#one of the most important songs in her discography.

[midnightsslut]

omigod yes. i have this whole rant about how yoyok is her thesis. it start with her wanting love, yearning. classic taylor. but then something different blooms. and her focus becomes her songs. writing but also her choice to take the money puts her on a path where she ends up alienating her hometown folks and startling herself with how bloodly the battle for her career turns out.

but again like she finds writing, she finds something in her career despite it all. and the whole bridge is saying that she would make that choice again. choose that adventure again. the way she sings ‘you are on your own, kid. you always have been’ goes from sad to wistful to powerful. the whole song is her saying that she would choose herself and her career everytime because this is *her*. this is what she wants. and she is saying this at the end of midnights when she knows how the whole cycle of fame, success plays out because she has seen it all

which is why the prophecy (and some parts of ttpd) are so startling. it takes her back to a place of negotiating her career at the expense of personal happiness. and while ttpd feels like an arc and it is. i feel like there is a lot left to be explored between the transition of prophecy to the ‘what if i told you i’m back’ of alchemy and the youthful happiness of shs (and the current happiness and comfort we see now). we know she got back. we suspect but we still don’t know how or if her life philosophy has changed

I’ve been putting off this ask for a day now because i want to take the time to answer it thoughtfully. as soon as i got an idea while reading, you beat me to it and mentioned it in the next paragraph lol.

i have thought about this extensively re: yoyok, especially when you consider that she wrote it when she was undergoing such a pivotal change in her career (red TV release). it’s her embracing that life again despite all the pain it might entail. i was also startled by her ‘not wanting money’ and feeling resentful of fame on ttpd, but i think a key part of that story is waolom. she wrote yoyok at a time when she hadn’t been in the public eye in ages, and she was longing for that sense of connection again while reflecting on everything she had achieved. she has spoken about how re-releasing red ‘healed her in a significant way,’ and it’s clear that the pain she was going through in her personal life is always there between the lines of her all too well speeches. ttpd was made when she was THE biggest story in the tabloids almost every week. the attention from the fans wasn’t exclusively loving anymore. she was already going through it, and while the tour pulled her out of bed, it also forced her to go onstage when she was being raked over the coals for a decision that was already painful to make. I’m sure everything felt forced for a while there. it was part public trial and part homecoming. the final note on fame is that it can take everything from you (clara bow), but it can also give you purpose (the manuscript).

[koiguitars]

Top 3-5 mashups?

omg it's so hard to rank them numerically, so i'll just ramble about a few of my faves and why they make me insane

Nothing New/Dear Reader + Clara Bow/The Lucky One + Mirrorball/Clara Bow

i'm really fascinated by the way taylor approaches writing in regards to fame, parasociality, being perceived en masse, and how all of that intersects with the nature of femininity and womanhood. and so naturally, this collection of fame-based mashups all specifically centered around the experience of being a woman in fame is deeply illening to me. "dear reader, will you still want me when i'm nothing new?" is a knife to the heart every time. "promise to be dazzling, like a mirrorball" is actually insane. like i truly cannot separate these 3 because they all center around the same theme, and it makes me entirely insane. its so painful love it so much

All Of The Girls/Crazier

tbh? i don't even Know crazier like that. i was honestly waiting for debut tv to come out to properly listen to it, if only bc it's a non-album single that i have to go out of my way to find and listen to and i am lazy sometimes. but god i LOVE the way she sings it here, and it love it's integration into aotgylb. i get so happy every time i rewatch a video of this performance and i see how loudly the crowd cheers for crazier. this one just simply makes me happy, idk what else to say

Come Back...Be Here/Daylight

literally what can i say.... such a beautiful sonic mashup, i love the sense of Yearning, i'm obsessed with the transitions between the songs and how this is one of the few mashups that feels like a genuine blending of two songs rather than just two songs shaking hands and trading off. i literally can't hear the bridge of cbbh anymore without immediately wanting to start singing the daylight bridge 😭 i guess i really am just a slut for sappy mashups, and esp piano mashups lmao. no real super analytical thoughts about this one, i just love the sound of it so much

Would've Could've Should've/Ivy

i mean. it's just The Narrative™. the fact that she did this is so insane to me and i will never stop thinking about it. do i care that it's like 95% wcs and only 5% ivy? tbh not really because the ivy bit is SO relevant and important and brilliantly integrated, it created a whole new reinterpretation of ivy that i'm forever obsessed with. if you don't know what i mean by The Narrative™, it's basically just a reading of her entire discography through a wcs-centric lens, and i have Many Thoughts about this mashup in that context. some of which i left in a rambly patreon comment a few weeks ago:

[unsleepingtales]

FANTASY HIGH JUNIOR YEAR TRAILER CHARACTER ART BREAKDOWN

The character artist credited for this season on the FAQ is Cait May! Without further ado, let's get into it.

Each character card has the PC art, the PC's name, the player's name, and a couple extra details such as an NPC they're connected to and/or plot points from the previous seasons.

Here is Adaine's character card! Boggy gets pride of place of course, with his backpack and ESF (Emotional Support Frog) flag. The sword is possibly a step towards confirming the popular prediction that Adaine will multiclass as a Fighter this season. There's also a small sketch of Jawbone in the corner. Adaine's jacket has an owlbears patch on the sleeve!

Fabian's character card follows a similar formula. There's a small sketch of Bill Seacaster in the upper left corner (titled PA-PA), and there are many references to dancing. Fabian holds his sheet. In several places the words Toxic Masculinity have been crossed out! He dances now! One of Fabian's first defining lines is referenced: "I'm here to be great!"

It's not very clear what this ticket is for, but to me it looks like a ticket to a dance recital!

Kristen's character card is next! The many holy symbols she has previously believed in are seen, a sun has been crossed out, as well as "yes?". Cassandra appears in the upper right corner, while an ear of corn appears in the lower left, not crossed out!

Cassandra looks vaguely worried, which could be their natural state, or it could indicate that Kristen's questions of faith are still just as present as they have been previously.

Riz's character card is a lot more detailed than the previous ones. Trailer analysts far more intense than I will have a field day with this, I'm gonna give the sparknotes. Riz takes front and center, with his (un)license above his shoulder! Next to him is a sketch of Coach Daybreak. Several sticky notes with the words Night Yorb appear, as well as references Riz's previous cases. Drawings of Kalvaxus and a Corn Cutie are next to each other. The photo of Pok and Kalina is shown, as is a drawing of Baron. There's also a sticky note with "Jorjug" on it, which probably isn't as important but I certainly enjoy it.

Fig's character card features her art for the season, a large Anarchy symbol, and her bass guitar. A small sketch of Gilear is shown, as well as a ticket to what's likely a Cig Figs concert, and a skateboard!

The toe of a combat boot is poking out from behind the paper with the skateboard on it. Burn Towns, Get Money is also written in the corner, which is the name of one of Fig and the Cig Figs' hit songs. The Sig Figs Collective put out a fan song version that slaps, which you can find here! (Tbh you should just check out their whole discography)

Gorgug and his greatest hits appear on this character card! The 'are you my dad' bit keeps on running. Keep Going is also written several times. The white streaks are still in his hair, headphones around his neck, and his axe gets the most movement we've seen in one of these cards.

(Gorgug gets a small animation in the transition to his character card!)

The word metal is shown, as well as a sketch of the metal flower from the very first episode.

There are also a couple of group shots!

Look at them go! The Bad Kids are back and I am so excited to see where they go this year.

[the-cards-she-wont-show]

TTPD Twin Storylines weaved together & double meanings throughout! ✌️👯‍♀️💕

Attention ALL Swifties (particularly Gaylors) and associates of the Tortured Poets department

PLEASE READ!! (and read with an open mind!!)🤍

Listening to the amazing TTPD on repeat this past week, I am certain that I have made an important discovery that I haven't seen talked about anywhere else yet and would like to get the coversation going, in hopes that Taylor will see that we are all finally listening to her! I'm still piecing everything together, as there is so much to unravel and am far from calling myself an expert on her exact timelines and dates, so am looking forward to hearing thoughts from others that are more knowledgable in her history.

I have been of the belief for a while now that Mastermind and Dear Reader were foretelling of her future, and also that the album title had a double meaning (evidenced by the lack of apostrophe in 'poets'). That the tortured poet would be departing. Note that I am also a believer that she has been closeted by those closest to her and is preparing to ruin her name and perceived reputation, give up the false public version of herself and come into her own true self. Everything as we know it will be destroyed and it is all playing out now, coming together as part of her plan.

Falling in line with all of the two's - the double album, the double meaning in the album name, the two sides of taylor etc, I have found that there are two intertwining stories told throughout her tracklist, AND that all songs also have a double meaning!! None of which are about the perceived muses of Travis, Matty or Joe. The 'evidence' for those relationships are all red herrings (for example 'putting narcotics into all of my songs' - but only in the songs with obvious reference to her beards), to make it seem ambiguous and open to interpretation of who the songs may be about, which is seen often throughout her discography. She uses an incredible amount of metaphors and we must look beyond those to decipher her lyrics - do not take anything at face level with Taylor. Most should realise that she is so much smarter than making obvious songs about whichever male muse she is 'dating' at the time. She has always played into that public view to cover her true self. Many songs have themes of secret and hidden love, which juxtaposes with the public 'relationships' she is seen as having.

She tells us in 'The Manuscript' that "lookin' backwards might be the only way to move forward". Therefore we must listen to TTPD in reverse, from track 31 (13 reversed!) to track 1. I believe The Manuscript also acts as a bookend for both of her stories and should be listened to as a closer after the last song of the story 'Fortnight' ends, to get a complete picture. Once we have listened to the album in reverse order, can we see so plainly that each song tells a different story of a period/situation/muse/love/heartbreak in her life - beginning at her parents meeting in The Manuscript, to current day. I think the songs may also actually have a sister song from the corresponding album/period in time, with similar sound, lyrics or theme that connects them. I believe that each song also has a double meaning and can be interpreted as messages to her fans about things that have happened to her over the years or that are about to happen, and she is trying to communicate her feelings of being trapped, which is honestly so heartbreaking. Many relate to her being caged and forced to hide her true self, in particular by one person closest to her - her father. It is devastating to listen to.

The really brilliant part I discovered next, is that The Anthology tracks also have another hidden storyline being told which intertwines and intersects in the exact right place to fit in with her life story. It includes all of the "THE" songs and is in reverse order from the parallel life story and vinyl variants order of issue (but chronological track list order).

The Tortured Poets Department

The Smallest Man Who Ever Lived

The Alchemy

The Black Dog

The Albatross

The Prophecy

The Bolter

The Manuscript

Rather than presenting my interpretation of the timeline and each story told in every song, I urge everyone to listen to both stories, in these exact orders, with an open mind as to what she could possibly be describing! My mind was completely blown when I figured this out!! Her mind is incredible, there is no other way to describe the album, other than a masterpiece! I feel so much for the pain she has gone through. This album explains her feelings and reasons for hiding her true self over the years for any fans that will inevitably be feeling upset and deceived. We all need to show compassion for everything Taylor has sacrificed and give her what she needs. She truly deserves love, honesty, happiness and peace. ✌️💜

I'm in the process of creating a document trying to piece all of the hidden connections together just to wrap my head around this amazing body of work, so may possibly link this when I have it completed, otherwise I will add it to this post for anyone that might be interested.

I have a couple of extra personal thoughts, theories and hopes for anyone still reading…

The manuscript of her life story may possibly be the manuscript for a future book/film.

I think one meaning of "Fortnight" is a foretelling message to the fans that havent been noticing any of her many hair pin drops - she has been trying to get the message across but they aren't listening. For the fans she loses when she comes out - she touched them with this album for only a fortnight, before she lost them. She loves the fans but staying in the closet is ruining her life. I think something big could be happening a fortnight after release? Friday 3rd May is International Sun Day. ☀️ Karlie Kloss was always 'sunshine' to Taylor. According to Karlie, their first meeting was at the 2011 Met Gala on May 2, however, there is a possibility that they could have met at the afterparty - after midnight, making the anniversary May 3! 2024 Met Gala is a few days later, could they both make an appearance? If nothing big occurs, perhaps some seeds of doubt will be planted on the 3rd? Or.. It could also be a surprise rep TV (with or without Karma and Debut - surprise triple drop?) with wlw vault tracks?! Who really knows.. I honestly have no idea, but whatever happens, I know Taylor has it all meticulously planned out and everything will happen when it is supposed to.

Taylor is chairman of the Tortured Poets department - the leader of the mass coming out we are about to see. As Chely Wright put - 'we need someone at the top' to come out and pave the way for others to do the same, and to stop the forced closeting in the celebrity world. I think Travis and the majority of her former beards are also queer and there will be many more 'tortured poets' that will join 'the department'.

Karma will be album 1 (TS12) in the 3,2,1 countdown, TS13 is 0 - the album in which she gets all of her full colour back, reclaims her glitter gel pens and finally can sing her truth proudly! She has destroyed her own name and reputation, burnt down the lover house and all her former selves.

Last of all, PLEASE BE KIND! If anyone has made it to the end of this and doesnt agree, I'd love for you to have a listen to the songs in the orders above before commenting. If not, lets just agree to disagree! We all have our own personal takes on Taylor's lyricism and I would never dream of being unkind to another just for having a difference of opinion. 🫶

For Taylor - if you somehow happen to see this - please know you are truly a mastermind, you are loved and we've got you!

🌈💛💛💛💛💛💛💛💛💛💛💛💛💛🌈

❤️ gerimegs

[reviewsdefinitionofsatisfaction]

Taylor has been lying on Joe since You’re Losing Me (Important Thread)

I’ve been confident in this theory since Midnights, but didn’t know how to spread it. Taylor is now blatantly lying about Joe and rewriting history. SHE was the one who didn’t want to get married, and Joe broke up with her over it. She chose fame over marriage, and the evidence is all over her music.

Ever since I heard “Mine” I instinctively knew Taylor was afraid of marriage. It’s the classic child-of-divorce case. “You say we’ll never make my parents’ mistakes.” / “Brace myself for the goodbye ‘cause it’s all I’ve ever known.”

Her fear of marriage continues throughout her discography. Don’t let “Lover” and “Paper Rings” fool you—those were false promises to Joe at the start of their relationship. Listen to “champagne problems,” a song she and Joe co-wrote. What couple writes a song about breaking up because the girl is terrified of marriage 4 years into their relationship? Why, one where that’s happening, of course. “Your Midas touch on the Chevy door,” aka how she always references Joe turning things to gold. And don’t forget “Renegade,” a song where in the music video SHE is the one anxiously staring out the window being told to “open the blinds.” (“Is it really your anxiety that stops you from giving me everything or do you just not want to?”, the lyric referring to Joe asking for marriage) This was a song written by Taylor from Joe’s perspective at the time. “I tapped on your window on your darkest night” (referring to Rep era) / “Starry eyes sparking up my darkest night.” … “And then you squeeze my hand as I’m about to leave.” (Joe’s POV) / “It’s on your face, don’t walk away, I need to say…” Taylor was the one always blowing up on him and then apologizing, as illustrated in Afterglow, The Great War, and most obviously her post-breakup behavior. Joe was NOT the volatile one of the two (also supported by articles released by her team, stating Joe’s personality was “great for Taylor” because “he is very calm”).

Then, just look at Midnights. The Bejeweled music video (which Taylor wrote and directed) is the clearest thing. A video all about choosing pop-stardom over a ring from a prince? While she and her boyfriend are having marriage disagreements? Hmmm. Interesting. Seriously, just go watch the intro to that video and tell me Taylor was the one fighting to get married behind the scenes.

Midnights lyrics: “He wanted a bride, I was making my own name. Chasing that fame.” (a person who WANTS to get married would NOT be writing this song!!!) “All they keep asking me is if I’m gonna be your bride. The only kind of girl they see is a one night or a wife.” “No deal the 1950s shit they want from me. I just wanna stay in that lavender haze” “I have this thing where I get older but just never wiser.” “I have this dream my daughter-in-law kills me for the money. She thinks I left them in the will.” (accompanied by elaborate scene displaying family-related anxieties in music video)

This is someone who is terrified of marriage and being an adult. I believe she launched herself into a fame-hug to avoid confronting her issues with Joe at this late stage in their relationship. After he broke up with her, she realized how deep of a mistake she made during the Eras Tour. Hence, the big lie in “You’re Losing Me” (which was written THEN, in 2023, conveniently dropped during the Matty Healy controversy) and her daring him to “say something” about the lie. (False God lyric: “I can’t talk to you when you’re like this, staring out the window like I’m not your favorite town.” When they fight, he was always the one ignoring her craziness.) And soon after, her peculiar surprise song choices on June 23: “Paper Rings” (“I’d marry you with paper rings”) and “If This Was A Movie” (“If this was a movie, you’d be here by now”).

The initial breakup article by People (Tree Paine’s mouthpiece) even outlines this story. “According to multiple sources, Swift and Alwyn had been ‘talking about marriage as recently as a few months ago.’ But at the end of the day, the couple wasn’t ready for a future together. ‘Taylor didn’t see them working out in the long run,’ says the insider.” This was before she wrote YLM, trying to provoke him, and now she will be driving it further with this new album I’m certain she wrote during 2023, NOT 2 years ago like she and Jack are trying to push. Her having Jack drop YLM’s “2021 date,” and then liking that tweet implying Sweet Nothing was not about Joe (when it was clearly about Joe)… she’s rewriting the narrative. You can’t trust a word she says.

[putschki1969]

hi puts, how are you reading all the current drama, its sad that there are fans who say that kalafina better to be stay disbanded rather than forming new kalafina 2.0 without Yuki Kajiura :(

Hello there!

It is indeed very sad. I understand being skeptical but to dismiss the idea entirely seems excessive.

I actually talked about this topic in my most recent reply post.

I am probably one of the few people who will be supporting Kalafina no matter what. I am pretty sure I would like new music from them even if it wasn’t written by YK because my love for Kalafina as a group goes far beyond my appreciation for Yuki Kajiura’s music. I just love the girls themselves, their vocals and their harmony.

I sometimes have to wonder if all those so-called Kalafina fans really don't see anything of value in the members themselves... Are they just replaceable tools for Yuki to use? Because yes, Yuki's music is without a doubt very beautiful and an important part of what makes up Kalafina's current discography but that doesn't mean just anyone can sing it and do it proper justice. It's Wakana, Keiko and Hikaru who add a lot of the unique charm to Kalafina's music. They made it their own with their excellent ensemble work. The girls are a well-coordinated team, they know how to make each other shine and how to compensate for each other's weaknesses. Together they can create gorgeous harmonies and they don't necessarily need pointers from Yuki Kajiura anymore, they have long outgrown their apprentice role.

Would I prefer potential new releases to be written by YK? Of course! But I am also open-minded to the idea of other composers being invited to write/arrange for the girls. Yuki is not the only person on the planet capable of writing good music. It will probably be hit-and-miss but that would also be the case if YK were in charge of the music. After all, a lot of her music isn't particularly well-received (even among hardcore fans) so it's not like everything she touches instantly turns to gold.

Either way, it's completely pointless to get upset about this right now because so far, there are no concrete plans for future Kalafina releases, all we've got so far is the reunion live, nothing else. And from what we know, they will be singing existing Kalafina songs (written by Yuki Kajiura) during this concert.

PS: There is no need to send the same message twice (especially if it has just been a day or two since the last message). Unless it's something super urgent that can't wait due to a certain deadline, I usually won't be replying right away. It can take me several days to work through my inbox and if the message/ask requires a more in-depth analysis, it can take even longer (up to several weeks). So I kindly ask everyone to please be patient with me! Allow for at least a week to pass before you resend an ask/a message. Thank you!

[witchersoldier]

Blonde Sun

jj maybank x latina!reader

SUMMARY: sharing songs in a hammock leads to a confession from you.

WARNINGS: none, just fluff. and my rushed/not proofread writing.

WORD COUNT: 0.8k

AUTHORS NOTE: I just finished writing this. It's just a little fic/blurb based on a song (I linked it in the fic if you want to listen), but I still don't know how to feel about it. Hope you like this, either way.

The cool late afternoon breeze hits my skin, soothing the heat from the first part of the day. Soothing the heat from where his skin touches mine, so absentmindedly.

Spending time laying in John B’s hammock with JJ quickly became my favorite thing to do on summer days. We talked about anything that came to mind, or we didn’t talk at all, just enjoying each other’s company. Being around him was calming, even with his unending energy and hotheadedness. So, yes, I always looked forwards to our hammock days.

Today we decided sharing songs from our playlists would be the hammock activity, as he decided to call. As his song was finishing, I looked for one from my playlist -which is mainly made up of Taylor Swift’s and 5 Seconds of Summer’s songs.

“Your turn,” JJ reminded me, “but enough with the Taylor Swift. You’re not showing me your playlist, you’re showing me her discography.” He said with his eyes closed, but a lightheartedly judging facial expression.

“You’re one to talk, I’ve been listening to Chase Atlantic all day.” I pointed out, still scrolling through my playlists, searching for something different. He muttered some incoherent defeat phrase that I didn’t bother to pay attention to. “Ok, I think I found just the one. This song is from my birthplace, different enough for you, right?” JJ opened his ocean eyes, even more beautiful now in the fading sunlight. Having him look at me, his attention undivided, felt like a blessing.

I was so head over hills for the blonde man in front of me, for as long as I can remember. But, as cliché as it sounds, I was afraid of saying something and that leading to our falling apart. And I’d rather have him as a friend for the rest of my life, than not having him at all. There were times I almost told him about my feelings, but something, or someone -whose name started with a J and ended with N-, always interrupted the moment.

“What are you waiting for? Hit me with it.” Right, the song sharing.

“This song is called ‘Sol Loiro’ by Armandinho”

As the song went on, I couldn’t help but hum to the calm rhythm, all the while looking at JJ for his reaction. It was stupid of me to feel a need of approval for this song. But it reminded me of him and the way I felt for him. It was important to me and I hoped, someday, it could be important for him too.

“Nice rhythm, it’s calming. I’m curious: what’s this song about?” there. He asked the question I was hoping he wouldn’t. Why couldn’t he just say he liked it and move on? I know I would talk with my heart about this song, and I’m not sure if I’m ready for this just yet. Or maybe, just maybe, like in the song, this is fate. “It’s a love song.” I said simply. The last simple thing I’d be saying for the next minutes. It seems to have caught his attention enough that he stopped caressing my calf, looking at me with slightly tilted head.

“He’s singing about how he needs to be close to his other half, says they’re his island, like a safe place in the storm that life is. He realizes he’s made mistakes in the past, and tries to right his wrongs. Says that everything that’s ever happened lead to them being together, that they’re meant to be. That they’re his fate. But most importantly, he calls their partner the source of light and joy of his life. That’s why it’s called ‘Sol Loiro’, it means Blonde Sun.” I ended, nervously fidgeting with my fingers. I don’t remember moving in the middle of explaining, but now we were sitting criss cross, closer than before, like we just gravitated towards each other.

“It reminds me of you.”

Silence. I glanced up just for a second to read his face, and decided to come all out to him because right now, looking into his soft eyes, it simply felt right.

“JJ,” I grabbed his hand in mine. I needed to feel his touch, just in case it was the last time. “You’re my Blonde Sun. You bring light to me even on the darkest of my days. It’s you I see lighting the path. When I look at you, at your eternal blue ocean eyes, I feel like you’re the final destination, like you’re it. My fate. And I love you, JJ Maybank. I love you even if you don’t feel the same.” I felt my eyes tearing up, so I blink the tears away so I can see him clearly. His ocean eyes were teary as well.

JJ’s lips opened and closed a dozen of times. His warm hand gripping mine, as if he let go, I’d vanish into nothingness. Looking down at our hands intertwined, I began to worry. And when his hands left mine, I felt frozen in place, until he cradled my face and kissed me.

His lips captured mine in a sweet kiss, an action that spoke the words he couldn’t say. And this kiss was everything I have ever dreamed of.

[shenrickyz]

RYUUSEI HAVE ALWAYS BEEN WEIRD, MAYBE A BIT PETTY TOO.. a short history on one of Japan’s most interesting girl groups, consisting of a few specific cases. Written By Ikeda Yuumi. May 22, 2023.

Debuting in a surely manufactured time period, RYUUSEI hails from a fairly unknown record label by the name of TAIYŌ CREATIVE, a label which was hell bent on creating a best selling girl group to have in tandem with their best selling boy group at the time; INARI, who previously debuted in 1999. They saw massive success with their second single “A Quaint Sunrise”, which stole the Oricon’s Singles Chart for the entire year, named Japan’s “Best Single Of 2000”.

Having to compete with such a compromising force such as STARLIGHT CRUSH who debuted the prior year (and practically hogged all of the charts for the remaining few months), the company knew they had to step up their game. There was one issue, the group comprised of mainly dancers, a good chunk of the lineup, crossing out two very important members, didn’t have adequate singing training, which put their initial November 2002 debut behind.

There was a small connection between the members before the inevitable June 2003 debut. The two eldest; NAO and MIZUKI went to high school together, bonding over their similar musical interests, they would go on to be the catalysts for what was most of the group’s discography. KANNEZAWA FUMIKO is the daughter of the “beloved” KANNEZAWA NANAMI, who charmed the Japanese public’s hearts for the years spanning her solo music career throughout the late 70s to the late 80s. Funnily enough, she was also the creator and primary producer of STARLIGHT CRUSH.

Considering the group was mainly unknown, you know, besides the daughter of a very famous idol who pretty much everyone knew at the time, it seemed there was nothing which could go wrong at the time.. besides their debut going up in flames. The group debuted on June 3, 2003 with the single “Summer Night Town”, but it did not do as well as the company so dearly wanted. The song made little to no noise, produced little to no sales, didn’t chart much, and the groups live performances were notoriously booed during their first few appearances.

It was terrible, it’s clear why the members so dislike talking about the time. They were harassed, ridiculed on online forums, mocked for their looks, said to be “nothing of a future success”, and there was much talks of them disbanding before they could even make it. Though these days “Summer Night Town” is regarded as a relaxing tune that’s emblematic of the season, people back then did not like it, wouldn’t go as far as to say they hated it, but it appeared there was much negativity surrounding them for no reason?

So yeah, it was awful, the members were being coerced into giving up and their company would obviously abandon them easily considering the backlash, but it’s actually due to the two eldest (who probably don’t even talk anymore, wonder what happened there) that the group even survived, and therefore rose from their former underdog status. Both IKEGAMI and HINO took two weeks between the end of June and the beginning of July to create a new single, one that, if it didn’t work out for the group, would probably result in one of the worst endings of a group ever.

They worked on the song for two weeks, devoting pretty much all of their time to creating this song. Eventually, they finally finished; “Manatsu No Kousen”, a song detailing the singers’ exceeding need for an endless summer celebration. With HINO credited for writing the lyrics and IKEGAMI credited with production, it wasn’t known whether this song would actually bring the group some semblance of success.

Well, it did, obviously, otherwise you wouldn’t reading this article right before their 20th debut anniversary, I was sure you were aware of what context clues are. Anyway, July 17, 2003, “Manatsu No Kousen” is released, does absolutely wonders on the charts. You wouldn’t be able to guess people pretty much despised this group a month ago, this song was adored by anyone and everyone. It reached a total of 704,591 sales by the end of the month as well as holding the number one spot on the Oricon Singles Chart for six consecutive weeks, asserting themselves as a genuine competitor for STARLIGHT CRUSH and beating their seniors for having the best selling single under their company.

So NAO and MIZUKI basically saved their group from imminent disbandment with one song, they should be commended for that one. “Manatsu No Kousen” has stapled itself as a cultural symbol, the song inspires a message of hope, though it’s about to turn twenty years old, there’s no shortage of love for it, no matter how old it gets. Of course it wasn’t the groups last number one single, but it remains one of their undisputed best according to basically everybody.

Across their eleven year career, just up until the retirement of their first member, RYUUSEI were beloved for their summery discography, dubbed Japan’s “Queens of Summer” for their release dates often falling into one of three months (June, July, August). They’ve achieved number one spots with every one of their singles besides their debut, though it’s had a resurgence in love as the group made their very name. With 29.80 million sales total (as of the day I write this) they are one of Japan’s best selling artists ever.

But then we go back to the title of this article, I’ll have you know I’m sighing behind the scenes. It appears issues began in 2012, on the cusp of the groups 9th anniversary active, many issues had struck the members. The aforementioned ARAI YURIE was facing the sensationalization of her personal issues, her sister had passed a few months before the group were set to go on their first international tour, her grieving cut short when the location of her resting place was leaked and tabloids would not even allow her to sob in peace, instead plastering picture after picture onto the front pages. A few weeks later, she attempted to take her own life, found unconscious on the floor of her apartment by her fellow member FUMIKO. Again, this event of her life was sensationalized, with certain outlets even selling photos of her at the hospital, cameramen camping outside of her room.

The groups activities were halted for the rest of the year, and though ARAI eventually recovered, I wouldn’t have blamed her for wanting to retire then, but she persisted, and the group also persisted despite the hardships.

When the group did their 10th anniversary special, there was much muttering amongst the members about ��retirement”, the result of consistent age shaming despite the fact that the two eldest were in their early thirties.

TKN: WHO DO YOU THINK WILL RETIRE FIRST?

NKY: PROBABLY ME.

AYR: DON’T SPEAK THAT INTO THE AIR!

NKY: WELL ITS THE TRUTH!

At least the drunk banter somewhat paid off.

So ten years and six retirements later, it has been assumed that RYUUSEI is pretty much over. Everybody eventually has an end, you can’t stay in your prime forever, but maybe, just maybe, even if some of them aren’t on the best of terms, we’ll get something of a reunion on June 3, 2023, if not for the sake of old fans yearning for one, but just for the sake of tying things together.

But I know as much as you do, pretty much nothing the members won’t say themselves. For now, I wish each individual member the best post-retirement, and of course, fuck KANNEZAWA NANAMI.

[midnightsslut]

A Guide to Red - The Quintessential Taylor Swift Album

After the release of The Manuscript, the role of Red and Red (Taylor’s Version) in Taylor’s life and discography has been highly discussed. A lot of people have referred to it as her magnum opus and most formative album. I have decided to compile a condensed list of about a dozen key interviews, performances, speeches, posts, and videos from 2011 all the way until 2024 that illustrate the importance of this record for Taylor’s personal life and career. I’m putting the list under a cut because it got pretty long. You don’t have to go through all of these, obviously, but I would suggest at least one per era. The bolded ones are essential in my opinion.

Pre-Red - These interviews hint at Taylor’s emotional state at the time and thus the content that will be explored on the Red album

2011 The New Yorker profile

Taylor Swift reveals new album is all about heartbreak - Extra TV

Bonus: an article going through Taylor’s arm lyrics on the Speak Now World Tour, which she described as mood rings for any particular show

Lover diary entries from the making of Red (credit to @cabincreaking for the scans)

- All Too Well lyrics first draft (February 2011)

- Random bursts of happiness and anxiety during the Speak Now Tour (June 17, 2011)

- Red (September 8, 2011)

- Holy Ground (February 2012)

- Nothing New (March 2, 2012)

- Working with Max Martin (June 10, 2012)

Red era - Listen to the original sixteen songs on the Red album at this point.

Red announcement livestream + Q&A

Red prologue

2012 Rolling Stone interview

2012 The Guardian interview

2012 Billboard interview

2012 Esquire interview

Sirius XM Town Hall - an hourlong interview from the day Red came out

Good Morning America - this is the first mention of the ten-minute version of All Too Well

Red track-by-track descriptions

Random interview where she discusses the connection between writing Speak Now and Red

I Knew You Were Trouble music video

Diary entry about how love is fiction and she might move to New York after all (January 6, 2014)

Diary entry from Grammy night (January 25, 2014)

Red Tour London performance of All Too Well - any performance of this song from 2013-14 will work here, but this one has a pretty comprehensive speech

Final performance of All Too Well on the Red Tour - just listen to the speech here

Post-Red era - Over the course of these interviews, you’ll see her relationship to the album evolve.

Taylor’s description of Clean (skip to 11:18)

2014 BBC Live Lounge interview

1989 World Tour interview where she mentions thinking she’d never sell as many albums as she did with Red before 1989 came out

Clean speech - a lot of these will work, but these two best describe her relationship with the Red era and heartbreak in general

All Too Well (The 1989 World Tour live)

2015 GrammyPro interview

All Too Well Super Saturday Night performance

Reputation Tour All Too Well speech

Red into Daylight performance - 2019 City of Lover concert in Paris

Re-recordings era - at this point, listen to the red vault

2020 Rolling Stone podcast

Red (Taylor’s Version) prologue

2021 Saturday Night Live performance

All Too Well: The Short Film + Behind the Scenes

Seth Meyers interview

2022 Tribeca film talk OR TIFF (both are equally good. I have a slight preference for the former, but there are some interesting new details in the latter). You could also watch directors on directors from the same year as a bonus, but it’s less comprehensive.

2022 Graham Norton - How All Too Well (10 Minute Version) came about + how the re-recordings inspired Midnights

Also listen to Midnights

The Eras Tour

All Too Well speech (Glendale Night 2 & Atlanta Night 1) - any of the speeches from March and April 2023 will work, but these two really illustrate how she feels about this time in her life now and how the fans changed the Red album for her. Obviously credit to @cages-boxes-hunters-foxes for the transcripts!

Maroon first ever live performance (‘This is a song about something that happened a long time ago, but it took place in New York’)

Aaaand finally listen to The Tortured Poets Department, especially The Manuscript

This is a lot, but it’s worth it. Enjoy!

[ginger-lime]

Will Wood (and the Tapeworms) Songs as Ride the Cyclone Characters!

Recently decided to wade through Will Wood's discography more and I think some of the songs by the 30-something year old dude really embody them

How this half asleep rant will work:

[Character]: [Song(s)]

Explanation of why song is chosen

"Certain excerpts from the song I think embody the goober chosen"

Note: all songs wils be linked when they're written (mostly as youtube lyric videos), also this will probably be very long

Ocean O'Connell Rosenburg: The Main Character

Local ‘gifted kid’ teenager has yet to find out that the world doesn't revolve around her and stepping on anyone who doesn't fit in with her isn’t okay, more at 7

"I mean, imagine if protagonists just died in the first scene"

"I loot plot armor from NPC’s / Well, they are to me"

Noel Gruber: Suburbia Overture / Greetings from Mary Bell Township! / (Vampire) Culture / Love Me, Normally

This song (in my opinion) is really the embodiment of Noel's character. attempting to fit in, being told to "tone it down" by his mother until eventually arriving in the afterlife and essentially going "fuck it, we ball" with Noel's Lament (and Vampire Culture in this allegory) until eventually arriving at a state of peace with Love Me, Normally/It's Just a Ride

"a snowflake only matters in a blizzard"

Mischa Bachinski: 6up 5oh Cop-Out (Pro / Con & ¡Aikido! (Neurotic / Erotic)

6up 5oh with it's plot(?) of running from the police and proceeding to get mistreated by them is how Mischa is viewed by essentially everyone is Saskatchewan (and to an extent how he lets them see him). While ¡Aikido!, is more of his 'passion' side, specifically with Talia. The more aggressive reprise at the end of Aikido in the 2020 remaster also reminds me allot of the techno section of 'Talia'.

"It's never too late to embrace your fate"

"So we can touch instead of feel"

Ricky Potts: White Noise & Dr. Sunshine Is Dead

Imagine being so forgotten by everyone around you so the innocent bean stereotype is put on you automatically despite the fact that you’re real personality is far from that and then having a mini identity crisis over it

"You're not meant to sing along"

"I'm no one if I'm nowhere in between"

Jane Doe: Big Fat Bitchie’s Blueberry Pie, Christmas Tree, and Recreational Jell-o Emporium a.k.a. “Mr. Boy is on the Roof Again” (Feat. Pasta by Sneakers McSqueakers) [From “B.F.B.’s B-Sides: Bagel Batches, Marsh-Mallows, & Barsh-Mallows”]

No thoughts, story, or plot, just funky carnival music

Constance Blackwood: Falling Up

This song is essentially 'Sugar Cloud' but more melancholy. This is what I'd imagine a song about Constance's life before she died would be about, or Constance's Monologue in song form. What especially reminded me of her monologue was the rapid fire listing of objects and even the title 'Falling Up' being repeated in the song feeling like the roller coaster when it derailed. They're falling but being upside down it feels more like they're flying.

"You make a wish upon the dead, but turn and call it a weed"

"Much larger than life, 'cause from such height / Life looks awful small"

"Well, I cry on skies of blue linoleum, Clouds o' spilled milk"

Penny Lamb: Willard!

Aspiring animal conservationist doesn't know how to relate to "normal" people partially due to her upbringing. Parts of the song were the singer wants animal traits the make their life easier reminds me of Penny's whole "I vomit fire" thing before absolutely destroying JK-47

“Until frustration makes me wish my teeth were sharp as yours”

“I've never understood what humans do and want / It's quite confusing to me to try to connect / Never learned how I should feel, instincts somehow stunted”

Extra characters outside of the choir:

I'll go less in depth for these as i think most of these are self-explanatory

Karnak: Memento Mori: the most important thing in the world

funky sentient machine is constantly aware of his imminent death and decides to be a goofy goober because of it

Virgil: Tomcat Disposables

rat just wants to vibe and chew on a power cable. oopsies he's dead now

Monique Gibeau: White Knuckle Jerk & Front Street

oh em gee she's so gorgeous and dangerous and the world described in Noel's Lament is very gritty and a little gross

Ezra Lamb: Euthanasia (Live)

this mostly feeds into my hc that Ezra ditched school to go to the fair with the choir and had to see his sister get beheaded, being completely inconsolable, and not being listened to because he's "a kid looking for attention"

It's the end yay!!

That's the end folks! I really enjoyed making this (i am a very big fan of both rtc and will wood) there were a lot of other songs i wanted to include (skeleton appreciation day, i/me/myself etc.) but didn't because either

a. they fit too many characters for me to just pin one to them or

b. the character already had two songs assigned to them

i hope anybody reading this is having a good day/night and listens to will wood more in the future ig

[growing-home]

topics that taylor swift has written songs about besides her ex boyfriends: her mom, her dad, her grandmother’s death, her childhood friends, coming of age, religion, religious trauma, fictional stories about characters she made up, historical figures, criticism and harassment that comes with fame, her mother’s cancer, a boy named Ronan that died from cancer, wanting to make her mark and be remembered, abuse and trauma, wanting to run away and leave hollywood behind, the kennedys, New York, friendship, misogyny, homophobia, the collective trauma of the pandemic, female rage, murder lol, confidence and self esteem, karma, Emma Stone (literally), fear of letting her fans down, grief & loss

i just don’t understand where the narrative comes from that “all her songs are the same” and “she only writes about her ex boyfriends” like ??????

first of all, name ONE artist that has never written songs about their exes. i’ll wait! second, she literally writes about a wider variety of topics than any other mainstream artist (to my knowledge). it is totally fine if her music is not your thing! it’s totally fine if you want to criticize decisions she makes that you believe are harmful! but you don’t need to collude with misogyny and deny the existence of 50% of her discography to make your point.

if you don’t like an artist, don’t listen to them! i’m not sure why every single person who doesn’t like Taylor Swift feels the need to complain about her existence, or why people don’t seem to know how to criticize her without bringing up her dating life. when my friends like an artist that i’m not crazy about, i don’t feel any inclination to tell them that i dislike that artist. i definitely don’t feel the need to complain about it every time their name is brought up.

it’s such a bizarre phenomenon that i don’t see with most other artists— why is it so important to you that other people know that you dislike Taylor Swift? what values are you trying to communicate? are you making sure people know that you’re not like other girls? what would it mean about you if you WERE like other girls? why is that a bad thing?

anyway. this shouldn’t be controversial. let people like what they like!!! it’s really not that difficult!!

[my-castles-crumbling]

i feel like i'm coming across as a bitch with this but.

I'm genuinely just curious.

What about Taylor Swift makes you like her? Because I personally can't think of anything, and I just can't help but wonder if there's something I'm missing or if it's just personal taste.

Sorry if this is rude.

No, I totally don't mind answering questions!

So, first of all I think she's really talented. I think a lot of people who aren't fans don't realize that her discography is actually super diverse. Her most well-known stuff is pop but she has a lot of other songs in other genres. She's also an amazing entertainer- I've been to two of her tours and she had great stage presence and it really feels like you're at a show.

To add to that, many of her lyrics are very in-depth and intelligent. For example, songs like the lakes, my tears ricochet, and Death By a Thousand Cuts. I can deeply relate to many of her songs and the messages behind them. I think, again, it's important to remember that the most widely-known songs like Shake It Off don't show her emotional depth and her ability as a songwriter. (Though Shake It Off is also popular for a reason.)

I also really enjoy how she leaves "Easter Eggs" and puzzles for her fans. She makes being a fan very interactive and personal, in my opinion.

Lastly, I genuinely think she's a decent person. She's funny and smart and very humble for one of the most successful artists on the planet. The fact that she's re-recording her music to own it herself and she's done a lot to have control over her career and reputation makes me respect her a lot.

If she's not your cup of tea that's fine! I joke a lot about people needing to like Taylor Swift, but I don't think it's rude to say that you don't prefer someone's music. I guess to me, I just hope that people recognize that it's pretty impartial to say she's talented and deserves respect.

[shefanispeculator]

Blake Shelton Says Gwen Stefani Is the 'Perfect Person' for the Walk of Fame in Heartfelt Speech | Entertainment Tonight (etonline.com)

Read Blake's full remarks below:

"Hello, everybody. I wrote some stuff down because I've done a couple of these before where I've spoken about Gwen and I go on and on. So, I sat down and wrote this down this morning.

The first time that I ever met Gwen was in 2014. She wasn't like any other famous person that I had ever met before. She drove herself to work in a black minivan with car seats in it. She didn't roll in with security. She came in with a baby and two little boys, which at the time worked like security because nobody was going near. It was, it was chaos. It was clear to me that she was a mother first and foremost over anything else in the world. That was her number one job. And now standing here almost 10 years later after I first met her, I can say without question that being a mother is still the most important thing in her life. And I gotta tell you all that is, that's rare in this business.

But today it's nice to see her honored for her side project, which is being one of the biggest stars in the world. In my opinion, Gwen is the perfect person to receive a star on the Walk of Fame. From music, television and movies to fashion and beauty, she has risen to the top over and over again with her unique style that has made the world fall in love with her. Not as much as me though.

And then there's that one thing that no one can ever explain. It's that thing that she was just born with that will make you stop and go, 'Wait. Who is that? What's her name? What does she do? Why do I love her already? What the hell?'

That's the thing that God gives you. And without question, God gave Gwen an extra scoop of it.

What makes me the happiest for Gwen though is that this all started with a song that she wrote. Songwriting is her favorite thing to do and she happens, happens to be exceptionally talented at it. If you take a look at Gwen's discography over the years, from the early days of No Doubt to her solo records, there's one common denominator on 99% of the songs: Gwen Stefani, the songwriter. Gwen's blessed a lot of people's lives with her songwriting talent in more ways than one.

Now, I know firsthand that it takes a lot of people to make a hit record, but none of this would have ever happened without Gwen Stefani, the songwriter. So congratulations to my all time favorite songwriter on your star. You deserve this and I love you.

Blake Shelton Says Gwen Stefani Is the 'Perfect Person' for the Walk of Fame in Heartfelt Speech | Entertainment Tonight (etonline.com)

[kataraslove]

“love you to the moon and to saturn” jw is that a reference to taylor swift’s song seven? if yes what do you think is the ultimate taylor song for kataang 😊

YES. seven is one of my fave songs from her and one of my fave songs ever. i love that line in particular, but also i adore “passed down like folk songs / our love lasts so long,” which was my previous blog title.

i love this question, but i will admit that it’s so hard for me to choose just one ultimate song! so here’s probably like my list of the most kataang-coded songs from her discography, categorized by each of her albums minus debut:

fearless tv:

forever & always: old katara reflecting back on the promises that aang had told her throughout her life of them growing old together. i love a good kataangst.

jump then fall: from aang’s perspective, telling katara to not be afraid of falling in love. also a reference to one of his first bending lessons to her: “if you want to be a bender, you have to let go of fear.”

untouchable: it can go with any kataangst context, but specifically katara realizing that aang as the avatar might be an entity far too much for her to comprehend and far out of her reach at times.

speak now tv:

enchanted: kataang’s initial meet cute. enough said. they were enchanted to meet each other.

back to december: you can think of this as a sort of au in which katara and aang get together but it doesn’t last, so it unfortunately strains their friendship. which is why they think back to that first time they’ve met in the southern water tribe (“december.”)

superman: katara recounting what it’s like to love someone who belongs to the world. can take place right after their kiss on the day of black sun part 1 when aang flies away.

I can see you: those times when they catch each other in secluded corners in between important world meetings.

red tv:

everything has changed: katara and aang’s respective “oh” moments. i like to think of it as occurring after aang’s death.

the very first night: I saw an amazing edit of them to this so now it’s their song.

run: this is such a cute song. it reminds me of aang wanting to take katara and just escape from it all. all of his responsibilities.

1989:

out of the woods: where does their relationship stand in the latter part of book 3 amidst the war?

this love: do me a favour. just search up the chorus. and tell me that’s not aang’s conflict in book 2/subsequent death/rebirth at katara’s hands.

you are in love: there’s a lyric referencing letting go of your fears. which is exactly what aang says to katara about becoming a bender. also: “one night he wakes / strange look on his face / pauses then says / you’re my best friend / and you knew what it was / he is in love,” works so well with the “it’s reminded me how I feel about appa. and how I feel about you.”

reputation:

end game: they want to be each other’s endgame <3

delicate: can take place in the very initial stages of their relationship after the balcony kiss and learning how to navigate their newfound relationship

king of my heart: katara realizing that aang is the one she wants. the king of her heart.

call it what you want: just adult katara being in love. i like to specifically think that this is adult katara during a particularly bad time (maybe having to relive the horrors of war and bloodbending during her mission to ban bloodbending) but it’s okay because she has aang - love of her life - at her side.

lover: (THEIR ALBUM!!!!)

lover: “have i known you 20 secs or 20 years.” just katara and aang’s relationship throughout the years.

paper rings: “i hate accidents except when we went from friends to this.” THE FRIENDS TO LOVERS ANTHEM!!

false god: aang is the avatar that people worship, but he literally worships katara 😉

it’s nice to have a friend: just platonic kataang appreciation because I adore their friendship

i haven’t forgotten folklore (the best album), evermore, and midnights!! i promise i’ll reblog this with the rest. also, I dedicate this to @antizutara, who is probably the biggest kataang swiftie that i know.

feel free to reblog this with your own editions, as well. taylor’s discography is very versatile based on your shipping needs.

[takemetobogman]

i just checked your anakin playlist and agreed with so many of your choices! focusing on the ts songs for now to keep this SOMEHOW short haha: waolom - an obvious one but still amazes me just how well it fits his character. castles crumbling - yesyesyes. my tears ricochet - although i love that song i never related it to anakin that much, but yeah, it makes a lot of sense. sadly. 😭don't blame me - VERY heavily anakin-coded! bigger than the whole sky - was unexpected for me tbh! if you want to elaborate on that one i'm all ears!

okay sorry for yapping but "anakin in taylor swift songs" is a VERY important topic to me 💔

okay first of all, the fact that you checked out my playlist, saved it (I see one save so I'm going to assume it's you), went through it and then came here to talk about it is so heartwarming to me! so, thank you sm for reaching out and doing so. also, I think there are so many songs on Taylor's discography that fit most of my favourite fictional characters that I can't help but think of them whenever I hear them which are mostly the ones i put on the playlists when I make them. some of them are also just for vibes!! and some represent the relationship these characters have with their significant others (platonic and/or romantic) because I think so much of who a person is comes from the people they love and are loved by. and the same goes for this anakin playlist. when I think of my tears ricochet in relation to anakin, I am thinking of both his relationship with padme and obi wan. and tragically enough it's the same verse that I think of for both these characters but in different perspectives. if I think of anakin and padme in relation to my tears ricochet, specifically the lines "you had to kill me but it killed you just the same" relates to the death of both padme and anakin by his own hands and then him rising as vader (you turned into your worst fears). and when I think of these same lines with respect to obi wan and anakin's relationship, well, it becomes more literal because obi wan "killed" anakin and it ruined him entirely. now when it comes to "bigger than the whole sky". I think of all these characters and their relationship with anakin including the obliteration of anakin by his own hands and the fact that he'd never know the version of himself who would've been a husband, a father to two beautiful kids and just generally a great jedi. it also makes me think of padme and how it feels like if a song was her last goodbye to anakin, it would've been this. and obi wan's entire relationship with anakin and the grief and guilt that followed resonates so much with that song for me. I hope this made sense and honestly I'd be happy to expand on other song choices too. Please feel free to geek out about taylor swift × star wars more! I'd love nothing more. 💌

[thelasttime]

i was doing the full discography song ranker and it just had me thinking about like. what are the taylor swiftiest taylor swift songs. like the ones that you come across and think hell yeah now THAT's a TAYLOR SWIFT SONG!! it's become even more interesting as her style has diversified and matured but still. when you consider all factors that are common motifs to her songs (yearning/pining, wishful thinking, forbidden love, hopeless romanticism, heartbreak, reflection, driving, new york city, and more recently a complex relationship with fame/self image) combined with what she is most known for/iconic to her songs (diaristic style, metaphors/symbolic objects, very specific person/object/location/setting mentions, storytelling). the structure and production is a pretty important factor too to how taylor swifty a song is able to sound... as in it is difficult for outliers production wise or that don't follow the verse-refrain-verse-refrain-bridge-final refrain structure to compete against her more classic sound. there is no "right" answer obviously LOL but for me i think the songs in the running for her earlier discography are teardrops on my guitar, ybwm/love story, enchanted/back to december, red/all too well 5 minute version, blank space/ootw. and for her more recents i think getaway car, cruel summer/cornelia street, august, champagne problems, maroon, the black dog. anyway i was interested to hear what your picks would be!

omg the taylor swiftiest swift songs to ever swift for me:

tim mcgraw, you belong with me, love story, enchanted, back to december, all too well, i bet you think about me, blank space, getaway car, cruel summer, cornelia street, lover, august, the last great american dynasty, champagne problems, maroon, mastermind, the black dog