#folkore is the best thing ever

[azuresins]

Something important consider regarding Sebastian, and some of the things people have had to say about him pertaining to following Christian Mythology.

Some people are using the wrong evidence to support Sebastian following what they claim is "Christian Mythology." If one tries to base his origins off of his contract symbol alone, and link it to The Lesser Key of Solomon… a lot of people have some feelings on the matter. Namely, an entire group of people. I did my best to break down the contract and it's origin in a previous post, but I did not further expand on it. I deeply regret that I didn't. The lesser Key of Solomon is a grimoire that does not actually trace back to the Talmud. The Lesser Key of Solomon is loosely based off of The Testament of Solomon... which barrows from multiple cultures and can only be traced as early as the middle ages. In fact, is has absolutely no connection to true Jewish folkore or true Kabbalah. There are mountains of evidence to support this, I would encourage people to keep digging. This article expanded upon this much better than I could ever explain. :

That people have used this grimoire in the past as "evidence" that jewish people have "secret magic and powers" and as an excuse to be antisemitic. N-zi's used this, as propaganda.

The book was clearly written by a non-jew (goy), who culturally-appropriated from Kabbalah and Talmudic texts. How do historians (more importantly, jewish historians) know that? There's a lot of grammatical errors in extremely-broken hebrew, for one. There's the countless books and articles written about this by Jewish people that often get trampled on, by people in occult spaces. Theistic Satanism is rife with people who are comfortable brushing shoulders with N-zis and parroting their ideology, for a reason. Occult spaces in general are very hostile, toward jewish people in general and they don't care if they're stealing from a closed practice. Quabbalists / Cabbalists were formed in general, so that non-jews could steal/practice Kabbalah and pretend it's Christian … The Lesser Key of Solomon, is a part of that. People call it "Christian" as an excuse, to be able to use it in religious practices. Solomon came before Christ, not after.

Jews who believe and practice in a non-secular way, don't believe demons are inherently always evil beings. There isn't a clear cut translation for "demon" in hebrew. That very belief in of itself, has gotten many jewish people hurt, killed, and persecuted for centuries.

A mystic jew who practices Kabbalah, would not have written a book/grimoire describing demons, like that. A jewish person wouldn't have even approved of the vast majority of those illustrations of the demons, either. Another reason this is known: it's staple of jewish folklore that demons aren't capable of completely shapeshifting into a human being, as they always will have what's described as 'chicken feet' / 'bird feet' / 'cock's feet', when they're in disguise, and they have to hide them using other much more ordinary means outside their own magic.

A lot of those illustrations in the lesser key, describe and depict them as having human feet, when they take the shape of a human... There's not even one mention of 'They take the shape of a man with chicken's feet/birds feet' or any warning, about what their feet will look like, anywhere, in the Lesser Key of Solomon. Wouldn't that be important?

In jewish folklore sometimes demons are known to chase ghosts and wayward souls that were once evil in life, trying to escape accountability for their misdeeds. Human ghosts who try to posses or hurt other humans. In other words it's generally accepted that human evil has the potential to be more meddlesome and monstrous, than a demon can be. That's not primarily a Christian belief. It is also a Jewish belief, that demons are inherently doing what they're supposed to do and have a place, in G-d's plan. Even 'Satan' (not the correct name in Jewish belief!!!) is ultimately a subordinate to G-d, working with him and not against him... not necessarily HIS adversary or the enemy, it's much more accurate to say demons and devils are an adversary to humans and human kind, alone. Didn't Sebastian say, "Where is the FOOL who spits on God?" ...That doesn't sound like a demon who sees God as an adversary. Contrary to popular belief, the Christian God and the Jewish G-d, even conceptually... are extremely different concepts, and entities (I mean for fucks sake one did the whole Jesus thing, and one DIDN'T... that's a huge difference. It is not by any stretch the only one).

People have been pointing these things out for centuries. That Christianity is NOT Judaism Plus™️... but it continuously falls on deaf ears. The reason why discussions like this almost never go anywhere productive, are because people out there... either don't care, or are Antisemetic anyway. It doesn't matter if they brush shoulders with extremely misguided and bad people, they want to believe what they want to believe. People will always be out there who will try to insist the Lesser Key is actually-reliable knowledge concerning the vast majority of these demons, and those who actually use it are "doing it in good taste!" and that "this source is Christian actually, and I am respectful!"

There's "demons" on that list, that come from completely unrelated cultures and practices, that aren't christian OR jewish. I've cited sources that confirm this already... but you need look no further, beyond the names and descriptions of the demons themselves. Therefore, insulting to say, "Their overlord is Satan" and they're beneath a rank in any kind of Christian-formulated hierarchy.

For the record... Of course, it is possible to explore this in fiction and to study these things. Of course it's possible, that jewish people have written about these spirits, and have tried to reclaim some elements of design of the sigils and content that was badly botched. It's their right to do so. Of course it's possible, to take these sources with a grain of salt and read it as someone curious, and studying how this all happened... how these texts came to be, and why it's so far removed from the closed practices that wrote about them. I'm not saying it can never be used or written about, ever, I am not trying cancel anybody (or Yana). Especially people who didn't know half of what I've just talked about. It took me an embarrassingly long time to understand any of this, and even accept half of the things, I've read. I'm just saying trying to say, as someone who has studied these matters independently for over fifteen years... That even if you're of the belief, Sebastian is connected to the symbols within the contract and that grimoire? ... It still doesn't mean, he's a part of Christian mythology. That source doesn't necessarily mean anything, in the context of who Sebastian is. The evidence to support he is Abrahamic in origin is much more arguable. The fact is, we don't know what Yana has in store for him, and we don't know that his contract necessarily means that The Lesser Key of Solomon, or The Testament of Solomon are accurate sources for what he is, or are actually helpful when it comes to identifying what sort of demon he is. He's certainly not following Christian mythology, and isn't displaying any of the signs that track with Christian mythology. He wears a crucifix, walks about a church, and walks on hollowed ground. Before anyone says with their whole chest they know exactly what sort of Demon or entity Sebastian is, in the context of the manga… I would implore people, to do more research, about these matters and to ask a lot of questions... and seek many different sources, regarding even what they THINK they know, and who they THINK they can trust.

It's easy to imagine in fiction, that if an entity went from a g-d to demon, or even from one type of demon to being seen as a different type... that they might embracing the symbols and names, they are now so commonly associated with. A lot of stories have been written like that. It's a very common theme in a lot of media, written by many different people across several different cultures! Jewish culture was not the only culture appropriated, in The Testament of Solomon.

I do find it extremely odd though, that people use the contract symbol and where it came from, as evidence that Sebastian is a "Christian demon" and "A fallen angel"... when Yana herself has already said she doesn't ever intend to confirm what his nature is, or where he came from. I also don't believe that humankind is supposed to be the pinnacle of all things innocent, and that the supernatural and divine are forces, are leading them to pain and poor choices... there are so many evil humans, in black butler and if anything, they use the supernatural as means to accomplish their goals and ambitions. Not the other way around. We have seen Sebastian act manipulatively, destructively, and even cruelly... but not any more so, than other characters in the story. Sebastian is not behaving the way a true evil being out of the bible, would.

Sebastian's contract isn't even "perfectly" inverted (as I already pointed out). "Solomon" / "Soluzen" isn't in Sebastian's contract, at all (the exception being S1 in the anime... thats it) ... and that tells me all I needed to know! * * * If you read all the way to the end of this you deserve rewards and treats. * * *

But finally on a personal and extremely petty note …why do people want things to be infinitely less interesting than they could be????? 😭 Why do Christians think they invented and have the monopoly on demons? Why does he need to fit into an extremely limited view of what a demon is that BADLY?

[mqstermindswift]

all posts related to "nicky's sleepover event"

moodboards made by me:

good riddance moodboard

the summer i turned pretty moodboard|2

evermore moodboard

red moodboard

midnights moodboard|2

robin buckely moodboard

folkore moodboard

cottagecore moodboard

speak now moodboard

jeremiah fisher moodboard

betty moodboard

ships:

shipping @shefollowedthestars with..

my opinion on:

all the things by baby queen

silk chiffon by MUNA,phoebe bridgers

right now by gracie abrams

olivia rodrigo

maisie peters

coming of age by maisie peters

gladiator by the girl and the dreamcatcher

talk to me:

casting my mutuals as taylor swift albums|2

talking with @chiara-swiftiedreamer13

the best dream I’ve ever had

letters to me mutuals:

my letter to @bookish-swiftie13

my letter to @shefollowedthestars

my letter to @firebrand-witch

my letter to @paqerings

[otomelavenderhaze]

Ahhhh I just love how this album keeps growing on everyone lol

It might be because I got used to Fortnight being the single pretty quickly, but compared to ttpd, it has a beat that probably works best for a music video. Then again 'begin again' got a video so perhaps I'm just biased by what I already know(?)

Agreed! I listened to the album with a friend and we heard bits of old songs in them and got to the conclusion that Taylor's gonna have so much fun doing mash-ups on tour hahah

And you got me to agree again about if we ever get something similar to the long pond sessions!! I would DIE DEAD

Anyway, it was so nice to talk about Taylor with someone! Have a nice day hon! 🤍

Not in everyone. Because it's a different album and because people cannot fandom that an album called The Tortured Poets Department isn't the beacon of modern and deep poetry, they're losing their minds.

Like, sure, Folkore and Evermore have more writing quality, they feel in their own right as really poetry and narrative driven albums and even without it, at least, they captured a very specific moment in human life a moment that doesn't come often in our story. Just for that I feel like those albums are masterpiece. They capture isolation, escapism, dreams, broken plans and introspection really well - and it all got even bigger when listen during a world wide pandemic.

I was never the type of person to just go out and appreciate the day. I live in a big city when the closest park to me is like a huge pod with a small piece of greenery around, there's sure something beautiful about it, but I never went there on my own. However, when everything shut down during the pandemic, I immediately got immersed into Stardew Valley and other games that bring me a sense of open natural places, with green and blue, and nature.

Folkore and Evermore have a lot of that but in music form, how melancholy and slow and introspective most of the songs are, and it was what I needed at that time to just not let all the despair settle in.

That's when music shows it's value, when we feel less lonely or understood even if for a slip of second, and honestly, it's easy to find in many artists, but it's so shitty seeing people missing that point, y'know??

Maybe Taylor Swift isn't a tortured poet, maybe she's just someone who feels things deeply, who's deeply insecure, who's weak and a people pleaser, however, it's not about taking it seriously or in the most truthful of the word you can be, it's all art, it's all show, it's all about presenting a narrative and, brodosvisky, don't we all do that in our daily basis?? Don't we all perform and exaggerate and feel raw and unseen???

That's why in a deep level people can connect with Taylor's songs, even in an album that isn't necessarily our favorite.

I do hope she sings the new songs in the acoustic and surprise song of the eras tour, the mash-up are my new favorite thing to listen to. In the end we all love our acoustic songs. We all basic like that and aight nothing wrong about it. Like acoustic songs are almost cultural to me cuz I grew up with my parents listening to MPB (POP brazilian music but not really pop like North American music). So much so that I used to have an acoustic guittar myself. I did classes and everything but I was never really good about or even capable of playing a whole song perfectly.

It is so nice to talk to someone about Taylor!!! It's fun too!! Your asks were a big reason to why I went back and properly listen to the album too, I am glad I gave it another chance. Bye!!! Have a good day!!! And see ya. Thank you so much about the asks!!

[violant-apologia]

fiiiiine i guess i can orlapost on main if you really wantttt

ORLA FOLKOR

gnome

researcher with the order of the cobalt soul

bard on her character sheet, wizard in personality and cleric in combat role

they call her 007: 0 ability to stay on topic. 0 tact. 7 hundred questions per conversation

BREAKING NEWS local tenth level bard took commune off magical secrets, now has casual-bordering-on-sacrilegious relationship with knowing mistress

she also took find greater steed and now has a divine peryton after writing exandria's first ever book on perytons and bringing knowledge of them into ioun's fold

the peryton's name is card (short for cardiovore) and they're best friends

first session events:

i genuinely got to start a conversation with a tiefling character with "oooh i love your horns, what's your infernal heritage?" orla just has NO sense of time or place

due to high charisma for bard spellcasting, and jack of all trades, she's also the de facto party intimidator, despite this being wildly out of character. she achieves this by asking rapid-fire personal questions on stuff like home security practices and the tensile strength of human bones given different dietary habits. (these are all just things she's genuinely interested in)

whenever we learn something new about a party member's backstory, orla just starts scribbling the details in her little bigger-on-the-inside notebook. it makes everyone very uncomfortable

had the first session of a new dnd campaign today and it was GREAT. thank you @limulusamebocytelysate best dm wonderful friend

it's completely off-topic but i might post about my character for the campaign... i really love her (and doing rp as her). so if you like this post i'll take that as permission and encouragement thank you!

[kristinarain13]

hi i’m absolutely in love with folklore and if you need me i will be streaming it all day everyday 😺😺

@taylorswift @taylornation

[path-of-my-childhood]

Musicians On Musicians: Paul McCartney & Taylor Swift

By: Patrick Doyle for Rolling Stone Date: November 13th 2020

On songwriting secrets, making albums at home, and what they’ve learned during the pandemic.

Taylor Swift arrived early to Paul McCartney’s London office in October, “mask on, brimming with excitement.” “I mostly work from home these days,” she writes about that day, “and today feels like a rare school field trip that you actually want to go on.”

Swift showed up without a team, doing her own hair and makeup. In addition to being two of the most famous pop songwriters in the world, Swift and McCartney have spent the past year on similar journeys. McCartney, isolated at home in the U.K., recorded McCartney III. Like his first solo album, in 1970, he played nearly all of the instruments himself, resulting in some of his most wildly ambitious songs in a long time. Swift also took some new chances, writing over email with the National’s Aaron Dessner and recording the raw Folklore, which abandons arena pop entirely in favor of rich character songs. It’s the bestselling album of 2020.

Swift listened to McCartney III as she prepared for today’s conversation; McCartney delved into Folkore. Before the photo shoot, Swift caught up with his daughters Mary (who would be photographing them) and Stella (who designed Swift’s clothes; the two are close friends). “I’ve met Paul a few times, mostly onstage at parties, but we’ll get to that later,” Swift writes. “Soon he walks in with his wife, Nancy. They’re a sunny and playful pair, and I immediately feel like this will be a good day. During the shoot, Paul dances and takes almost none of it too seriously and sings along to Motown songs playing from the speakers. A few times Mary scolds, ‘Daaad, try to stand still!’ And it feels like a window into a pretty awesome family dynamic. We walk into his office for a chat, and after I make a nervous request, Paul is kind enough to handwrite my favorite lyric of his and sign it. He makes a joke about me selling it, and I laugh because it’s something I know I’ll cherish for the rest of my life. That’s around the time when we start talking about music.”

Taylor Swift: I think it’s important to note that if this year had gone the way that we thought it was going to go, you and I would have played Glastonbury this year, and instead, you and I both made albums in isolation.

Paul McCartney: Yeah!

Swift: And I remember thinking it would have been so much fun because the times that I’ve run into you, I correlate with being some of the most fun nights of my life. I was at a party with you, when everybody just started playing music. And it was Dave Grohl playing, and you...

McCartney: You were playing one of his songs, weren’t you?

Swift: Yes, I was playing his song called “Best of You,” but I was playing it on piano, and he didn’t recognize it until about halfway through. I just remember thinking, “Are you the catalyst for the most fun times ever?” Is it your willingness to get up and play music that makes everyone feel like this is a thing that can happen tonight?

McCartney: I mean, I think it’s a bit of everything, isn’t it? I’ll tell you who was very... Reese Witherspoon was like, “Are you going to sing?” I said “Oh, I don’t know.” She said, “You’ve got to, yeah!” She’s bossing me around. So I said, “Whoa,” so it’s a bit of that.

Swift: I love that person, because the party does not turn musical without that person.

McCartney: Yeah, that’s true.

Swift: If nobody says, “Can you guys play music?” we’re not going to invite ourselves up onstage at whatever living-room party it is.

McCartney: I seem to remember Woody Harrelson got on the piano, and he starts playing “Let It Be,” and I’m thinking, “I can do that better.” So I said, “Come on, move over, Woody.” So we’re both playing it. It was really nice... I love people like Dan Aykroyd, who’s just full of energy and he loves his music so much, but he’s not necessarily a musician, but he just wanders around the room, just saying, “You got to get up, got to get up, do some stuff.”

Swift: I listened to your new record. And I loved a lot of things about it, but it really did feel like kind of a flex to write, produce, and play every instrument on every track. To me, that’s like flexing a muscle and saying, “I can do all this on my own if I have to.”

McCartney: Well, I don’t think like that, I must admit. I just picked up some of these instruments over the years. We had a piano at home that my dad played, so I picked around on that. I wrote the melody to “When I’m 64” when I was, you know, a teenager.

Swift: Wow.

McCartney: When the Beatles went to Hamburg, there were always drum kits knocking around, so when there was a quiet moment, I’d say, “Do you mind if I have a knock around?” So I was able to practice, you know, without practicing. That’s why I play right-handed. Guitar was just the first instrument I got. Guitar turned to bass; it also turned into ukulele, mandolin. Suddenly, it’s like, “Wow,” but it’s really only two or three instruments.

Swift: Well, I think that’s downplaying it a little bit. In my mind, it came with a visual of you being in the country, kind of absorbing the sort of do-it-yourself [quality] that has had to come with the quarantine and this pandemic. I found that I’ve adapted a do-it-yourself mentality to a lot of things in my career that I used to outsource.  I’m just wondering what a day of recording in the pandemic looked like for you.

McCartney: Well, I’m very lucky because I have a studio that’s, like, 20 minutes away from where I live. We were in lockdown on a farm, a sheep farm with my daughter Mary and her four kids and her husband. So I had four of my grandkids, I had Mary, who’s a great cook, so I would just drive myself to the studio. And there were two other guys that could come in and we’d be very careful and distanced and everything: my engineer Steve, and then my equipment guy Keith. So the three of us made the record, and I just started off. I had to do a little bit of film music - I had to do an instrumental for a film thing - so I did that. And I just kept going, and that turned into the opening track on the album. I would just come in, say, “Oh, yeah, what are we gonna do?” [Then] have some sort of idea, and start doing it. Normally, I’d start with the instrument I wrote it on, either piano or guitar, and then probably add some drums and then a bit of bass till it started to sound like a record, and then just gradually layer it all up. It was fun.

Swift: That’s so cool.

McCartney: What about yours? You’re playing guitar and piano on yours.

Swift: Yeah, on some of it, but a lot of it was made with Aaron Dessner, who’s in a band called the National that I really love. And I had met him at a concert a year before, and I had a conversation with him, asking him how he writes. It’s my favorite thing to ask people who I’m a fan of. And he had an interesting answer. He said, “All the band members live in different parts of the world. So I make tracks. And I send them to our lead singer, Matt, and he writes the top line.” I just remember thinking, “That is really efficient.” And I kind of stored it in my brain as a future idea for a project. You know, how you have these ideas... “Maybe one day I’ll do this.” I always had in my head: “Maybe one day I’ll work with Aaron Dessner.”

So when lockdown happened, I was in L.A., and we kind of got stuck there. It’s not a terrible place to be stuck. We were there for four months maybe, and during that time, I sent an email to Aaron Dessner and I said, “Do you think you would want to work during this time? Because my brain is all scrambled, and I need to make something, even if we’re just kind of making songs that we don’t know what will happen...”

McCartney: Yeah, that was the thing. You could do stuff -  you didn’t really worry it was going to turn into anything.

Swift: Yeah, and it turned out he had been writing instrumental tracks to keep from absolutely going crazy during the pandemic as well, so he sends me this file of probably 30 instrumentals, and the first one I opened ended up being a song called “Cardigan,” and it really happened rapid-fire like that. He’d send me a track; he’d make new tracks, add to the folder; I would write the entire top line for a song, and he wouldn’t know what the song would be about, what it was going to be called, where I was going to put the chorus. I had originally thought, “Maybe I’ll make an album in the next year, and put it out in January or something,” but it ended up being done and we put it out in July. And I just thought there are no rules anymore, because I used to put all these parameters on myself, like, “How will this song sound in a stadium? How will this song sound on radio?” If you take away all the parameters, what do you make? And I guess the answer is Folklore.

McCartney: And it’s more music for yourself than music that’s got to go do a job. My thing was similar to that: After having done this little bit of film music, I had a lot of stuff that I had been working on, but I’d said, “I’m just going home now,” and it’d be left half-finished. So I just started saying, “Well, what about that? I never finished that.” So we’d pull it out, and we said, “Oh, well, this could be good.” And because it didn’t have to amount to anything, I would say, “Ah, I really want to do tape loops. I don’t care if they fit on this song, I just want to do some.” So I go and make some tape loops, and put them in the song, just really trying to do stuff that I fancy.

I had no idea it would end up as an album; I may have been a bit less indulgent, but if a track was eight minutes long, to tell you the truth, what I thought was, “I’ll be taking it home tonight, Mary will be cooking, the grandkids will all be there running around, and someone, maybe Simon, Mary’s husband, is going to say, ‘What did you do today?’ And I’m going to go, ‘Oh,’ and then get my phone and play it for them.” So this became the ritual.

Swift: That’s the coziest thing I’ve ever heard.

McCartney: Well, it’s like eight minutes long, and I said, “I hate it when I’m playing someone something and it finishes after three minutes.” I kind of like that it just [continues] on.

Swift: You want to stay in the zone.

McCartney: It just keeps going on. I would just come home, “Well, what did you do today?” “Oh, well, I did this. I’m halfway through this,” or, “We finished this.”

Swift: I was wondering about the numerology element to McCartney III. McCartney I, II, and III have all come out on years with zeroes.

McCartney: Ends of decades.

Swift: Was that important?

McCartney: Yeah, well, this was being done in 2020, and I didn’t really think about it. I think everyone expected great things of 2020. “It’s gonna be great! Look at that number! 2020! Auspicious!” Then suddenly Covid hit, and it was like, “That’s gonna be auspicious all right, but maybe for the wrong reasons.” Someone said to me, “Well, you put out McCartney right after the Beatles broke up, and that was 1970, and then you did McCartney II in 1980.” And I said, “Oh, I’m going to release this in 2020 just for whatever you call it, the numerology...”

Swift: The numerology, the kind of look, the symbolism. I love numbers. Numbers kind of rule my whole world. The numbers 13... 89 is a big one. I have a few others that I find...

McCartney: Thirteen is lucky for some.

Swift: Yeah, it’s lucky for me. It’s my birthday. It’s all these weird coincidences of good things that have happened. Now, when I see it places, I look at it as a sign that things are going the way they’re supposed to. They may not be good now, they could be painful now, but things are on a track. I don’t know, I love the numerology.

McCartney: It’s spooky, Taylor. It’s very spooky. Now wait a minute: Where’d you get 89?

Swift: That’s when I was born, in 1989, and so I see it in different places and I just think it’s...

McCartney: No, it’s good. I like that, where certain things you attach yourself to, and you get a good feeling off them. I think that’s great.

Swift: Yeah, one of my favorite artists, Bon Iver, he has this thing with the number 22. But I was also wondering: You have always kind of seeked out a band or a communal atmosphere with like, you know, the Beatles and Wings, and then Egypt Station. I thought it was interesting when I realized you had made a record with no one else. I just wondered, did that feel natural?

McCartney: It’s one of the things I’ve done. Like with McCartney, because the Beatles had broken up, there was no alternative but to get a drum kit at home, get a guitar, get an amp, get a bass, and just make something for myself. So on that album, which I didn’t really expect to do very well, I don’t think it did. But people sort of say, “I like that. It was a very casual album.” It didn’t really have to mean anything. So I’ve done that, the play-everything-myself thing. And then I discovered synths and stuff, and sequencers, so I had a few of those at home. I just thought I’m going to play around with this and record it, so that became McCartney II. But it’s a thing I do. Certain people can do it. Stevie Wonder can do it. Stevie Winwood, I believe, has done it. So there are certain people quite like that.

When you’re working with someone else, you have to worry about their variances. Whereas your own variance, you kind of know it. It’s just something I’ve grown to like. Once you can do it, it becomes a little bit addictive. I actually made some records under the name the Fireman.

Swift: Love a pseudonym.

McCartney: Yeah, for the fun! But, you know, let’s face it, you crave fame and attention when you’re young. And I just remembered the other day, I was the guy in the Beatles that would write to journalists and say [speaks in a formal voice]: “We are a semiprofessional rock combo, and I’d think you’d like [us]... We’ve written over 100 songs (which was a lie), my friend John and I. If you mention us in your newspaper...” You know, I was always, like, craving the attention.

Swift: The hustle! That’s so great, though.

McCartney: Well, yeah, you need that.

Swift: Yeah, I think, when a pseudonym comes in is when you still have a love for making the work and you don’t want the work to become overshadowed by this thing that’s been built around you, based on what people know about you. And that’s when it’s really fun to create fake names and write under them.

McCartney: Do you ever do that?

Swift: Oh, yeah.

McCartney: Oh, yeah? Oh, well, we didn’t know that! Is that a widely known fact?

Swift: I think it is now, but it wasn’t. I wrote under the name Nils Sjöberg because those are two of the most popular names of Swedish males. I wrote this song called “This Is What You Came For” that Rihanna ended up singing. And nobody knew for a while. I remembered always hearing that when Prince wrote “Manic Monday,” they didn’t reveal it for a couple of months.

McCartney: Yeah, it also proves you can do something without the fame tag. I did something for Peter and Gordon; my girlfriend’s brother and his mate were in a band called Peter and Gordon. And I used to write under the name Bernard Webb.

Swift: [Laughs.] That’s a good one! I love it.

McCartney: As Americans call it, Ber-nard Webb. I did the Fireman thing. I worked with a producer, a guy called Youth, who’s this real cool dude. We got along great. He did a mix for me early on, and we got friendly. I would just go into the studio, and he would say, “Hey, what about this groove?” and he’d just made me have a little groove going. He’d say, “You ought to put some bass on it. Put some drums on it.” I’d just spend the whole day putting stuff on it. And we’d make these tracks, and nobody knew who Fireman was for a while. We must have sold all of 15 copies.

Swift: Thrilling, absolutely thrilling.

McCartney: And we didn’t mind, you know?

Swift: I think it’s so cool that you do projects that are just for you. Because I went with my family to see you in concert in 2010 or 2011, and the thing I took away from the show most was that it was the most selfless set list I had ever seen. It was completely geared toward what it would thrill us to hear. It had new stuff, but it had every hit we wanted to hear, every song we’d ever cried to, every song people had gotten married to, or been brokenhearted to. And I just remembered thinking, “I’ve got to remember that,” that you do that set list for your fans.

McCartney: You do that, do you?

Swift: I do now. I think that learning that lesson from you taught me at a really important stage in my career that if people want to hear “Love Story” and “Shake It Off,” and I’ve played them 300 million times, play them the 300-millionth-and-first time. I think there are times to be selfish in your career, and times to be selfless, and sometimes they line up.

McCartney: I always remembered going to concerts as a kid, completely before the Beatles, and I really hoped they would play the ones I loved. And if they didn’t, it was kind of disappointing. I had no money, and the family wasn’t wealthy. So this would be a big deal for me, to save up for months to afford the concert ticket.

Swift: Yeah, it feels like a bond. It feels like that person on the stage has given something, and it makes you as a crowd want to give even more back, in terms of applause, in terms of dedication. And I just remembered feeling that bond in the crowd, and thinking, “He’s up there playing these Beatles songs, my dad is crying, my mom is trying to figure out how to work her phone because her hands are shaking so much.” Because seeing the excitement course through not only me, but my family and the entire crowd in Nashville, it just was really special. I love learning lessons and not having to learn them the hard way. Like learning nice lessons I really value.

McCartney: Well, that’s great, and I’m glad that set you on that path. I understand people who don’t want to do that, and if you do, they’ll say, “Oh, it’s a jukebox show.” I hear what they’re saying. But I think it’s a bit of a cheat, because the people who come to our shows have spent a lot of money. We can afford to go to a couple of shows and it doesn’t make much difference. But a lot of ordinary working folks... it’s a big event in their life, and so I try and deliver. I also, like you say, try and put in a few weirdos.

Swift: That’s the best. I want to hear current things, too, to update me on where the artist is. I was wondering about lyrics, and where you were lyrically when you were making this record. Because when I was making Folklore, I went lyrically in a total direction of escapism and romanticism. And I wrote songs imagining I was, like, a pioneer woman in a forbidden love affair [laughs]. I was completely...

McCartney: Was this “I want to give you a child”? Is that one of the lines?

Swift: Oh, that’s a song called “Peace.”

McCartney: “Peace,” I like that one.

Swift: “Peace” is actually more rooted in my personal life. I know you have done a really excellent job of this in your personal life: carving out a human life within a public life, and how scary that can be when you do fall in love and you meet someone, especially if you’ve met someone who has a very grounded, normal way of living. I, oftentimes, in my anxieties, can control how I am as a person and how normal I act and rationalize things, but I cannot control if there are 20 photographers outside in the bushes and what they do and if they follow our car and if they interrupt our lives. I can’t control if there’s going to be a fake weird headline about us in the news tomorrow.

McCartney: So how does that go? Does your partner sympathize with that and understand?

Swift: Oh, absolutely.

McCartney: They have to, don’t they?

Swift: But I think that in knowing him and being in the relationship I am in now, I have definitely made decisions that have made my life feel more like a real life and less like just a storyline to be commented on in tabloids. Whether that’s deciding where to live, who to hang out with, when to not take a picture - the idea of privacy feels so strange to try to explain, but it’s really just trying to find bits of normalcy. That’s what that song “Peace” is talking about. Like, would it be enough if I could never fully achieve the normalcy that we both crave? Stella always tells me that she had as normal a childhood as she could ever hope for under the circumstances.

McCartney: Yeah, it was very important to us to try and keep their feet on the ground amongst the craziness.

Swift: She went to a regular school...

McCartney: Yeah, she did.

Swift: And you would go trick-or-treating with them, wearing masks.

McCartney: All of them did, yeah. It was important, but it worked pretty well, because when they kind of reached adulthood, they would meet other kids who might have gone to private schools, who were a little less grounded.

And they could be the budding mothers to [kids]. I remember Mary had a friend, Orlando. Not Bloom. She used to really counsel him. And it’s ’cause she’d gone through that. Obviously, they got made fun of, my kids. They’d come in the classroom and somebody would sing, “Na na na na,” you know, one of the songs. And they’d have to handle that. They’d have to front it out.

Swift: Did that give you a lot of anxiety when you had kids, when you felt like all this pressure that’s been put on me is spilling over onto them, that they didn’t sign up for it? Was that hard for you?

McCartney: Yeah, a little bit, but it wasn’t like it is now. You know, we were just living a kind of semi-hippie life, where we withdrew from a lot of stuff. The kids would be doing all the ordinary things, and their school friends would be coming up to the house and having parties, and it was just great. I remember one lovely evening when it was Stella’s birthday, and she brought a bunch of school kids up. And, you know, they’d all ignore me. It happens very quickly. At first they’re like, “Oh, yeah, he’s like a famous guy,” and then it’s like [yawns]. I like that. I go in the other room and suddenly I hear this music going on. And one of the kids, his name was Luke, and he’s doing break dancing.

Swift: Ohhh!

McCartney: He was a really good break dancer, so all the kids are hanging out. That allowed them to be kind of normal with those kids. The other thing is, I don’t live fancy. I really don’t. Sometimes it’s a little bit of an embarrassment, if I’ve got someone coming to visit me, or who I know…

Swift: Cares about that stuff?

McCartney: Who’s got a nice big house, you know. Quincy Jones came to see me and I’m, like, making him a veggie burger or something. I’m doing some cooking. This was after I’d lost Linda, in between there. But the point I’m making is that I’m very consciously thinking, “Oh, God, Quincy’s got to be thinking, ‘What is this guy on? He hasn’t got big things going on. It’s not a fancy house at all. And we’re eating in the kitchen! He’s not even got the dining room going,’” you know?

Swift: I think that sounds like a perfect day.

McCartney: But that’s me. I’m awkward like that. That’s my kind of thing. Maybe I should have, like, a big stately home. Maybe I should get a staff. But I think I couldn’t do that. I’d be so embarrassed. I’d want to walk around dressed as I want to walk around, or naked, if I wanted to.

Swift: That can’t happen in Downton Abbey.

McCartney: [Laughs.] Exactly.

Swift: I remember what I wanted to know about, which is lyrics. Like, when you’re in this kind of strange, unparalleled time, and you’re making this record, are lyrics first? Or is it when you get a little melodic idea?

McCartney: It was a bit of both. As it kind of always is with me. There’s no fixed way. People used to ask me and John, “Well, who does the words, who does the music?” I used to say, “We both do both.” We used to say we don’t have a formula, and we don’t want one. Because the minute we get a formula, we should rip it up. I will sometimes, as I did with a couple of songs on this album, sit down at the piano and just start noodling around, and I’ll get a little idea and start to fill that out. So the lyrics - for me, it’s following a trail. I’ll start [sings “Find My Way,” a song from “McCartney III”]: “I can find my way. I know my left from right, da da da.” And I’ll just sort of fill it in. Like, we know this song, and I’m trying to remember the lyrics. Sometimes I’ll just be inspired by something. I had a little book which was all about the constellations and the stars and the orbits of Venus and...

Swift: Oh, I know that song - “The Kiss of Venus”?

McCartney: Yeah, “The Kiss of Venus.” And I just thought, “That’s a nice phrase.” So I was actually just taking phrases out of the book, harmonic sounds. And the book is talking about the maths of the universe, and how when things orbit around each other, and if you trace all the patterns, it becomes like a lotus flower.

Swift: Wow.

McCartney: It’s very magical.

Swift: That is magical. I definitely relate to needing to find magical things in this very not-magical time, needing to read more books and learn to sew, and watch movies that take place hundreds of years ago. In a time where, if you look at the news, you just want to have a panic attack - I really relate to the idea that you are thinking about stars and constellations.

McCartney: Did you do that on Folklore?

Swift: Yes. I was reading so much more than I ever did, and watching so many more films.

McCartney: What stuff were you reading?

Swift: I was reading, you know, books like Rebecca, by Daphne du Maurier, which I highly recommend, and books that dealt with times past, a world that doesn’t exist anymore. I was also using words I always wanted to use - kind of bigger, flowerier, prettier words, like “epiphany,” in songs. I always thought, “Well, that’ll never track on pop radio,” but when I was making this record, I thought, “What tracks? Nothing makes sense anymore. If there’s chaos everywhere, why don’t I just use the damn word I want to use in the song?”

McCartney: Exactly. So you’d see the word in a book and think, “I love that word”?

Swift: Yeah, I have favorite words, like “elegies” and “epiphany” and “divorcée,” and just words that I think sound beautiful, and I have lists and lists of them.

McCartney: How about “marzipan”?

Swift: Love “marzipan.”

McCartney: The other day, I was remembering when we wrote “Lucy in the Sky With Diamonds”: “kaleidoscope.”

Swift: “Kaleidoscope” is one of mine! I have a song on 1989, a song called “Welcome to New York,” that I put the word “kaleidoscope” in just because I’m obsessed with the word.

McCartney: I think a love of words is a great thing, particularly if you’re going to try to write a lyric, and for me, it’s like, “What is this going to say to that person?” I often feel like I’m writing to someone who is not doing so well. So I’m trying to write songs that might help. Not in a goody-goody, crusading kind of way, but just thinking there have been so many times in my life when I’ve heard a song and felt so much better. I think that’s the angle I want, that inspirational thing.

I remember once, a friend of mine from Liverpool, we were teenagers and we were going to a fairground. He was a schoolmate, and we had these jackets that had a little fleck in the material, which was the cool thing at the time.

Swift: We should have done matching jackets for this photo shoot.

McCartney: Find me a fleck, I’m in. But we went to the fair, and I just remember - this is what happens with songs - there was this girl at the fair. This is just a little Liverpool fair - it was in a place called Sefton Park - and there was this girl, who was so beautiful. She wasn’t a star. She was so beautiful. Everyone was following her, and it’s like, “Wow.” It’s like a magical scene, you know? But all this gave me a headache, so I ended up going back to his house - I didn’t normally get headaches. And we thought, “What can we do?” So we put on the Elvis song “All Shook Up.” By the end of that song, my headache had gone. I thought, you know, “That’s powerful.”

Swift: That really is powerful.

McCartney: I love that, when people stop me in the street and say, “Oh, I was going through an illness and I listened to a lot of your stuff, and I’m better now and it got me through,” or kids will say, “It got me through exams.” You know, they’re studying, they’re going crazy, but they put your music on. I’m sure it happens with a lot of your fans. It inspires them, you know?

Swift: Yeah, I definitely think about that as a goal. There’s so much stress everywhere you turn that I kind of wanted to make an album that felt sort of like a hug, or like your favorite sweater that makes you feel like you want to put it on.

McCartney: What, a “cardigan”?

Swift: Like a good cardigan, a good, worn-in cardigan. Or something that makes you reminisce on your childhood. I think sadness can be cozy. It can obviously be traumatic and stressful, too, but I kind of was trying to lean into sadness that feels like somehow enveloping in not such a scary way - like nostalgia and whimsy incorporated into a feeling like you’re not all right. Because I don’t think anybody was really feeling like they were in their prime this year. Isolation can mean escaping into your imagination in a way that’s kind of nice.

McCartney: I think a lot of people have found that. I would say to people, “I feel a bit guilty about saying I’m actually enjoying this quarantine thing,” and people go, “Yeah, I know, don’t say it to anyone.” A lot of people are really suffering.

Swift: Because there’s a lot in life that’s arbitrary. Completely and totally arbitrary. And [the quarantine] is really shining a light on that, and also a lot of things we have that we outsource that you can actually do yourself.

McCartney: I love that. This is why I said I live simply. That’s, like, at the core of it. With so many things, something goes wrong and you go, “Oh, I’ll get somebody to fix that.” And then it’s like, “No, let me have a look at it...”

Swift: Get a hammer and a nail.

McCartney: “Maybe I can put that picture up.” It’s not rocket science. The period after the Beatles, when we went to live in Scotland on a really - talk about dumpy - little farm. I mean, I see pictures of it now and I’m not ashamed, but I’m almost ashamed. Because it’s like, “God, nobody’s cleaned up around here.”

But it was really a relief. Because when I was with the Beatles, we’d formed Apple Records, and if I wanted a Christmas tree, someone would just buy it. And I thought, after a while, “No, you know what? I really would like to go and buy our Christmas tree. Because that’s what everyone does.” So you go down - “I’ll have that one” - and you carried it back. I mean, it’s little, but it’s huge at the same time.

I needed a table in Scotland and I was looking through a catalog and I thought, “I could make one. I did woodwork in school, so I know what a dovetail joint is.” So I just figured it out. I’m just sitting in the kitchen, and I’m whittling away at this wood and I made this little joint. There was no nail technology - it was glue. And I was scared to put it together. I said, “It’s not going to fit,” but one day, I got my woodwork glue and thought, “There’s no going back.” But it turned out to be a real nice little table I was very proud of. It was that sense of achievement.

The weird thing was, Stella went up to Scotland recently and I said, “Isn’t it there?” and she said, “No.” Anyway, I searched for it. Nobody remembered it. Somebody said, “Well, there’s a pile of wood in the corner of one of the barns, maybe that’s it. Maybe they used it for firewood.” I said, “No, it’s not firewood.” Anyway, we found it, and do you know how joyous that was for me? I was like, “You found my table?!” Somebody might say that’s a bit boring.

Swift: No, it’s cool!

McCartney: But it was a real sort of great thing for me to be able to do stuff for yourself. You were talking about sewing. I mean normally, in your position, you’ve got any amount of tailors.

Swift: Well, there’s been a bit of a baby boom recently; several of my friends have gotten pregnant.

McCartney: Oh, yeah, you’re at the age.

Swift: And I was just thinking, “I really want to spend time with my hands, making something for their children.” So I made this really cool flying-squirrel stuffed animal that I sent to one of my friends. I sent a teddy bear to another one, and I started making these little silk baby blankets with embroidery. It’s gotten pretty fancy. And I’ve been painting a lot.

McCartney: What do you paint? Watercolors?

Swift: Acrylic or oil. Whenever I do watercolor, all I paint is flowers. When I have oil, I really like to do landscapes. I always kind of return to painting a lonely little cottage on a hill.

McCartney: It’s a bit of a romantic dream. I agree with you, though, I think you’ve got to have dreams, particularly this year. You’ve got to have something to escape to. When you say “escapism,” it sounds like a dirty word, but this year, it definitely wasn’t. And in the books you’re reading, you’ve gone into that world. That’s, I think, a great thing. Then you come back out. I normally will read a lot before I go to bed. So I’ll come back out, then I’ll go to sleep, so I think it really is nice to have those dreams that can be fantasies or stuff you want to achieve.

Swift: You’re creating characters. This was the first album where I ever created characters, or wrote about the life of a real-life person. There’s a song called “The Last Great American Dynasty” that’s about this real-life heiress who lived just an absolutely chaotic, hectic...

McCartney: She’s a fantasy character?

Swift: She’s a real person. Who lived in the house that I live in.

McCartney: She’s a real person? I listened to that and I thought, “Who is this?”

Swift: Her name was Rebekah Harkness. And she lived in the house that I ended up buying in Rhode Island. That’s how I learned about her. But she was a woman who was very, very talked about, and everything she did was scandalous. I found a connection in that. But I also was thinking about how you write “Eleanor Rigby” and go into that whole story about what all these people in this town are doing and how their lives intersect, and I hadn’t really done that in a very long time with my music. It had always been so microscope personal.

McCartney: Yeah, ’cause you were writing breakup songs like they were going out of style.

Swift: I was, before my luck changed [laughs]. I still write breakup songs. I love a good breakup song. Because somewhere in the world, I always have a friend going through a breakup, and that will make me write one.

McCartney: Yeah, this goes back to this thing of me and John: When you’ve got a formula, break it. I don’t have a formula. It’s the mood I’m in. So I love the idea of writing a character. And, you know, trying to think, “What am I basing this on?” So “Eleanor Rigby” was based on old ladies I knew as a kid. For some reason or other, I got great relationships with a couple of local old ladies. I was thinking the other day, I don’t know how I met them, it wasn’t like they were family. I’d just run into them, and I’d do their shopping for them.

Swift: That’s amazing.

McCartney: It just felt good to me. I would sit and talk, and they’d have amazing stories. That’s what I liked. They would have stories from the wartime - because I was born actually in the war - and so these old ladies, they were participating in the war. This one lady I used to sort of just hang out with, she had a crystal radio that I found very magical. In the war, a lot of people made their own radios - you’d make them out of crystals [sings “The Twilight Zone” theme].

Swift: How did I not know this? That sounds like something I would have tried to learn about.

McCartney: It’s interesting, because there is a lot of parallels with the virus and lockdowns and wartime. It happened to everyone. Like, this isn’t HIV, or SARS, or Avian flu, which happened to others, generally. This has happened to everyone, all around the world. That’s the defining thing about this particular virus. And, you know, my parents... it happened to everyone in Britain, including the queen and Churchill. War happened. So they were all part of this thing, and they all had to figure out a way through it. So you figured out Folklore. I figured out McCartney III.

Swift: And a lot of people have been baking sourdough bread. Whatever gets you through!

McCartney: Some people used to make radios. And they’d take a crystal - we should look it up, but it actually is a crystal. I thought, “Oh, no, they just called it a crystal radio,” but it’s actually crystals like we know and love.

Swift: Wow.

McCartney: And somehow they get the radio waves - this crystal attracts them - they tune it in, and that’s how they used to get their news. Back to “Eleanor Rigby,” so I would think of her and think of what she’s doing and then just try to get lyrical, just try to bring poetry into it, words you love, just try to get images like “picks up the rice in the church where a wedding has been,” and Father McKenzie “is darning his socks in the night.” You know, he’s a religious man, so I could’ve said, you know, “preparing his Bible,” which would have been more obvious. But “darning his socks” kind of says more about him. So you get into this lovely fantasy. And that’s the magic of songs, you know. It’s a black hole, and then you start doing this process, and then there’s this beautiful little flower that you’ve just made. So it is very like embroidery, making something.

Swift: Making a table.

McCartney: Making a table.

Swift: Wow, it would’ve been so fun to play Glastonbury for the 50th anniversary together.

McCartney: It would’ve been great, wouldn’t it? And I was going to be asking you to play with me.

Swift: Were you going to invite me? I was hoping that you would. I was going to ask you.

McCartney: I would’ve done “Shake It Off.”

Swift: Oh, my God, that would have been amazing.

McCartney: I know it, it’s in C!

Swift: One thing I just find so cool about you is that you really do seem to have the joy of it, still, just no matter what. You seem to have the purest sense of joy of playing an instrument and making music, and that’s just the best, I think.

McCartney: Well, we’re just so lucky, aren’t we?

Swift: We’re really lucky.

McCartney: I don’t know if it ever happens to you, but with me, it’s like, “Oh, my god, I’ve ended up as a musician.”

Swift: Yeah, I can’t believe it’s my job.

McCartney: I must tell you a story I told Mary the other day, which is just one of my favorite little sort of Beatles stories. We were in a terrible, big blizzard, going from London to Liverpool, which we always did. We’d be working in London and then drive back in the van, just the four of us with our roadie, who would be driving. And this was a blizzard. You couldn’t see the road. At one point, it slid off and it went down an embankment. So it was “Ahhh,” a bunch of yelling. We ended up at the bottom. It didn’t flip, luckily, but so there we are, and then it’s like, “Oh, how are we going to get back up? We’re in a van. It’s snowing, and there’s no way.” We’re all standing around in a little circle, and thinking, “What are we going to do?” And one of us said, “Well, something will happen.” And I thought that was just the greatest. I love that, that’s a philosophy.

Swift: “Something will happen.”

McCartney: And it did. We sort of went up the bank, we thumbed a lift, we got the lorry driver to take us, and Mal, our roadie, sorted the van and everything. So that was kind of our career. And I suppose that’s like how I ended up being a musician and a songwriter: “Something will happen.”

Swift: That’s the best.

McCartney: It’s so stupid it’s brilliant. It’s great if you’re ever in that sort of panic attack: “Oh, my God,” or, “Ahhh, what am I going to do?”

Swift: “Something will happen.”

McCartney: All right then, thanks for doing this, and this was, you know, a lot of fun.

Swift: You’re the best. This was so awesome. Those were some quality stories!

[sgt-paul]

MUSICIANS ON MUSICIANS: Paul McCartney & Taylor Swift

© Mary McCartney

❝ During the shoot, Paul dances and takes almost none of it too seriously and sings along to Motown songs playing from the speakers. A few times Mary scolds, ‘Daaad, try to stand still!’ And it feels like a window into a pretty awesome family dynamic. ❞

interview below the cut:

Taylor Swift arrived early to Paul McCartney’s London office in October, “mask on, brimming with excitement.” “I mostly work from home these days,” she writes about that day, “and today feels like a rare school field trip that you actually want to go on.”

Swift showed up without a team, doing her own hair and makeup. In addition to being two of the most famous pop songwriters in the world, Swift and McCartney have spent the past year on similar journeys. McCartney, isolated at home in the U.K., recorded McCartney III. Like his first solo album, in 1970, he played nearly all of the instruments himself, resulting in some of his most wildly ambitious songs in a long time. Swift also took some new chances, writing over email with the National’s Aaron Dessner and recording the raw Folklore, which abandons arena pop entirely in favor of rich character songs. It’s the bestselling album of 2020.

Swift listened to McCartney III as she prepared for today’s conversation; McCartney delved into Folkore. Before the photo shoot, Swift caught up with his daughters Mary (who would be photographing them) and Stella (who designed Swift’s clothes; the two are close friends). “I’ve met Paul a few times, mostly onstage at parties, but we’ll get to that later,” Swift writes. “Soon he walks in with his wife, Nancy. They’re a sunny and playful pair, and I immediately feel like this will be a good day. During the shoot, Paul dances and takes almost none of it too seriously and sings along to Motown songs playing from the speakers. A few times Mary scolds, ‘Daaad, try to stand still!’ And it feels like a window into a pretty awesome family dynamic. We walk into his office for a chat, and after I make a nervous request, Paul is kind enough to handwrite my favorite lyric of his and sign it. He makes a joke about me selling it, and I laugh because it’s something I know I’ll cherish for the rest of my life. That’s around the time when we start talking about music.”

Taylor Swift: I think it’s important to note that if this year had gone the way that we thought it was going to go, you and I would have played Glastonbury this year, and instead, you and I both made albums in isolation.

Paul McCartney: Yeah!

Swift: And I remember thinking it would have been so much fun because the times that I’ve run into you, I correlate with being some of the most fun nights of my life. I was at a party with you, when everybody just started playing music. And it was Dave Grohl playing, and you…

McCartney: You were playing one of his songs, weren’t you?

Swift: Yes, I was playing his song called “Best of You,” but I was playing it on piano, and he didn’t recognize it until about halfway through. I just remember thinking, “Are you the catalyst for the most fun times ever?” Is it your willingness to get up and play music that makes everyone feel like this is a thing that can happen tonight?

McCartney: I mean, I think it’s a bit of everything, isn’t it? I’ll tell you who was very … Reese Witherspoon was like, “Are you going to sing?” I said “Oh, I don’t know.” She said, “You’ve got to, yeah!” She’s bossing me around. So I said, “Whoa,” so it’s a bit of that.

Swift: I love that person, because the party does not turn musical without that person.

McCartney: Yeah, that’s true.

Swift: If nobody says, “Can you guys play music?” we’re not going to invite ourselves up onstage at whatever living-room party it is.

McCartney: I seem to remember Woody Harrelson got on the piano, and he starts playing “Let It Be,” and I’m thinking, “I can do that better.” So I said, “Come on, move over, Woody.” So we’re both playing it. It was really nice.… I love people like Dan Aykroyd, who’s just full of energy and he loves his music so much, but he’s not necessarily a musician, but he just wanders around the room, just saying, “You got to get up, got to get up, do some stuff.”

Swift: I listened to your new record. And I loved a lot of things about it, but it really did feel like kind of a flex to write, produce, and play every instrument on every track. To me, that’s like flexing a muscle and saying, “I can do all this on my own if I have to.”

McCartney: Well, I don’t think like that, I must admit. I just picked up some of these instruments over the years. We had a piano at home that my dad played, so I picked around on that. I wrote the melody to “When I’m 64” when I was, you know, a teenager.

Swift: Wow.

McCartney: When the Beatles went to Hamburg, there were always drum kits knocking around, so when there was a quiet moment, I’d say, “Do you mind if I have a knock around?” So I was able to practice, you know, without practicing. That’s why I play right-handed. Guitar was just the first instrument I got. Guitar turned to bass; it also turned into ukulele, mandolin. Suddenly, it’s like, “Wow,” but it’s really only two or three instruments.

Swift: Well, I think that’s downplaying it a little bit. In my mind, it came with a visual of you being in the country, kind of absorbing the sort of do-it-yourself [quality] that has had to come with the quarantine and this pandemic. I found that I’ve adapted a do-it-yourself mentality to a lot of things in my career that I used to outsource.  I’m just wondering what a day of recording in the pandemic looked like for you.

McCartney: Well, I’m very lucky because I have a studio that’s, like, 20 minutes away from where I live. We were in lockdown on a farm, a sheep farm with my daughter Mary and her four kids and her husband. So I had four of my grandkids, I had Mary, who’s a great cook, so I would just drive myself to the studio. And there were two other guys that could come in and we’d be very careful and distanced and everything: my engineer Steve, and then my equipment guy Keith. So the three of us made the record, and I just started off. I had to do a little bit of film music — I had to do an instrumental for a film thing — so I did that. And I just kept going, and that turned into the opening track on the album. I would just come in, say, “Oh, yeah, what are we gonna do?” [Then] have some sort of idea, and start doing it. Normally, I’d start with the instrument I wrote it on, either piano or guitar, and then probably add some drums and then a bit of bass till it started to sound like a record, and then just gradually layer it all up. It was fun.

Swift: That’s so cool.

McCartney: What about yours? You’re playing guitar and piano on yours.

Swift: Yeah, on some of it, but a lot of it was made with Aaron Dessner, who’s in a band called the National that I really love. And I had met him at a concert a year before, and I had a conversation with him, asking him how he writes. It’s my favorite thing to ask people who I’m a fan of. And he had an interesting answer. He said, “All the band members live in different parts of the world. So I make tracks. And I send them to our lead singer, Matt, and he writes the top line.” I just remember thinking, “That is really efficient.” And I kind of stored it in my brain as a future idea for a project. You know, how you have these ideas… “Maybe one day I’ll do this.” I always had in my head: “Maybe one day I’ll work with Aaron Dessner.”

So when lockdown happened, I was in L.A., and we kind of got stuck there. It’s not a terrible place to be stuck. We were there for four months maybe, and during that time, I sent an email to Aaron Dessner and I said, “Do you think you would want to work during this time? Because my brain is all scrambled, and I need to make something, even if we’re just kind of making songs that we don’t know what will happen…”

McCartney: Yeah, that was the thing. You could do stuff — you didn’t really worry it was going to turn into anything.

Swift: Yeah, and it turned out he had been writing instrumental tracks to keep from absolutely going crazy during the pandemic as well, so he sends me this file of probably 30 instrumentals, and the first one I opened ended up being a song called “Cardigan,” and it really happened rapid-fire like that. He’d send me a track; he’d make new tracks, add to the folder; I would write the entire top line for a song, and he wouldn’t know what the song would be about, what it was going to be called, where I was going to put the chorus. I had originally thought, “Maybe I’ll make an album in the next year, and put it out in January or something,” but it ended up being done and we put it out in July. And I just thought there are no rules anymore, because I used to put all these parameters on myself, like, “How will this song sound in a stadium? How will this song sound on radio?” If you take away all the parameters, what do you make? And I guess the answer is Folklore.

McCartney: And it’s more music for yourself than music that’s got to go do a job. My thing was similar to that: After having done this little bit of film music, I had a lot of stuff that I had been working on, but I’d said, “I’m just going home now,” and it’d be left half-finished. So I just started saying, “Well, what about that? I never finished that.” So we’d pull it out, and we said, “Oh, well, this could be good.” And because it didn’t have to amount to anything, I would say, “Ah, I really want to do tape loops. I don’t care if they fit on this song, I just want to do some.” So I go and make some tape loops, and put them in the song, just really trying to do stuff that I fancy.

I had no idea it would end up as an album; I may have been a bit less indulgent, but if a track was eight minutes long, to tell you the truth, what I thought was, “I’ll be taking it home tonight, Mary will be cooking, the grandkids will all be there running around, and someone, maybe Simon, Mary’s husband, is going to say, ‘What did you do today?’ And I’m going to go, ‘Oh,’ and then get my phone and play it for them.” So this became the ritual.

Swift: That’s the coziest thing I’ve ever heard.

McCartney: Well, it’s like eight minutes long, and I said, “I hate it when I’m playing someone something and it finishes after three minutes.” I kind of like that it just [continues] on.

Swift: You want to stay in the zone.

McCartney: It just keeps going on. I would just come home, “Well, what did you do today?” “Oh, well, I did this. I’m halfway through this,” or, “We finished this.”

Swift: I was wondering about the numerology element to McCartney III. McCartney I, II, and III have all come out on years with zeroes.

McCartney: Ends of decades.

Swift: Was that important?

McCartney: Yeah, well, this was being done in 2020, and I didn’t really think about it. I think everyone expected great things of 2020. “It’s gonna be great! Look at that number! 2020! Auspicious!” Then suddenly Covid hit, and it was like, “That’s gonna be auspicious all right, but maybe for the wrong reasons.” Someone said to me, “Well, you put out McCartney right after the Beatles broke up, and that was 1970, and then you did McCartney II in 1980.” And I said, “Oh, I’m going to release this in 2020 just for whatever you call it, the numerology.…”

Swift: The numerology, the kind of look, the symbolism. I love numbers. Numbers kind of rule my whole world. The numbers 13  … 89 is a big one. I have a few others that I find…

McCartney: Thirteen is lucky for some.

Swift: Yeah, it’s lucky for me. It’s my birthday. It’s all these weird coincidences of good things that have happened. Now, when I see it places, I look at it as a sign that things are going the way they’re supposed to. They may not be good now, they could be painful now, but things are on a track. I don’t know, I love the numerology.

McCartney: It’s spooky, Taylor. It’s very spooky. Now wait a minute: Where’d you get 89?

Swift: That’s when I was born, in 1989, and so I see it in different places and I just think it’s…

McCartney: No, it’s good. I like that, where certain things you attach yourself to, and you get a good feeling off them. I think that’s great.

Swift: Yeah, one of my favorite artists, Bon Iver, he has this thing with the number 22. But I was also wondering: You have always kind of seeked out a band or a communal atmosphere with like, you know, the Beatles and Wings, and then Egypt Station. I thought it was interesting when I realized you had made a record with no one else. I just wondered, did that feel natural?

McCartney: It’s one of the things I’ve done. Like with McCartney, because the Beatles had broken up, there was no alternative but to get a drum kit at home, get a guitar, get an amp, get a bass, and just make something for myself. So on that album, which I didn’t really expect to do very well, I don’t think it did. But people sort of say, “I like that. It was a very casual album.” It didn’t really have to mean anything. So I’ve done that, the play-everything-myself thing. And then I discovered synths and stuff, and sequencers, so I had a few of those at home. I just thought I’m going to play around with this and record it, so that became McCartney II. But it’s a thing I do. Certain people can do it. Stevie Wonder can do it. Stevie Winwood, I believe, has done it. So there are certain people quite like that.

When you’re working with someone else, you have to worry about their variances. Whereas your own variance, you kind of know it. It’s just something I’ve grown to like. Once you can do it, it becomes a little bit addictive. I actually made some records under the name the Fireman.

Swift: Love a pseudonym.

McCartney: Yeah, for the fun! But, you know, let’s face it, you crave fame and attention when you’re young. And I just remembered the other day, I was the guy in the Beatles that would write to journalists and say [speaks in a formal voice]: “We are a semiprofessional rock combo, and I’d think you’d like [us].… We’ve written over 100 songs (which was a lie), my friend John and I. If you mention us in your newspaper…” You know, I was always, like, craving the attention.

Swift: The hustle! That’s so great, though.

McCartney: Well, yeah, you need that.

Swift: Yeah, I think, when a pseudonym comes in is when you still have a love for making the work and you don’t want the work to become overshadowed by this thing that’s been built around you, based on what people know about you. And that’s when it’s really fun to create fake names and write under them.

McCartney: Do you ever do that?

Swift: Oh, yeah.

McCartney: Oh, yeah? Oh, well, we didn’t know that! Is that a widely known fact?

Swift: I think it is now, but it wasn’t. I wrote under the name Nils Sjöberg because those are two of the most popular names of Swedish males. I wrote this song called “This Is What You Came For” that Rihanna ended up singing. And nobody knew for a while. I remembered always hearing that when Prince wrote “Manic Monday,” they didn’t reveal it for a couple of months.

McCartney: Yeah, it also proves you can do something without the fame tag. I did something for Peter and Gordon; my girlfriend’s brother and his mate were in a band called Peter and Gordon. And I used to write under the name Bernard Webb.

Swift: [Laughs.] That’s a good one! I love it.

McCartney: As Americans call it, Ber-nard Webb. I did the Fireman thing. I worked with a producer, a guy called Youth, who’s this real cool dude. We got along great. He did a mix for me early on, and we got friendly. I would just go into the studio, and he would say, “Hey, what about this groove?” and he’d just made me have a little groove going. He’d say, “You ought to put some bass on it. Put some drums on it.” I’d just spend the whole day putting stuff on it. And we’d make these tracks, and nobody knew who Fireman was for a while. We must have sold all of 15 copies.

Swift: Thrilling, absolutely thrilling.

McCartney: And we didn’t mind, you know?

Swift: I think it’s so cool that you do projects that are just for you. Because I went with my family to see you in concert in 2010 or 2011, and the thing I took away from the show most was that it was the most selfless set list I had ever seen. It was completely geared toward what it would thrill us to hear. It had new stuff, but it had every hit we wanted to hear, every song we’d ever cried to, every song people had gotten married to, or been brokenhearted to. And I just remembered thinking, “I’ve got to remember that,” that you do that set list for your fans.

McCartney: You do that, do you?

Swift: I do now. I think that learning that lesson from you taught me at a really important stage in my career that if people want to hear “Love Story” and “Shake It Off,” and I’ve played them 300 million times, play them the 300-millionth-and-first time. I think there are times to be selfish in your career, and times to be selfless, and sometimes they line up.

McCartney: I always remembered going to concerts as a kid, completely before the Beatles, and I really hoped they would play the ones I loved. And if they didn’t, it was kind of disappointing. I had no money, and the family wasn’t wealthy. So this would be a big deal for me, to save up for months to afford the concert ticket.

Swift: Yeah, it feels like a bond. It feels like that person on the stage has given something, and it makes you as a crowd want to give even more back, in terms of applause, in terms of dedication. And I just remembered feeling that bond in the crowd, and thinking, “He’s up there playing these Beatles songs, my dad is crying, my mom is trying to figure out how to work her phone because her hands are shaking so much.” Because seeing the excitement course through not only me, but my family and the entire crowd in Nashville, it just was really special. I love learning lessons and not having to learn them the hard way. Like learning nice lessons I really value.

McCartney: Well, that’s great, and I’m glad that set you on that path. I understand people who don’t want to do that, and if you do, they’ll say, “Oh, it’s a jukebox show.” I hear what they’re saying. But I think it’s a bit of a cheat, because the people who come to our shows have spent a lot of money. We can afford to go to a couple of shows and it doesn’t make much difference. But a lot of ordinary working folks … it’s a big event in their life, and so I try and deliver. I also, like you say, try and put in a few weirdos.

Swift: That’s the best. I want to hear current things, too, to update me on where the artist is. I was wondering about lyrics, and where you were lyrically when you were making this record. Because when I was making Folklore, I went lyrically in a total direction of escapism and romanticism. And I wrote songs imagining I was, like, a pioneer woman in a forbidden love affair [laughs]. I was completely …

McCartney: Was this “I want to give you a child”? Is that one of the lines?

Swift: Oh, that’s a song called “Peace.”

McCartney: “Peace,” I like that one.

Swift: “Peace” is actually more rooted in my personal life. I know you have done a really excellent job of this in your personal life: carving out a human life within a public life, and how scary that can be when you do fall in love and you meet someone, especially if you’ve met someone who has a very grounded, normal way of living. I, oftentimes, in my anxieties, can control how I am as a person and how normal I act and rationalize things, but I cannot control if there are 20 photographers outside in the bushes and what they do and if they follow our car and if they interrupt our lives. I can’t control if there’s going to be a fake weird headline about us in the news tomorrow.

McCartney: So how does that go? Does your partner sympathize with that and understand?

Swift: Oh, absolutely.

McCartney: They have to, don’t they?

Swift: But I think that in knowing him and being in the relationship I am in now, I have definitely made decisions that have made my life feel more like a real life and less like just a storyline to be commented on in tabloids. Whether that’s deciding where to live, who to hang out with, when to not take a picture — the idea of privacy feels so strange to try to explain, but it’s really just trying to find bits of normalcy. That’s what that song “Peace” is talking about. Like, would it be enough if I could never fully achieve the normalcy that we both crave? Stella always tells me that she had as normal a childhood as she could ever hope for under the circumstances.

McCartney: Yeah, it was very important to us to try and keep their feet on the ground amongst the craziness.

Swift: She went to a regular school .…

McCartney: Yeah, she did.

Swift: And you would go trick-or-treating with them, wearing masks.

McCartney: All of them did, yeah. It was important, but it worked pretty well, because when they kind of reached adulthood, they would meet other kids who might have gone to private schools, who were a little less grounded.

And they could be the budding mothers to [kids]. I remember Mary had a friend, Orlando. Not Bloom. She used to really counsel him. And it’s ’cause she’d gone through that. Obviously, they got made fun of, my kids. They’d come in the classroom and somebody would sing, “Na na na na,” you know, one of the songs. And they’d have to handle that. They’d have to front it out.

Swift: Did that give you a lot of anxiety when you had kids, when you felt like all this pressure that’s been put on me is spilling over onto them, that they didn’t sign up for it? Was that hard for you?

McCartney: Yeah, a little bit, but it wasn’t like it is now. You know, we were just living a kind of semi-hippie life, where we withdrew from a lot of stuff. The kids would be doing all the ordinary things, and their school friends would be coming up to the house and having parties, and it was just great. I remember one lovely evening when it was Stella’s birthday, and she brought a bunch of school kids up. And, you know, they’d all ignore me. It happens very quickly. At first they’re like, “Oh, yeah, he’s like a famous guy,” and then it’s like [yawns]. I like that. I go in the other room and suddenly I hear this music going on. And one of the kids, his name was Luke, and he’s doing break dancing.

Swift: Ohhh!

McCartney: He was a really good break dancer, so all the kids are hanging out. That allowed them to be kind of normal with those kids. The other thing is, I don’t live fancy. I really don’t. Sometimes it’s a little bit of an embarrassment, if I’ve got someone coming to visit me, or who I know…

Swift: Cares about that stuff?

McCartney: Who’s got a nice big house, you know. Quincy Jones came to see me and I’m, like, making him a veggie burger or something. I’m doing some cooking. This was after I’d lost Linda, in between there. But the point I’m making is that I’m very consciously thinking, “Oh, God, Quincy’s got to be thinking, ‘What is this guy on? He hasn’t got big things going on. It’s not a fancy house at all. And we’re eating in the kitchen! He’s not even got the dining room going,’” you know?

Swift: I think that sounds like a perfect day.

McCartney: But that’s me. I’m awkward like that. That’s my kind of thing. Maybe I should have, like, a big stately home. Maybe I should get a staff. But I think I couldn’t do that. I’d be so embarrassed. I’d want to walk around dressed as I want to walk around, or naked, if I wanted to.

Swift: That can’t happen in Downton Abbey.

McCartney: [Laughs.] Exactly.

Swift: I remember what I wanted to know about, which is lyrics. Like, when you’re in this kind of strange, unparalleled time, and you’re making this record, are lyrics first? Or is it when you get a little melodic idea?

McCartney: It was a bit of both. As it kind of always is with me. There’s no fixed way. People used to ask me and John, “Well, who does the words, who does the music?” I used to say, “We both do both.” We used to say we don’t have a formula, and we don’t want one. Because the minute we get a formula, we should rip it up. I will sometimes, as I did with a couple of songs on this album, sit down at the piano and just start noodling around, and I’ll get a little idea and start to fill that out. So the lyrics — for me, it’s following a trail. I’ll start [sings “Find My Way,” a song from “McCartney III”]: “I can find my way. I know my left from right, da da da.” And I’ll just sort of fill it in. Like, we know this song, and I’m trying to remember the lyrics. Sometimes I’ll just be inspired by something. I had a little book which was all about the constellations and the stars and the orbits of Venus and.…

Swift: Oh, I know that song — “The Kiss of Venus”?

McCartney: Yeah, “The Kiss of Venus.” And I just thought, “That’s a nice phrase.” So I was actually just taking phrases out of the book, harmonic sounds. And the book is talking about the maths of the universe, and how when things orbit around each other, and if you trace all the patterns, it becomes like a lotus flower.

Swift: Wow.

McCartney: It’s very magical.

Swift: That is magical. I definitely relate to needing to find magical things in this very not-magical time, needing to read more books and learn to sew, and watch movies that take place hundreds of years ago. In a time where, if you look at the news, you just want to have a panic attack — I really relate to the idea that you are thinking about stars and constellations.

McCartney: Did you do that on Folklore?

Swift: Yes. I was reading so much more than I ever did, and watching so many more films.

McCartney: What stuff were you reading?

Swift: I was reading, you know, books like Rebecca, by Daphne du Maurier, which I highly recommend, and books that dealt with times past, a world that doesn’t exist anymore. I was also using words I always wanted to use — kind of bigger, flowerier, prettier words, like “epiphany,” in songs. I always thought, “Well, that’ll never track on pop radio,” but when I was making this record, I thought, “What tracks? Nothing makes sense anymore. If there’s chaos everywhere, why don’t I just use the damn word I want to use in the song?”

McCartney: Exactly. So you’d see the word in a book and think, “I love that word”?

Swift: Yeah, I have favorite words, like “elegies” and “epiphany” and “divorcée,” and just words that I think sound beautiful, and I have lists and lists of them.

McCartney: How about “marzipan”?

Swift: Love “marzipan.”

McCartney: The other day, I was remembering when we wrote “Lucy in the Sky With Diamonds”: “kaleidoscope.”

Swift: “Kaleidoscope” is one of mine! I have a song on 1989, a song called “Welcome to New York,” that I put the word “kaleidoscope” in just because I’m obsessed with the word.

McCartney: I think a love of words is a great thing, particularly if you’re going to try to write a lyric, and for me, it’s like, “What is this going to say to that person?” I often feel like I’m writing to someone who is not doing so well. So I’m trying to write songs that might help. Not in a goody-goody, crusading kind of way, but just thinking there have been so many times in my life when I’ve heard a song and felt so much better. I think that’s the angle I want, that inspirational thing.

I remember once, a friend of mine from Liverpool, we were teenagers and we were going to a fairground. He was a schoolmate, and we had these jackets that had a little fleck in the material, which was the cool thing at the time.

Swift: We should have done matching jackets for this photo shoot.

McCartney: Find me a fleck, I’m in. But we went to the fair, and I just remember — this is what happens with songs — there was this girl at the fair. This is just a little Liverpool fair — it was in a place called Sefton Park — and there was this girl, who was so beautiful. She wasn’t a star. She was so beautiful. Everyone was following her, and it’s like, “Wow.” It’s like a magical scene, you know? But all this gave me a headache, so I ended up going back to his house — I didn’t normally get headaches. And we thought, “What can we do?” So we put on the Elvis song “All Shook Up.” By the end of that song, my headache had gone. I thought, you know, “That’s powerful.”

Swift: That really is powerful.

McCartney: I love that, when people stop me in the street and say, “Oh, I was going through an illness and I listened to a lot of your stuff, and I’m better now and it got me through,” or kids will say, “It got me through exams.” You know, they’re studying, they’re going crazy, but they put your music on. I’m sure it happens with a lot of your fans. It inspires them, you know?

Swift: Yeah, I definitely think about that as a goal. There’s so much stress everywhere you turn that I kind of wanted to make an album that felt sort of like a hug, or like your favorite sweater that makes you feel like you want to put it on.

McCartney: What, a “cardigan”?

Swift: Like a good cardigan, a good, worn-in cardigan. Or something that makes you reminisce on your childhood. I think sadness can be cozy. It can obviously be traumatic and stressful, too, but I kind of was trying to lean into sadness that feels like somehow enveloping in not such a scary way — like nostalgia and whimsy incorporated into a feeling like you’re not all right. Because I don’t think anybody was really feeling like they were in their prime this year. Isolation can mean escaping into your imagination in a way that’s kind of nice.

McCartney: I think a lot of people have found that. I would say to people, “I feel a bit guilty about saying I’m actually enjoying this quarantine thing,” and people go, “Yeah, I know, don’t say it to anyone.” A lot of people are really suffering.

Swift: Because there’s a lot in life that’s arbitrary. Completely and totally arbitrary. And [the quarantine] is really shining a light on that, and also a lot of things we have that we outsource that you can actually do yourself.

McCartney: I love that. This is why I said I live simply. That’s, like, at the core of it. With so many things, something goes wrong and you go, “Oh, I’ll get somebody to fix that.” And then it’s like, “No, let me have a look at it.…”

Swift: Get a hammer and a nail.

McCartney: “Maybe I can put that picture up.” It’s not rocket science. The period after the Beatles, when we went to live in Scotland on a really — talk about dumpy — little farm. I mean, I see pictures of it now and I’m not ashamed, but I’m almost ashamed. Because it’s like, “God, nobody’s cleaned up around here.”

But it was really a relief. Because when I was with the Beatles, we’d formed Apple Records, and if I wanted a Christmas tree, someone would just buy it. And I thought, after a while, “No, you know what? I really would like to go and buy our Christmas tree. Because that’s what everyone does.” So you go down — “I’ll have that one” — and you carried it back. I mean, it’s little, but it’s huge at the same time.

I needed a table in Scotland and I was looking through a catalog and I thought, “I could make one. I did woodwork in school, so I know what a dovetail joint is.” So I just figured it out. I’m just sitting in the kitchen, and I’m whittling away at this wood and I made this little joint. There was no nail technology — it was glue. And I was scared to put it together. I said, “It’s not going to fit,” but one day, I got my woodwork glue and thought, “There’s no going back.” But it turned out to be a real nice little table I was very proud of. It was that sense of achievement.

The weird thing was, Stella went up to Scotland recently and I said, “Isn’t it there?” and she said, “No.” Anyway, I searched for it. Nobody remembered it. Somebody said, “Well, there’s a pile of wood in the corner of one of the barns, maybe that’s it. Maybe they used it for firewood.” I said, “No, it’s not firewood.” Anyway, we found it, and do you know how joyous that was for me? I was like, “You found my table?!” Somebody might say that’s a bit boring.

Swift: No, it’s cool!

McCartney: But it was a real sort of great thing for me to be able to do stuff for yourself. You were talking about sewing. I mean normally, in your position, you’ve got any amount of tailors.

Swift: Well, there’s been a bit of a baby boom recently; several of my friends have gotten pregnant.

McCartney: Oh, yeah, you’re at the age.

Swift: And I was just thinking, “I really want to spend time with my hands, making something for their children.” So I made this really cool flying-squirrel stuffed animal that I sent to one of my friends. I sent a teddy bear to another one, and I started making these little silk baby blankets with embroidery. It’s gotten pretty fancy. And I’ve been painting a lot.

McCartney: What do you paint? Watercolors?

Swift: Acrylic or oil. Whenever I do watercolor, all I paint is flowers. When I have oil, I really like to do landscapes. I always kind of return to painting a lonely little cottage on a hill.

McCartney: It’s a bit of a romantic dream. I agree with you, though, I think you’ve got to have dreams, particularly this year. You’ve got to have something to escape to. When you say “escapism,” it sounds like a dirty word, but this year, it definitely wasn’t. And in the books you’re reading, you’ve gone into that world. That’s, I think, a great thing. Then you come back out. I normally will read a lot before I go to bed. So I’ll come back out, then I’ll go to sleep, so I think it really is nice to have those dreams that can be fantasies or stuff you want to achieve.

Swift: You’re creating characters. This was the first album where I ever created characters, or wrote about the life of a real-life person. There’s a song called “The Last Great American Dynasty” that’s about this real-life heiress who lived just an absolutely chaotic, hectic…

McCartney: She’s a fantasy character?

Swift: She’s a real person. Who lived in the house that I live in.

McCartney: She’s a real person? I listened to that and I thought, “Who is this?”

Swift: Her name was Rebekah Harkness. And she lived in the house that I ended up buying in Rhode Island. That’s how I learned about her. But she was a woman who was very, very talked about, and everything she did was scandalous. I found a connection in that. But I also was thinking about how you write “Eleanor Rigby” and go into that whole story about what all these people in this town are doing and how their lives intersect, and I hadn’t really done that in a very long time with my music. It had always been so microscope personal.

McCartney: Yeah, ’cause you were writing breakup songs like they were going out of style.

Swift: I was, before my luck changed [laughs]. I still write breakup songs. I love a good breakup song. Because somewhere in the world, I always have a friend going through a breakup, and that will make me write one.

McCartney: Yeah, this goes back to this thing of me and John: When you’ve got a formula, break it. I don’t have a formula. It’s the mood I’m in. So I love the idea of writing a character. And, you know, trying to think, “What am I basing this on?” So “Eleanor Rigby” was based on old ladies I knew as a kid. For some reason or other, I got great relationships with a couple of local old ladies. I was thinking the other day, I don’t know how I met them, it wasn’t like they were family. I’d just run into them, and I’d do their shopping for them.

Swift: That’s amazing.

McCartney: It just felt good to me. I would sit and talk, and they’d have amazing stories. That’s what I liked. They would have stories from the wartime — because I was born actually in the war — and so these old ladies, they were participating in the war. This one lady I used to sort of just hang out with, she had a crystal radio that I found very magical. In the war, a lot of people made their own radios — you’d make them out of crystals [sings “The Twilight Zone” theme].

Swift: How did I not know this? That sounds like something I would have tried to learn about.

McCartney: It’s interesting, because there is a lot of parallels with the virus and lockdowns and wartime. It happened to everyone. Like, this isn’t HIV, or SARS, or Avian flu, which happened to others, generally. This has happened to everyone, all around the world. That’s the defining thing about this particular virus. And, you know, my parents … it happened to everyone in Britain, including the queen and Churchill. War happened. So they were all part of this thing, and they all had to figure out a way through it. So you figured out Folklore. I figured out McCartney III.

Swift: And a lot of people have been baking sourdough bread. Whatever gets you through!

McCartney: Some people used to make radios. And they’d take a crystal — we should look it up, but it actually is a crystal. I thought, “Oh, no, they just called it a crystal radio,” but it’s actually crystals like we know and love.

Swift: Wow.

McCartney: And somehow they get the radio waves — this crystal attracts them — they tune it in, and that’s how they used to get their news. Back to “Eleanor Rigby,” so I would think of her and think of what she’s doing and then just try to get lyrical, just try to bring poetry into it, words you love, just try to get images like “picks up the rice in the church where a wedding has been,” and Father McKenzie “is darning his socks in the night.” You know, he’s a religious man, so I could’ve said, you know, “preparing his Bible,” which would have been more obvious. But “darning his socks” kind of says more about him. So you get into this lovely fantasy. And that’s the magic of songs, you know. It’s a black hole, and then you start doing this process, and then there’s this beautiful little flower that you’ve just made. So it is very like embroidery, making something.

Swift: Making a table.

McCartney: Making a table.

Swift: Wow, it would’ve been so fun to play Glastonbury for the 50th anniversary together.

McCartney: It would’ve been great, wouldn’t it? And I was going to be asking you to play with me.

Swift: Were you going to invite me? I was hoping that you would. I was going to ask you.

McCartney: I would’ve done “Shake It Off.”

Swift: Oh, my God, that would have been amazing.

McCartney: I know it, it’s in C!

Swift: One thing I just find so cool about you is that you really do seem to have the joy of it, still, just no matter what. You seem to have the purest sense of joy of playing an instrument and making music, and that’s just the best, I think.

McCartney: Well, we’re just so lucky, aren’t we?

Swift: We’re really lucky.

McCartney: I don’t know if it ever happens to you, but with me, it’s like, “Oh, my god, I’ve ended up as a musician.”

Swift: Yeah, I can’t believe it’s my job.

McCartney: I must tell you a story I told Mary the other day, which is just one of my favorite little sort of Beatles stories. We were in a terrible, big blizzard, going from London to Liverpool, which we always did. We’d be working in London and then drive back in the van, just the four of us with our roadie, who would be driving. And this was a blizzard. You couldn’t see the road. At one point, it slid off and it went down an embankment. So it was “Ahhh,” a bunch of yelling. We ended up at the bottom. It didn’t flip, luckily, but so there we are, and then it’s like, “Oh, how are we going to get back up? We’re in a van. It’s snowing, and there’s no way.” We’re all standing around in a little circle, and thinking, “What are we going to do?” And one of us said, “Well, something will happen.” And I thought that was just the greatest. I love that, that’s a philosophy.

Swift: “Something will happen.”

McCartney: And it did. We sort of went up the bank, we thumbed a lift, we got the lorry driver to take us, and Mal, our roadie, sorted the van and everything. So that was kind of our career. And I suppose that’s like how I ended up being a musician and a songwriter: “Something will happen.”

Swift: That’s the best.

McCartney: It’s so stupid it’s brilliant. It’s great if you’re ever in that sort of panic attack: “Oh, my God,” or, “Ahhh, what am I going to do?”

Swift: “Something will happen.”

McCartney: All right then, thanks for doing this, and this was, you know, a lot of fun.

Swift: You’re the best. This was so awesome. Those were some quality stories!

[laurasimonsdaughter]

Hey, do you have any lists for supernatural/urban fantasy creatures, I’ve been planning an urban fantasy webcomic, I want to redefine them for my series. I’ve been having trouble finding any creatures/lore/definitions that aren’t linked to popular franchises.

Making a complete list of all supernatural creatures is pretty impossible. It depends on whether you want to draw from folklore or artistic fiction, from what culture(s), whether you want to go for humanoid or animal, etc.

If you want to cast a wide net, Wikipedia is probably your best starting point:

https://en.wikipedia.org/wiki/List_of_legendary_creatures_by_type

https://en.wikipedia.org/wiki/Lists_of_legendary_creatures

https://en.wikipedia.org/wiki/Lists_of_fictional_species

The trouble you mentioned of only finding stuff linked to franchises is linked to the fact that people have been (re)using folklore as inspiration for forever. It is night impossible to come up with a creature that has never been thought of before and most supernatural or fantasy creatures in modern works are directly inspired by much older folklore.

This isn’t a problem, but when a franchise gets big or influential enough, their take on a creature can start to sound like “the original” or like they own the entire concept. This can also happen if they happen to pick folkore most people don’t know at all, making this version the first and only one they ever encounter. The influence thing can be seen in Lord of the Rings, where Tolkien basically redefined “elf” and “goblin” and reinvented “orc”. The obscurity thing can be seen in DnD, where a name like “firbolg” is taken from Irish mythology and used to create what is essentially a type of Swedish or Danish folklore inspired troll.

So if you find a creature you love but it seems like it “belongs” to a franchise, dig a little deeper. You can probably find the folklore, or in some cases classic literary works, that they were drawing from. Once you’ve found that, you’ll also find lore and definitions that are (relatively) free of other people’s creative interpretation and you can start putting your own spin on it!

[industrious-sloth]

9. FOLKORE by Taylor Swift

Oh boy. Let me preface this by saying I am a late convert to Taylor Swift. I didn’t like he country albums, I really did not appreciate being bombarded by news of what she was up to despite not having asked; and didn’t think she could sing. Once I blacklisted the #taylor swift tag, though, I found that I could enjoy some of her pop stuff isolated from all the discourse around it. Blank Space still is my favourite song of hers, something a righteous and true swiftie might sneer at (there’s a great episode of the Switched on Pop podcast explaining why Blank Space works so well, back from when it first came out).

There’s this strange thing about Taylor Swift’s albums, though. I never like them the first time I listen to them. It’s not that I blatantly dislike them, but they take some getting used to. Take hoax, for instance, which at first ranked between blah and meh, yet now is one of my favourites. In no way is this odd effect exclusive to Folklore, either – last year’s Lover, which remains her best in my opinion, also needed to grow on the listener, as did Reputation. Evermore is yet to grow on me, but at this point I doubt it will – she would have done better by launching it as a B-side to Folklore as opposed to as its own album, because it really just sounds like the Folklore Rejects Compilation (apart from Long Story Short and Champagne Problems).

All of this got me thinking about the number of chances we give albums before we make up our minds about them. Would I have enjoyed Folklore as much as I did, in the end, had it not been in everyone’s mind? Had it not been trending for the entire week it came out, would I have given it another shot? Some albums do take longer to reveal themselves, so how do you know when they simply won’t? Am I going to stand corrected in two months saying that actually, Evermore is a fine album? And if I do, wouldn’t it be a little messed up that it is only due to how unescapable Taylor Swift is? Furthermore, how can I even tell whether Folklore is a good record or if I have simply been overexposed to it, having come to find comfort in songs to which I know the lyrics and notes? How can one even attempt to find common ground in criticism when one is forced into “Distant Listening”?

Perhaps we would do best to start at the more basic level, no discourse: just the good, the bad, and the weird. Actually, let’s start with the bad, as that is always more fun for evil-spirited people such as myself: I hate the grammar in this album – and by that, I don’t mean the pretentious interactions some critics refer to as grammar, but the actual grammar. I am an English teacher, and pop singers really complicate my life when they take a perfectly usable song to teach students English, and ruin it with bad grammar. It happened last year with The Man  – why couldn’t she have said If I were a man? Why, god, why? I could have been able to teach them second conditionals and feminism– and again in songs here.

Take The 1, for instance, where she says “if you wanted me, you really should have showed”, instead of the correct participle form shown. It wouldn’t have made any difference whatsoever, rhyme or song wise, the one thing it would have done is save the life of ESL teachers everywhere. In this same song, she constantly uses “would’ve been” when she should be using “had”. Listen, I would not be pointing this out were it not extremely bothersome to me as a Brazilian English major. I start getting like Henry Higgins, about to burst into Why Can’t the English Teach Their Children How to Speak? If I ever made such mistakes, people would think I didn’t speak proper English.

Honestly, the 1 isn’t even the worst song grammar-wise – I can still listen to it and enjoy it, unlike mad woman, which is every ESL teacher’s nightmare. I can just imagine a snarky pre-teen going “But Taylor Swift says more crazy instead of crazier and more angry instead of angrier, and she’s American, so she’s right!” and closing the book on comparatives. Why must Taylor make my life so hard? Also, what’s up with the lower-case titles? That’s just pretentious. And yes, it’s annoying when Ariana does it as well.

Anyhow, this is a great album despite my pet-peeves. The storytelling is fun, the lyrics brilliant as usual, and Taylor’s realisation that she doesn’t always have to write about herself even better. I also love the unrequited rhymes in this, You heard the rumours from Inez/ You can’t believe a word she says is such a kooky combination, it’s practically insane. Those, nevertheless, make startling appearances all over the record, here’s another one, from last great american dynasty,  which could have been written for Lana Del Rey: The wedding was charming, but a little gauche/ There’s only so far new money goes.

Taylor really rhymed Inez with says, and gauche with goes. And it worked. Also, when she sings “I’ve been meaning to tell you your house was haunted”… What do you mean, you’ve been meaning to tell them? Is it not pressing enough?

“Oh, by the way, I’ve been meaning to tell you, I saw a poltergeist at your house.”

“What, like, now?”

“No, I saw it a couple of months ago. Forgot to mention it.”

Incredible. I love lyrics that make you think – not in a philosophical or existential way, just, you know, about the situation their acceptance of their premise actually requires. Even the metaphors: my only one, my smoking gun. What does that mean? I don’t know, but I want to think about it until it makes sense!

Obviously, betty is everyone’s darling, but this is me trying is the real lyrical masterpiece of this album, at least for all clinical depressives out there, including yours truly. Is it extremely bold of Taylor Swift to write a Former Gifted Kid anthem, considering she has not ceased to put out hit after hit since she was in her teens? As an ex-gifted kid myself, I am okay with it as long as it’s good and accurate.

Folklore has so many secrets, so many auburn leaves paving its way, we could not possibly talk about every one of them. It has certainly felt like a quarantine album in that it’s been a fine quarantine companion, always whispering something new.

Best song: Spotify Wrapped doesn’t lie, and it’s my tears ricochet even though some of the lyrics in it are sort of over-the-top (I’m seriously talking about every time the word ricochet shows up, and nothing else).

Skip: mad woman. I cannot listen to it. Infuriating.

Best lyrics: You told me all of my cages were mental/ So I got wasted like all my potential (this is me trying)

I mean, how can you beat that? I’m seriously asking. For a friend

[jeffreyss]

tagged by @honeyeddeans and @fierydeans thank u both this was rly fun

1. Name 4 fictional characters who showcase your personality the best, with explanations if you want.

just 3 since i cant think of anyone else :/

Castiel - he is shy and awkward and his “social skills are rusty” but he is also a huge sweetheart Daryl Dixon - he doesn’t show his emotions in front of people Stiles Stilinski - i am a big goof around my friends just like he is, will say literally anything without hesitation if i am comfortable with you 2. Aesthetic

for my blog? i dont think i have one

3. Favorite musical/play? 

haven’t seen either of those :/

4. What is the best compliment you’ve ever received? 

when someone tells me i’ve inspired them with something i made or said is literally the best thing u can say to me i will literally tear up

5. How many times have you been in love? 

once, i dont regret it but the thing that upsets me is that she will most likely never tell anyone about me (we were long distance) we were dating for 3 years but unfortunutely we couldnt meet, ah there is just sm here i still try to forget

6. Embarrassing story or fact about yourself that makes you laugh now?

hmm i liked this girl not long ago and we were texting and i asked her what she was up to and she said she was at the reception (she works at a hotel here) but my stupid ass miss read that (i read she was doing rehearsals since the two words in bulgarian are v alike) and i was like oh rly rehearsals about what? and i swear to god i could hear her laugh through the phone, my friends said it was cute but then she ghosted me :)

7. Favorite Disney/Pixar movie?

Chiken Little was my shit when i was little also Monsters inc.

8. Favorite flower or plant? 

dont rly have any

9. What’s your favorite holiday? 

easter bcs i love eggs and the bread

10. Name three things that made you laugh or smile this past week. 

that Jensen and JJ video my friends remembering old memories from my folkore dancing times

11. What song would you play to introduce yourself to someone?

oh i have no idea that is hard

12. Name something that truly makes you feel peaceful even at your most stressed moments. 

Jensen and Misha can make any day better

13. What do you, did you, or would you study at college? 

hopefully i get accepted for graphic design this year

14. This is kind of a weird one, but which outfit of yours makes you feel most like yourself? 

jeans, a t-hsirt with a flannel over it and my vans

15. What is a quote you live by? 

i dont rly i just go with the flow

16. Name the funniest playlist name you have. 

im so basic all my playlists are devided by song genre

17. Make a reference to an inside joke you have with someone you love with zero context. 

im pretty sure i have one with someone but i cannot remember for the life of me rn

18. What is a message you would give your younger self if given the chance? 

stop giving a shit about other people’s opinions

19. Who is your favorite family member? (If you have no good blood family members, feel free to mention someone in your found family) 

i cannot choose, i love all of them with all their flaws

20. What’s a secret dream of yours? 

its not so secret since i cry about it all the time to my friends lmao but i really want to find someone who will accept me for who i am and love me as much as i love them

i dont wanna bother anyone with this but please feel tagged by me if you want to do this!

[cap-sweet-and-salty-sadness]

Trick or Treat + Werewolf c:

👻Trick or Treat: What was your favorite Halloween costume?

I always tend to do scary costumes, and one year I did Bloody Mary and everyone was scared of me, it was the best.

🎃Werewolf: What is your favorite urban legend?

I grew up with French Canadian folkore, stuff like the Chasse-Galerie, which is about a band of lumberjacks traveling with a floating canoe thanks to the Devil, but the one I prefer - mainly because the person was real - is la Corriveau.

She was a woman in the 18th century, living in Quebec City, who allegedly killed her two husbands, so she was hung and exposed on the public place. It was the first time this ever happened in New France, so people were shocked, and real torture devices were used on Corriveau to expose her.

The stories came afterwards when her cage was discovered in a graveyard (it’s now at the Boston Museum), cause it’s a grotesque thing. The folkore story is super varied, I heard a lot of different ways she would’ve killed her multiple husbands, including dropping wax into his ear while he was sleeping, and of course she was a witch, so after she died, her eyes would open at night to stare at perfect gentlemen and scare them to death.

Halloween Asks!

[flo-machina]

Honesty, Honestly - Fnipper

LAYER ONE : THE OUTSIDE

Name:  “Professor Fnipper Folkor Zookenheimersteinbergbaum.”

Eye Color: “Brown.”

Hair Style/Color: “’Style’ is a strong word. I keep it trimmed neatly. And it, too, is brown.”

Height: “I am quite average in height for a gnome at three feet,

Clothing Style: “As a Warlock of significant repute, I am compelled to garb myself in only the finest fineries of violet tones and dark blacks. Typically a robe belonging to some ancient unspeakably evil Warlock felled long before my birth, and a wide-brimmed hat fashioned with my instructors in the early days of my study.”

LAYER TWO: THE INSIDE

Your Fears: “Such that I am... I suppose I am afraid that ultimately all I have done will never be enough.”

Your Guilty Pleasure:  “I feel no guilt for my vices, nor should anyone. But you may be surprised to know I am something of a Hearthstone addict.”

Your Biggest Pet Peeve: “Ignorance is bothersome, but forgivable. What I cannot forgive is those who refuse to correct their ignorance.”

Your Ambition for the Future: “Eradicating the remaining vestiges of the Burning Legion, establishing ethical boundaries for the practices of Fel magicks, and then retiring.”

LAYER THREE: THOUGHTS

Your First Thoughts Waking Up: “Now... where was I?”

What You Think About the Most: “Flaws. Weaknesses. Vulnerabilities. These gaps in the defenses of our life require the most intense oversight of all.”

What You Think About Before Bed: “I am... typically reviewing my studies of the day in my mind’s eye until I eventually lull to sleep.”

Your Best Quality Is: “My restraint. Warlocks are, historically, synonymous with hubris and folly. Those of us that see the value in holding back last longer and can accomplish more. Maybe even something meaningful.”

LAYER FOUR: WHAT’S BETTER?

Single or Group Dates: “Bold of you to assume I have literally any time for that sort of thing.”

To be Loved or Respected: “Respected. Especially in my field of work, we are seen first as deranged and volatile. I hope to make change in this regard by living as an example.”

Beauty or Brains: “Brains, obviously. Though aesthetics have their value and their place, they pale in significance.”

Dogs or Cats: “Cats. They, too, can see the Fel, and are very useful as an early warning system.”

LAYER FIVE: DO YOU?

Lie: “If necessary.”

Believe in Yourself: “Without question.”

Believe in Love: “Of course. All emotions are real. Most are valid.”

Want Someone: “... I suppose I could use an apprentice in my life, but honestly? Mostly just to help with my daily labors.”

LAYER SIX: EVER?

Been on Stage: “A few times, yes. I wasn’t always this stuffy and serious, you know.”

Done Drugs: “Yes. Sometimes they are extremely necessary to counteract or even enhance the energies I command. Though, of course, only when necessary.”

Changed Who You Were to Fit In: “Certainly not. I have no time to break, much less bend my integrity for others.”

LAYER SEVEN: FAVORITES

Favorite Color: “Violet.”

Favorite Animal: “I am... largely indifferent to animals. But cats are, by my reckoning, the only creation of life the Titans got right.”

Favorite Food: “Corned beef on rye.”

Favorite Game: “As I mentioned before, I have become quite enamored with Hearthstone. It’s quite a clever game!”

LAYER EIGHT: AGE

Day Your Next Birthday Will Be: “September Seventeenth.”

How Old Will You Be: “I will be forty-one, by Azerothian standards.”

Age You Lost Your Virginity: “That would be none of your business.”

Does Age Matter: “Yes, for the obvious reasons."

LAYER NINE: IN A BOY OR GIRL

Best Personality: “Dedicated. Self-motivated. Driven. An equal.”

Best Eye Color: “It really does not matter.”

Best Hair Color: “Again, this is unimportant.”

Best thing to do with a Partner: “Co-exist in peaceful silence.”

LAYER TEN: FINISH THE SENTENCE

I love: “my work.”

I feel: “focused.”

I hide: “more than you’d ever know.”

I miss: “... an old friend.”

I wish: “that there was a better way.”

Tagged By: @embersoot​

Tagging: I thiiiiink this one made the rounds already, but if you’re reading this any you wanna? Go for it!

[bonesmakenoise]

okay so here’s a really rough lineup of the whole DnD game-- Diana and I have three characters each and Sarah is our DM. So, may I introduce, from left to right:

1) Ebony Dark’ness Dementia Raven of the Noble House of Way, the most Goffic Warlock Tiefling you’ll ever meet. I.... I have no idea what her outfit looks like, so she gets a weird non-outfit. Diana thinks she’s probably started trying to build her own emo band or something and has picked these guys up. Her favorite bands, as previously states, are Alchemical Romance Mine and Goode Charlotte.

2) Otarin “Tani” Asdrunale Kin’Keldis Tontequetir Zanna Gyre-Gimble Garrick-Nackle Folkor Just call her Tiny. She introduced herself as Tani. Tiny is what they heard and what stuck. She doesn’t seem to mind. 15-year-old GNOME BARBARIAN. A hilarious delight in battles because she has the highest hit points and deals some pretty terrifying damage. 

3) Lyn, whose name I am certainly spelling wrong and certainly drew incorrectly, but there isn’t a ton of reference for yet. Kleptomaniac, troublemaker, perpetually drunk and flirty. She came out here to have a good time and she’s honestly feeling so attacked right now. Glass cannon rogue. 

4. Em, hiding in the back. Best friend of Lyn, and their stories are pretty intricately intertwined. Em is a elven cleric and is pretty dedicated to converting people to her religion. She’s team mom, basically-- down to mom’s unassuming, presumptuous racism. She.... she tries, she really does.

5. Artemisa. Aarakocra bard. Went to Bard college, which is for Bards. Was kept as a pet by a human noble who got himself assassinated. Aarakocra only live about thirty years and she reached adulthood in captivity-- she’s dedicated to having fun and playing music. Able to murder monsters with Vicious Mockery even when tongue-tied. Will disagree with you with a smile on her face that almost certainly comes off as condescending after a while.

6. Raske! Raske is an old dude who is about ten years out of practice with this whole adventuring thing. He nearly got himself and Em killed on their first outing out of stubborn assholery. She saved his life and earned his silent respect. Most likely to say “back in my day.” Negative 2 Charisma modifier.

[spacebearwithagun]

Things That Happened in D&D

So our group dynamic has developed to the point that our characters are pretty much reflections of ourselves. Which is kinda hilarious because in our game and real life I have become the sort of unofficial leader.

So, quick breakdown of our players. You have me, N'resh, a half-orc barbarian, orphaned at a young age whose been on her own for as long as she can remember. She has a companion animal, a coyote named gravy, found by a mostly sunken temple in sin mire. Next we have N'resh's best friend, a hot tempered halfling ranger named fiddlestix whose always up for a fight. His favorite enemy os undead and he hoards weapons. Then there's Airestal, a half elf wizard specializing in illusions on a journey to obtain knowledge. She's the Gandalf of our group who has acquired a small dragon referred to as little wyrm, or LW. Next, there is Luther, our sole human and youngest of the group. He's here to get into shenanigans and is willingly being corrupted by the other players. Finally, there's Waywocket Folkor, a gnome necromancer who more often then not blinks into another dimension where she plays dominatrix to the rest of the world's inhabitants.

Nobody in this group is a healer. Everybody except Airestal is chaotically aligned. The one person with an hp above 20 (we are at level 3 so far) is N'resh.

Can you see why I am the unofficial leader of the group. Without N'resh, battles kind of fall apart, whereas I have taken down creatures in one hit and occasionally I can deal with them by simply yelling at them. (This works on many animals and the occasional dwarf.)

At any rate, this is the group that holds the fate of the world in our hands.

Here's some things that have happened so far.

Entered the first town, bought a barrel of grog, fought some bandits in the woods, almost died but N'resh yelled at them and scared them away. The bandits came back later that night to try and get revenge, which should have been easy since N'resh and Fiddlestix were sleeping in the back of the wagon we took from their camp (along with two oxen). N'resh woke up, punched one then scared the other one away.

Went dungeon crawling in the first town, set a room full of bats on fire, then essentially steamed them to death when Airestal casted Ray of frost into the room. Then proceeded to sleep in said room after shoveling all the dead bats against the door to barricade it.

When we reached the final boss of the dungeon we proceeded to successfully run away from the conflict. We do manage to pick up a broken sceptre which seems significant. Some more exploration we discovered our direction.

A tedious 7 day journey to the next town commenced in the back of our stolen wagon. We largely avoided conflict because it was discovered that N'resh can yell at most critters and they will run away. We did fight a bear, we took some of its meat.

Discovered that the next town was racist towards half orcs, (also a mild player rebellion occurred which caused us to completely thwart where our DM was trying to lead us). Decide to to f*#k that town, plugged up the hole that was gushing polluted water into the swamp and headed off to explore said swamp in a boat made from the stolen cart. The oxen are set free in the forest.

Meet some tree ents, make friends, almost get killed by crocodiles, spend the night tied to a mischievous sprite's tree without coming to any harm other than a few doodles on our faces.

Find a half sunken temple and N'resh makes friends with the coyote, gravy, who waits outside using copious amounts of bear meat. N'resh, the only character with a decent swim ability, explores the temple. She finds Gravy's former owner. Gravy becomes , N'resh's companion animal. She also drags out a crazy skeleton creature, then proceeds to pretty much punch it to death, with some aid from Airestal who has become strangely adept with ice magic.

A tidal wave almost takes out our intrepid group but they manage to make it to the boat in time. We set out to find out what caused the wave and meet up with the tree ents... turns out we caused the damage by not stopping the flow of water from the town at it's source, we also destroyed a significant portion of the town and a huge chunk of the wall. We manage to get the tree ents to distract the guards and sneak into the town.

We are almost immediately discovered but manage to convince the dwarves we are merely workers come to fix the wall. While the others distract the dwarves, N'resh manages to sneak away, enter the city's temple through a damaged section, yell at the guards so they faint, then steal the magical source of the water, destroying a fountain along the way and taking no damage.

The magic water source is given to the tree ents who have killed most of the dwarven guards. At a stand still we go back to the city temple to see if our broken sceptre has any meaning. It does, turns out we are the only hope the world has against an ancient evil that has risen again. We all agree that the world is probably f#$%!d but agree to find the city's God's artifact and return it so we can fix the sceptre and honestly N'resh has tuned out at this point.

We head back into the swamp, looking for the orc wizard who stole the artifact. We get directions from the tree ents, fight a giant crayfish and have a cook out along the way. We reach the wizards lair and climb down inside. We kill some troglodytes (fairly epic considering there were four of them who started to run away when N'resh yelled at them. N'resh them killed two of them with single blows and despite the layer of ice placed on the ground by Airestal, managed to do significant damage to the others), we kill another crayfish (by we I mean fiddlestix and nresh), we decide to take a rest (remember no healers and none of us seems keen on acquiring potions)

N'resh is rudely awakened by the son of the wizard, an 18 year old orc who still lives with his mum, tragic. He makes N'resh very angry, she hits him a lot, doesn't kill him though. He leads them towards his mom. The group take out two lizard things then yet another monstrous crayfish. We are barely alive when we come upon the mother, aka beaver swamp witch. After N'resh is knocked out along with fiddlestix the group negotiates our retreat using the son as leverage. We leave and find a quiet island to get some rest.

Awake and angry we head back to the swamp witch's lair. We collapse one exit then burn a fire for a day at the other. We then head back down. N'resh is at full health though, and the group gains initiative. Though fiddlestix misses on his turn, N'resh manages to kill the the witch with one blow. The group recovers the artifact then hunts down and kills the son for good measure.

We return the artifact and get our scepter fixed. It takes 3 weeks because we refuse to return the water source back to the dwarves. They have used it irresponsibly and polluted the swamp, so screw them. We spend the three weeks while we wait hanging out in the swamp with our pals the tree ents. With the sceptre fixed we head on to our next task, the next town.

We decide we like the next town, it is filled with nice people, such at the nice thrift shop lady who gives is good advice on where to stay and buy cheese. She our new friend, gods preserve her. After spending the day acquiring food, a place to stay and a set of armor for fiddlestix, crafted from the chitin of one of the crayfish, we finally get around to getting back on task. Conveniently, the bounty we wish to collect coincides with the task we must complete in order to gain this God's blessing for our scepter. The four of us (Waywocket is gone to her sex dungeon dimension) find ourselves in a room filled with 8 undead creatures.

As you can imagine, things do not proceed well for us. Still, between paralyzation via poison and sheer numbers N'resh takes out two creatures with single blows and finishes off one more. Airestal also takes out two creatures with single turns with impressive spells and finishes off another one. That leaves two creatures but unfortunately all of us are either unconscious or otherwise incapacitated. Is this the end for our foolhardy adventurers. Will N'resh never taste the sweet elixer of grog again? Will Luther ever learn how th successfully flirt with ladies? Will Fiddlestix never earn enough money to buy his hand crossbows? Is the end for Airestal really going to be in a sewer?

Nope, because our crew has an ace up it's sleeve, Gravy. The loyal coyote leaps into battle and manages to take the remaining two creatures then stands watch while our nearly defeated crew rests. It's very clear that gravy deserves the very best bone the city has to offer and N'resh vows to find it for him, after we get out of these sewers of course.