#gaylor swift evermore release

[12triceratops]

Where the rubber meets the road.

These two didn't just have a relationship, they had a (soul)utionship. "The Prophecy" Hand on the throttle Thought I caught lightning in a bottle...

What these two had was magical. There is no debate that Karlie Kloss and Taylor Swift were electric: (I am using past tense for the moment, I will refer to them in present tense a bit later in the post)

Fast forward a decade later to Fortnight. This record did not hit me immediately the way "Folklore" and "Evermore" did, It has almost been a week since its release and I hadn't been fully onboard with TTPD. I was expecting something different, something not familiar and I had quite literally thought maybe Jack Antinoff and Taylor Swift had reached their limit together as collaborators. The music produced by Aaron Dressner had flavors and connections to "Folklore" and "Evermore," while parts of the album was reminiscent of "1989." My next thought that maybe the three of them had done all they could do.

And then the Matty Healy conversation exploded across the net (le sigh), and I just about gave up on the record.

I damn near had a sanguinary struggle within myself over The Tortured Poets Department (I know, that is very dramatic lol), and then I finally got it. The brilliance of this woman is unmatched.

The last song "The Manuscript." Now and then she rereads the manuscript Of the entire torrid affair

"The entire torrid affair" meaning the last decade (probably longer, but I am sticking with 2014-2024). The title isn't lost on me and many others - The Man-U-Script.

The last segment of the song

The only thing that's left is the manuscript One last souvenir from my trip to your shores Now and then I reread the manuscript But the story isn't mine anymore

She is closing the chapter on all of it. It's over, the countless theories, the stories we all have created about her. They're our stories now, we built them into a formidable, monstrous entity that took on a life of its own. "The last souvenir" are her words to us on this album. From the Swifities, to the Gaylors/Kaylors, to the haters, critics, industry, fans, media. She won't play this game anymore. Taylor gave enough clues on this album to make EVERYONE'S theory plausible (Karlie, Joe, Matty, Travis, Harry, Kim etc). She connected threads to come full circle, which brings us back to "1989," that 1980s syth-pop (hello! "I Can Do It With A Broken Heart"). This is why she and Jack Antonoff brought us back to where it all began, Karlie Kloss and #Kissgate (Dianna Agron, too, who can forget "Wonderland). Aaron Dressner summons moments within this records of the two albums that fractured my soul, F & E. That folky-pop melody that gets into your skin to change the DNA. No joke, I sobbed listening to "Folklore" and "Evermore."

With TTPD, Taylor comes in like a thrashing, tumultuous storm; at times seething and others admonishing. She is singing to herself, for herself and without need of approval from the mainstream radio (or anyone else). TTPD is messy, too much, not enough, vulnerable, real, relatable and she is tired of our collective shit.

Back to "The Manuscript" This Era has come to an end and she is leaving us with the ruins, the aftermath of what she went through: being forced to hide who she really is, having to placate the rabid fans who believe the stories of every boy she has ever dated. She has had zero privacy and the only safe place Taylor has ever had was her music, she is the ONLY one who knows to whom she sings. Does she love her fans, of course, but Mother is tired and done. She is ready to come clean and live the life she has crafted to keep in secret in order to protect the innocent.

The beards, NDAs, slight of hand, she is smashing all that we know. It's not her reflection she seeks to shatter, it's the illusions. In "Fortnight" the nurse, a woman (cannot convince me that it's not Karlie. A doorframe is 6'8" and that nurse is about 5" shorter that frame, which would make that person 6'3" :), comes to save her, gives her the key to set her free. The men in the video are the ones who are torturing her. Like the last 10 years, The poet has been tortured by the department of men: Joe, John, Conner, Jake, Harry, Calvin, Tom, Joe, Matty, Travis, Scooter, Scott, and the list goes on.

It's "Robin" that has got a choke-hold on me.

Buried down deep And out of your reach The secret we all vowed To keep it from you in sweetness

She is singing to a child, a kid, and I am going to say a little boy. Is this song about Levi? I am going to say yes. Hands down the gem of the album, and our cue to realize she is telling us what is next, her family, the loves of her life: Karlie and the kids. That is what she wants and that will be her next chapter. We struggle to interpret the Taylor that is always ten steps ahead of us. Her Eras Tour, this will be the last one for a while. Once it has wrapped, I wouldn't be surprised if she disappeared for a spell. Will she produce more work, sure. Perform, probably, but this last decade has taken a toll, and this tour has been a herculean effort. Hence, its wild success. Could she retire (FLORIDA)? It's possible, but she would never tell us, we would have to figure that out for ourselves.

I have more to say, but it's late and I am sleepy. As I get lost in the piano of "The Manuscript" I am reminded of the book "The Seven Husbands of Evelyn Hugo"

Not sure if anyone is going to see or read this, but I needed a place to write my thoughts about this extraordinary album that I almost let slip through my fingers. Good night and sleep well everyone <3

[albiclalepsza]

It's Taylor Swift release day so here's my ranking of all her albums that no one cares about.

1. evermore - subjective perfection. It's as if someone produced a perfect mixture of what I want Taylor to sound like. Incredible, it's a shame she didn't stick to that vibe. Cowboy like me is her best song. She should fire Antonoff and just stick with Dessner.

2. folklore - just slightly behind evermore. It's the one that got me into her music. Wonderful songwriting, great production. Also all the songs are easy to learn and sound great on guitar which is a wonderful addition.

3. 1989 - the perfect Taylor pop record. I was honestly pissed at the Taylor's version because it messed up the pace of the album so badly.

4. Speak Now - sonically diverse, not a single weak spot in this one. Last Kiss is her second best song. Long Live, Dear John, Mean - so many iconic songs on this one. It's also her first album where the songwriting really shines.

5. Fearless - love the vibe of her still being in her country phase but slowly leaning closer to pop. The upbeat songs are great but the slower and sadder ones don't land as hard as on other albums.

6. reputation - another really good Taylor pop. A bit edgier 1989. Don't Blame Me, Dancing With Our Hands Tied, Getaway Car, Dress and New Year's Day are the highlights.

7. Red - THE Taylor Swift album if we're being honest. It's the one that cemented her as a superstar. A lot of great songs here - State Of Grace, Red, Holy Ground, I Knew You Were Trouble, WANEGBT, All Too Well (especially the 10 minute version). Also some of the best Vault tracks (again, especially the 10 Minute ATW). But it's kind of bloated, with quite a few songs that could be cut and not much would be lost.

8. Taylor Swift - I loooove country Taylor. It's a shame this era ended so quickly. Picture To Burn, Should've Said No, I'm Only Me When I'm With You, Our Song? BANGERS. Every track that's a bit slower here is just a skip tho.

9. Lover - bloaaaated. Some phenomenal stuff. False God, which I'm pretty sure is the only saxophone part in Taylor's discography. Cruel Summer, The Archer, DBATC, Lover, Daylight, all really good tracks. But the lows are really low. ME! with Brendon Urie is a crime, and You Need To Calm Down and The Man are not much better. Also it's the album repsonsible for the gaylors.

10. Midnights - I still haven't forgiven her that disastrous rollout. 15 different versions, a special song available only on the variant sold in one venue. There are 23-26 tracks in total (again, thanks to that mess it's hard to tell) and you could easily remove about 13 to have a much better album without losing nothing of value

11. The Tortured Poets Department - maybe it will grow on me but I doubt that. This one is also so bloated, with some very bizzare lyrical choices. That one line in the article about the songwriting collapsing under the weight of the lore was so real. I appreciate that she plays with her vocals more than usual here. Also the moment Dessner takes over the album immediately gets better. FIRE JACK ANTONOFF. Anyway, it's quite a disappointment for now. I've been happier about getting one Cassandra Jenkins track a few days ago than getting two hours of Taylor today.

[jennyboom21]

which songs do u think are about dianna and which are about karlie?

I’m gonna have to come back to this since my sleep patterns are jacked and I’ve just played evermore as background music I did have to stop and rewind “closure”, tho.

I still want to know what happened that lead up to whatever it was we got with Swiftgron in 2017, and what followed to get them to whatever they are, in 2020?

The songs about longing, regret, everlasting love; affairs are probably about Dianna and the new girl. I do think Taylor casually dated other women besides Karlie when she reached out to Dianna.

[jennyboom21]

i’m listening to the pod rn and your elvis connection in Champagne reminded me that Elvis was born in Tupelo, Mississippi (which is like the main thing it’s known for) so maybe dorothea and champagne are connected after all?

NOW HOLD ON JUST A DAMN MINUTE...

[paradisetemporarilymisplaced]

I will not be taking questions at this time

[ikeptyoulikeanoath13]

Love the references to:

Gold cage hostage to my feelings

Titanic (the hand on the window!)

Invisible string

Did I see a reference to the movie “portrait of a lady on fire”?!

I love me some witchy shit

That’s all for now!

[anabellas-stuff2]

Book Trio’s as Taylor Swift albums PT. 3

Cameron Battle And The Hidden Kingdoms - Jamar J. Perry

Cameron: 1989

Aliyah: evermore.

Zion: RED.

[cursed-man-prayers]

why swifties cling to joe alwyn

alternate title: How Taylor Swift Convinced The World Of Toe

There are so few pictures of Taylor Swift and Joe Alwyn standing next to each other that Swifties have to photoshop them together. In the Miss Americana documentary, there is one shot that shows Joe Alwyn while Taylor talks about a precious relationship that got her through the Dark Age leading up to Reputation. In her speech, she doesn’t use gendered pronouns or say “boyfriend,” let alone say “Joe.” There are videos the lover took of her, but those videos are careful to never show the lover's face, a hand at most. With Joe, their public appearances together are few and well-planned. There was a pap walk right before Midnights released, just to remind people that they are supposed to believe she is in a happy relationship and that this album is not her third breakup album in a row.

Since 1989, Taylor has consistently written about keeping her relationships secret. Think Wildest Dreams and I Know Places. 1989 also brings us “boys and boys & girls and girl” in a song about how she feels living in New York City, a song where she says “us” and “we" (on the same album as New Romantics). She is including herself in the people who can want who they want.

Then, in Reputation, the lyrics are full of “secret moments in a crowded room, they’ve got no idea about me and you.” “I loved you in secret/in spite of deep fears that the world would divide us,” “picture of your face in an invisible locket,” “you make everyone disappear,” “touching my hand in a dark room.” Like, that’s basically the theme of the entire album.

Weirdly, in Lover, she continues these themes. Not as strongly, but it’s still there (Cruel Summer as the prime example). At this point, Taylor and Joe are not a secret. But the framing of it as a secret relationship lets listeners fill in the gaps of songs. We didn’t see Taylor and Joe in the kitchen in New York, but we can imagine them being there. We never saw Taylor and Joe being “best friends,” but because of her absence from the public eye, one could imagine that being a phase of their relationship. On Cornelia Street, when Taylor says “I get mystified by how this city (New York) screams your name,” we could imagine that Taylor and Joe had memorable moments in NYC, despite the lack of evidence of this. Taylor and Joe having a limited amount of public appearances together means that we can just, imagine them doing whatever she’s talking about in her songs.

Taylor leaves her relationship with Joe to the imagination. Joe has never publicly called Taylor a daisy, but Karlie has. Joe has never been known as Taylor’s “best friend,” but Karlie was. Joe has no major association with New York City, but Karlie does. Joe has never been photographed baking with Taylor, but Karlie has. Despite the very public friendship of Karlie and Taylor, hetlors refuse to see that Taylor is referencing those moments. It's all about plausible deniability.

So on Midnights, when she sings “it’s like snow on the beach” and Gaylors immediately think of VS 2013 and Big Sur, or when we hear Question…? with she/her pronouns and references that line up with kissgate, or when she puts out a breakup song with parallels to Cornelia Street (Maroon) and we think “Oh, she’s not with the Cornelia Street muse. Obviously.”

In my opinion, Taylor wants the general public to believe she’s in a committed heterosexual relationship, partly because of the way she was slut-shamed for the first ten years of her career, partly for the sake of keeping her secrets. So much of Taylor’s life has been grossly publicized, and she has every right to hold onto what she can keep private. She makes it clear for queer people who are listening to and reading her lyrics. But she gets to avoid the hell that was her public life ~1989 era. If someone who knew nothing about Taylor Swift's relationship with Joe Alwyn, they would listen to folklore, evermore, and Midnights and be like "wow she has had her heart broken so damn bad that she wrote three albums about it."

If Taylor is in a glass closet, Joe is the glass. He's the only thing keeping people from seeing Taylor as queer (note: I know Taylor might be bi or pan/not a lesbian, that's completely possible. I just don't think that Toe is real. Not believing in Toe =/= biphobia).

tl;dr: By having few public appearances together and little interview answers about each other, Taylor has created the illusion of Toe being both tumultuous and stable, passionate and calm, temporary and forever.

[tilynation]

TAYLOR’S CONNECTION TO THE USWNT AND ALEX MORGAN

“You Need to Calm Down” playing in the video!

Megan Rapinoe’s speech about straight women, gay women, and everything in between included in the video!

Alex Morgan’s personal videos/stories fangirling (possibly crushing) on Taylor!

This video for the Olympics has it all and is inspirational.

HOW TAYLOR AND ALEX MORGAN KNOW EACH OTHER

See here for their friendship timeline. It started with the US Women’s national team winning the 2015 World Cup. Taylor brought them onstage during the 1989 tour and gave Alex a kiss on the cheek while on stage.

Alex was at the Time 100 gala in 2019 and the pair hung out. Alex saw Taylor sing “I want her midnights” live. (I low key thought “I want her midnights” was for Alex when I first became a gaylor 😀).

The USWNT then won the 2019 World Cup.

Taylor accepted the Icon award from Alex at the Teen Choice Awards later in 2019. The pair did an Instagram live session afterwards where they seemed like good friends and Alex kept holding Taylor’s arm around her shoulders. Taylor then spilled the “tea” on Instagram that she is the president of the Alex Morgan fan club.

Alex always posts about Taylor when new albums are released, like Folklore and Evermore.

Alex famously turned a soccer interview into one about Taylor in February 2021 (see below).

And now the video at the top for the Tokyo Olympics cheering the USWNT on in the quarter and semi finals.

[elysianxvisions]

folklore and evermore really brought out everyone's inner gay during quarantine huh, we thought we were just depressed cis hets at the beginning of 2020 but then Taylor released these two masterpieces and we saw the light that we are just depressedgaysindenial ™ and this is the story of how miss gaylor swift helped her little gaybies.

[theprologues]

I really think all swifties gaylors swiftgrons and kaylors need to ask themselves one major question at some point in time: would you like taylor swift if you knew absolutely nothing about her personal life? Like if the only thing you knew about Taylor is the typical artist bio stuff and not the stupid PR and tabloid gossip that she has fed for over a decade.

I say this because we have seen sooo many people discovering Taylor’s music who know absolutely nothing about taylor beyond the big stories or kanye and scooter and Katy. These people listened to folklore and evermore and were like oh wow she is really talented.

Those people like her music and then the first thing this fandom does is try to get these new fans to connect to the songs deeper by sharing the various timelines for the theories behind songs and the relationships that inspired them. And Taylor welcomes it while simultaneously saying she moved away from diaristic writing.

Like I can listen to Fleetwood Mac and love their music but they are well known for the fame that came from the behind the scenes drama attached to their album rumors. Yes their music was always great but what made it stick for a lot of people was the drama attached. And to this day Stevie still has stuff coming out about the drama of that era.

Like when I think about taylor saying she wants her music to exist outside of her personal life it feels like such a publicity stunt. Even if it is not intentional it feels intentional. She knows connecting to songs is important to having a lasting impact. And she milks these easily traceable moments in her life to get people to look up stuff and listen multiple times.

Like I would not be surprised if we start seeing heavy dianna argon hints when taylor starts the roll out for red. It just feels like everything we think we know about this woman is what she wants you to think you know. Like during 1989 era she promoted Lena Dunham who was going strong with the show “Girls” and Karlie more than anyone else. She did the same thing with dianna. And Ed sheeran she promoted him a lot and then just stopped. So we know she’s cool with Karlie references in her music. She’s cool with promoting and alluding to Joe’s projects and his assistance on songs. She is cool talking about whoever will get her the most clicks and repeat listens.

So my question for the fandom is without all of this backstory about Taylor’s love life and “friendships” would you have taylor on repeat or would she just have songs you like that you add to your everyday life playlist with other artists.

And then as a follow up do you think taylor would be okay if everyone stopped caring and just became casual fans of her music?

Absolutely would love and enjoy Taylor’s music and art if I didn’t know any drama behind it. There are so many artists i love that I don’t pay attention to their personal life. 

I think you are missing one key thing with this post. That Taylor does this herself. Taylor has tied herself to her own publicity that is a part of Taylor Swift brand, which is all we know. No one knows her personally. This is also a part of her story. She loves publicity and wants it she loves the game. I don’t buy this whole TS wants to be completely private and left alone...then she wouldn’t keep playing the game. 

I loved Debut our song before people started theorizing who her songs were about. I loved following her Myspace. I liked her, her persona.She started implying she writes songs about specific people. 

Knowing the back story gives the art a deeper experience. I didn’t like Call it What you Want when it came out but then listening more and realizing who it was really about and what it meant, I loved it. I have no idea who All too well is about and don’t need to theorize but I still love it. 

Do I think Taylor would be okay if everyone became casual fans of her music? I don’t think that’s what she wants even though some of us are going in that direction. Casual fans don’t buy pre-orders, casual fans don’t buy CDs. They hear a song on the radio and bounce to it. They see a music video released 5 months ago and think it’s new. Casual fans are not as profitable. Point blank, so no I don’t think she wants that for her business.

[sizzlingpatrolfox]

hey, what do you think about the new taylor swift album? which songs are your favorites?

So, I'm not a person who really feels fomo. When midnights was released I wasn't in the mood to listen to music, I had a lot on my mind, I was tired, stuff like that. I didn't listen to the album until today, November 15th 😅 today was my first time listening to it. I did watch antihero MV when it was released, tho.

I really love Lavender Haze. It sounds similar to some songs from reputation, which makes sense because that whole album is about Joe. Interesting and kind of nice to see that the vibes have held up.

Maroon - is this about Harry???? It's giving out of the woods/style/wildest dreams and just 1989 in general. But also this song says "sobbing with your head in your hands" and Harry is an aquarius.. that man does not cry.

The NYC lyrics gave me flashbacks to this traumatic event

They don't do stunts like this anymore... they just don't.

(I believe they dated fr but the way they milked it...... they were the two most famous people at the time, they didn't need to be kissing on times square hahahdjfh I'm crying it was so absurd)

This song has probably one of my favorite lyrics from the album tho: "and I wake with your memory over me, that's a real fucking legacy."

Antihero - love it ngl. Clichés are fun sometimes and I just honestly believe it's even healthy to indulge in self pity every now and then :D

You're On Your Own, Kid sounds like a speak now or fearless kind of song but without it being a good song like the ones in those albums. The only thing this song has going on is probably the fact that it could be relatable because of the story it's telling. But overall I don't think it's a good song and she can do so much better.

Question...? - If gaylors were real life lesbians they'd know the romance described in this song is too simple to be a lesbian romance 😝. The lyrics are simple tbh, there's nothing amazing about them but I love the concept. I really like the idea behind it, tho it could've definitely been developed better.

Bejeweled - I like it! I don't think it's particularly a good song but I just like it.

Sweet Nothing -

"Industry disrupters and soul deconstructors

And smooth-talking hucksters

Out glad-handing each other

And the voices that implore

"You should be doing more"

To you I can admit

That I'm just too soft for all of it"

wow :''') 🫂🫡🥹

I still have to listen to the deluxe songs, but I'll do that another day.

Overall I'd say 6/10. It's not her best work tbh. It feels like it wasn't made with love, you know? I probably feel like that too because she set the bar wayyy too high with folklore and evermore.

[jennyboom21]

Whoa. We got two albums with no cat content in between, to the best of my memory. That’s some close releasing right there

Interested to see what drops in the next few months 👀

[whatiwillsay]

hello! i’ve been doing a little unhinged listening recently and would love your know your thoughts

Dianna famously loves music (or so I’ve learned over my 12 weeks of being a gaylor). One of her public playlists that I follow: ONLY YOU, caught my girlfriend’s eye one day while I was listening: “interesting she titled it that” she commented, knowing my recent obsession with swiftgron. I explained that Dianna titles all of her playlists by the first song and didn’t pay it much thought until I had absorbed more of the songs. Since Taylor Swift has clearly been determined to ruin my life since the release of folklore, her work and enigmatic persona (along with queer teases for this recently out bi-woman) has been a hyperfixation for me. That being said - I think that this playlist partially inspired or mirrors themes, imagery, & lessons in folklore/evermore.

https://open.spotify.com/playlist/6hnxQOtkNxCI8gMrHJ1Y9h?si=eGEXFCMfT-GYunxUocJxLw

and here is my notes so far

https://docs.google.com/document/d/1LA3OUkQST4dKIPVa4_enZbRObqa8eoAienhSIE5tE4Y/edit?usp=sharing

submission ⬆️⬆️⬆️

i’m posting because you put effort into this but generally i don’t think too much of what dianna does on Spotify (or at all tbh) has anything to do with taylor

it’s a long playlist with a lot of songs and taylor covers all sorts of themes on folklore.  similar lyrics don’t mean they have anything to do with one another it just means that lots of artists cover similar themes as taylor.

have fun, crack out. but remember it is just that- crack.  

[jennyboom21]

so taylor said happiness was written last week, and the album notes confirm it was recorded at long pond. that feels...weird. Dorothea is the only song recorded at her house this time.

I’m assuming no one is getting vinyl until what? March? April, if that?

Why is her timeline and methodology so janky this past Loverfolklorevermore Era? Why not just make a double album?

Taylor Swift: Pantsuits + Pigtails

[jennyboom21]

how many times can she say "that's my man" in track 1?? lol

As an OG from the 1989 times, we would call this pre-emptive damage control due to the overt gayness. While we might not get pronouns, the themes might be gay as Hell, and we’re gonna need lesbian women’s studies, literature, and history majors to help decipher cuz the wlw coding will be deep cuts. Maybe?