“Ummm… guys there are some people following us.” Lizzo announced to the group. Kymmie looked up from her journal. Everyone looked back.

Instinctively the women pulled out their car keys and held them between their fingers. Kymmie held her dad’s pen, ready to poke an eyeball out. The guys did nothing different.

They turned around to see a small group had appeared in the distance on the same street behind them. The group had one oddly specific commonality: They were all wearing cardigans. The women lowered their makeshift weapons, feeling that their lives were not in immediate danger.

“Who ARE they?” Kymmie held up her journal book and spoke to it as she matched up the cardigans on the pages with the cardigans in the street, “Who ARE you?” She asked the book… a small heart appeared on the page—a tiny hand drawn outline of a heart appeared in the middle of the page surrounded by hand drawn cardigans.

@taylorswift

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kpoptimeout · 5 years ago

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My Top 10 K-Dramas of 2019 - What’s Yours?

2019 is ending soon and K-Dramaland has once again brought us so many goodies this year. As per our blog’s tradition [For 2018 faves click here], below are my Top 10 favs of the year (my faves in alphabetical order so it might not be yours so please don’t judge). (For our blog’s 2019 music ratings, click here!)

My only specific criteria usually is that the show must have had started in 2019 to be considered a 2019 series but this year I have made an exception for dramas that started very late in 2018 and it required watching well into 2019 for to be sure it was a great drama.

Without further ado, check the list below!

Doctor Prisoner (KBS2)

If you are looking for a thriller with insanely good acting, I would highly recommend Doctor Prisoner. Set in a prison clinic with Namkoong Min’s disgraced doctor as the lead plotting to right the wrongs society has done to him, the drama blurs the lines between good and bad. The medical director of the prison played by Kim Byungcheol seems like the perfect evil archetype for the audience to hate on but over time the plot and the acting allow us to soften up to his character and worry about his well-being. The drama also thrived in the current political climate in South Korea with its nuanced look into corruption and class issues. It was also a delight to see Namkoong Min’s rise in the past years from a rom-com lead to a seasoned leading man able to take on many diverse roles. If you love a drama that discusses the conflict between humanity and greed with stellar acting, you would love Doctor Prisoner!

Extraordinary You (MBC)

I actually struggled with whether to put Extraordinary You in the Top 10 due to the poor writing in the last few episodes of the show but caved in due to the spectacular quality of the earlier episodes and the consistently amazing acting of the main cast. Based on the popular webtoon “July Found By Chance”, the drama is about a girl called Eun Danoh who discovers she is in a shojo manga and not even the female lead - just an extra there to drive the love line between the male and female lead and stuck with a one-sided love to the biggest f*ckboi in school. Danoh decides to fight against fate (the writer’s plot) and try to change the storyline with her friends who start to also gain consciousness as well as the male lead Haru, a nameless background character who seems to have a mysterious connection to Danoh and an ability to switch characters in and out of scenes. The first half of the drama is pure K-Drama gold and consistently makes self-aware jabs at K-Drama tropes. Also, the quality acting of Kim Hyeyoon really breathed life into the character of Danoh, whose many monologues during her self-aware moments would fall flat without good delivery. While playing Haru was SF9’s Rowoon’s first major lead role, he carried the part well and was able to show the changes in Haru as he went from brainless NPC to an increasingly aware player in the plot to take down the comic book writer. Lee Jaewook, April’s Naeun, Jung Gunjoo, Kim Youngdae and Lee Taeri also all excelled in their respective roles. If you would like a drama where you can discover lots of young talent, Extraordinary You is the drama for you!

He is Psychometric (tvN)

While using the common K-Drama trope of male lead has a peculiar and uncommon superpower, and teams up with a female lead with secrets and some investigators to solve crimes, He is a Pyschometric excels in how it used these tropes well. I mean it is a tvN production and they own the supernatural mystery/romance genre these days. The male lead has the power to know about people’s past by touching their skin so of course we know plenty of skinship shenanigans and questions about human nature and trauma would be explored in this drama. After providing backstory and building up the personality of the main characters in the first few episodes, the series was consistently intense and the chemistry of the characters is great. GOT7’s Jinyoung has proven that he is ready for lead roles in more dramas, while Shin Yeeun showed that she is ready to take on the television screen after her quick rise to fame as a web drama actress in the record-breaking web series “A-TEEN”. SISTAR’s Dasom has also continued to grow as an actress, as seen in her role as police investigator in this series. If you are a fan of supernatural and mystery based K-Dramas, He is Psychometric is definitely one of the best dramas this year for you!

Hotel del Luna (tvN)

Another fantasy series coming from tvN, Hotel del Luna was definitely one of the most talked-about dramas of the year and rightly so. Set in a hotel that caters to ghosts, e.g. the dead with grievances and unable to “move on” to the world of the dead, you know you are in for episodic adventures involving the lives of many guests. We are also provided with the interesting relationship between IU’s Jang Manwol (her name literally means full moon) who is the ghost hotel owner for over 1000 years as a punishment for her sins and Yeo Jingoo’s Koo Chansung (his name literally means bright star) that the deities believe is the key to Manwol’s emancipation from ghost hotel running duties. In a way, it is like a gender-swapped version of the Goblin relationship going on but due to additional plotlines and character relationships, it is honestly a lot more and I will leave it to you guys to find out when you watch the show yourself. If you enjoy a fantasy drama involving ancient supernatural beings, Korean folklore and diverse stories, you would enjoy Hotel del Luna!

Kingdom (Netflix)

Netflix Korea continues to churn out amazing dramas and Kingdom is definitely one of the best this year. Adapted from the Korean webtoon series “The Kingdom of Gods”, the drama is set in Joseon Korean (in the 16th century) where a crown prince already dealing with court intrigues and trying to make it out alive is thrown another deadly problem - zombies. Given the stellar performance of Netflix’s earlier Korean period drama Mr. Sunshine and the amazing global box-office results of Korean zombie movie Train to Busan, this concept itself already sounds like a perfect cocktail for success. And the drama was received very positively, with a second season renewed for 2020. Besides the ridiculously addictive plot, the acting is also superb. The crown prince is played by none other than Ju Jihoon, who has long been popular in South Korea and among K-Drama fans for his dark and brooding demeanour perfect for an apocalyptic series. Bae Doona, who has found great success in Korea and in Hollywood for her roles in K-Dramas and movies such as Cloud Atlas and Netflix series Sense8, expertly takes the female lead role of the physician uncovering the zombie epidemic. If you love period dramas, zombie movies or both, this is the drama for you!

Sky Castle (JTBC)

Widely lauded as the best K-Drama of the year, Sky Castle is arguably one of the best K-Dramas of this decade because of the amazing acting, the unpredictable plot and its inclusion of many societal issues in South Korea. The show set the record for the most-viewed cable drama in South Korean history. Set in the opulent neighbourhood called Sky Castle, the story revolves around the “real” housewives of the neighbourhood who are all trying to get their kids into the top three universities in South Korea (SNU, Korea U and Yonsei - often also abbreviated as SKY universities). This concept of looking at the competitive education environment of East Asian countries is not new but the series set itself apart but including a mystery element, where deaths, secrets and intrigue involving members of the neighbourhood also shed light to class issues spanning across generations, gender issues, work culture, as well as familial relations in the conservative Korean society. The show also employed an extremely talented but underrated cast of actors who either spent many years honing their craft as side characters of many shows or are star film school students. The show also gave many opportunities to the cast afterwards, as seen in Kim Byungcheol’s lead role opportunity in Prison Doctor and Kim Hyeyoon’s lead role in Extraordinary You that are both discussed above. If you love a socially aware drama full of intrigue and mystery with great acting and cinematography, you would love Sky Castle!

The Fiery Priest (SBS)

The highest-rated miniseries of 2019, The Fiery Priest is really a unique show unlike any other. The story follows an investigation into the death of an elderly priest, with the Scooby-Doo crew made up of a young priest, a detective, and a prosecutor. While the crime-solving trio dynamic in the synopsis would definitely give “The Guest” flashbacks, this drama is completely opposite to OCN’s 2018 gritty horror extravaganza and is instead heartfelt and utterly hilarious. The priest clearly has anger management issues, the detective sucks at his job and the prosecutor has questionable moral standards. And Kim Namgil, Kim Sungkyun and Honey Lee all played these roles ridiculously well. Like other great dramas this year, The Fiery Priest looks at social issues in South Korea but instead of extremely serious commentary, touches of them in a humorous and sarcastic manner. This allowed the show to get away with more than you would expect on Korean non-cable TV. One thing the show did do which was similar to the much more serious “The Guest” was not having a romance plotline shoved down our throats like many K-Dramas. If you love a good comedy-mystery drama, you should check out The Fiery Priest!

The Tale of Nokdu (KBS2)

Another drama based on a webtoon, The Tale of Nokdu received average national ratings but was massively successful among the Gen Z of Korea and overseas fans. The reason may be the premise of the series. We have seen a good amount of girl masquerades as guy romcoms in the late 2000s and early 2010s such as the legendary dramas “Coffee Prince”, “You Are Beautiful”, “Sungkyunkwan Scandal” and “To The Beautiful You” but HAVE WE SEEN A REVERSED VERSION? Well look no further as The Tale of Nokdu is exactly that. Set in the Joseon Dynasty, the male lead has to hunt down a female assassin who has taken refuge in a women-only widow’s village and he must pretend to be a woman to live in the village to catch the assassin. Jang Dongyoon and Kim Sohyun delivered quality acting but probably what really made the show so popular with the Gen Z audience is seeing the male lead coming to realise the struggles of women in ancient times, with some struggles still existing today, as he lived in the widow’s village and the fierce and strong personality of the female lead who keeps saving the male lead’s ass. While there are some expected period drama tropes with royal court politics and will-they-won’t-they in face of the greater good, The Tale of Nokdu is one of the standout dramas this year for its fresh take on the cross-dressing K-Drama trope. If you have enjoyed previous cross-dressing K-Dramas, you should give The Tale of Nokdu a try!

Vagabond (Netflix/SBS)

Lee Seunggi and Suzy reunites in Vagabond for the first time since Gu Family Book in 2013 and this was definitely a great reunion. With a backdrop involving government corruption and terrorist attacks, Lee Seunggi dons the role of a retired stuntman turned vagabond to avenge the death of his nephew and uncover the truth. Suzy joins Lee Seunggi as a rookie special agent who gets pulled into the investigations after being in the wrong place during the wrong time (or the right place in the right time depending on how you view the investigations). This action-packed series was filmed across many countries such as Portugal and Morocco and would give you a huge adrenaline rush as the main cast faces new obstacles and betrayals in every episode. The current ending of the series suggests a possible Season 2. If you are a fan of spy and action-type thrillers like City Hunter and IRIS, you would love Vagabond!

When the Camellia Blooms (KBS2)

The highest-rated mini-series this year after The Fiery Priest, When the Camellia Blooms is a slightly more light-hearted slice of life series set in the fictional matriarchal town of Ongsan. The series stars Gong Hyojin as a single mother who moves to the town to raise his son and run a bar called “Camellia”. The story revolves around Kang Haneul’s small town cop (and lowkey village idiot with a heart of gold) who has a crush on Gong Hyojin and her baseball star ex-boyfriend and the boy’s father played by Kim Jiseok trying to win her back. What makes this series so well-loved is that besides the love triangle shenanigans set in the small-town community, the endless line of useless pushover men, and the community drama between store owners and neighbours, there is also a mystery involving a serial killer who holds a grudge against the female lead. But ultimately it is a quirky drama where the slice-of-life really dominates over the mystery aspect of the series and we learn a lot about the characters and their backstories as the series progresses. If you like a more slow-paced, slice-of-life series, When the Camellia Blooms is the series for you!

Honourable Mentions:

Dazzling/The Light In Your Eyes (JTBC): The story about a young woman who suddenly became 70 years old but with the ability to manipulate time. The series received critical acclaim for its portrayals of the struggles of everyday folk in South Korea and for its surprising twists.

The Secret Life of My Secretary (SBS): The male lead is a childish company director who lost the ability to recognise faces and must enlist the help of his secretary to maintain the pretence of normalcy. Rainbow’s Jaekyung was a complete scene-stealer for her role as the over-the-top CEO Veronica Park.

The Last Empress (SBS): Set in the alternate reality where South Korea is a constitutional monarchy, this is a melodrama involving a bodyguard who wants to seek revenge on the King’s mistress and a Queen who discovers her fairy tale marriage was just a PR ploy by the royal family. Basically, peak quality makjang.

What’s your Top 10 K-Dramas of the Year? Leave your thoughts in the comments section below and may the drama sharing begin (and the road to more excuse for holiday procrastination!)

Also, if you want to check out underrated K-Pop songs of 2019, here are the lists for idol songs and artist songs. We have also made a list for the Top 20 most underrated K-Pop songs of the decade!

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