#song lyrics may or may not have been inspired by a song an ex wrote for me

[thefreakandthehair]

@eddiemonth prompt, oct 25th:  Songwriting | Snuff - Slipknot | Melancholy a/n: established steddie, angst resolved quickly with fluff. excerpt and new outtake from over the hills and far away! I think it makes sense without reading the whole thing, but it is my favorite thing I've ever written so feel free to read the whole thing if you feel so inclined ✨ read on ao3 + masterpost | tumblr masterlist

October 1987

Eddie’s pen runs out of ink and he chucks it across the room, clattering off the walls with a loud clang before falling to the ground. Everything he writes is wrong because everything he writes is Steve, or Hawkins, or Chrissy, or some other version of his past that cuts him too close to the bone. 

Chicago has been good to him over the past year— his apprenticeship turns into a job, his apartment isn’t a total shithole, he’s met decent people, he’s even forced himself on a couple of (albeit dead-end) dates— so there’s no reason that he should be sitting on the floor of his living room with pages and pages torn out of this notebook because they aren't right. But there he is. 

Crumpled up pieces of paper surround his outstretched legs, and his joint is almost kicked, and his beer has been warm for almost an hour. Slayer plays at a low volume in the background and while he knows that’s now how it’s meant to be played, he really doesn’t want to deal with another noise complaint. Eddie lets his head lean backwards over the couch cushions and shifts to sit up straighter, his back now pressed against the front of the thrifted piece. 

Hands in his hair, like always. It’s a tell he’s noticed about himself and he wonders briefly if he’s done this his entire life, if he’s been so obvious with his discomfort in the company of others? 

Maybe that’s why— 

He cuts the thought off at the pass and brings his fists down to the floor before grabbing his shitty warm beer from the coffee table and pressing it to his lips. Warm beer is better than no beer, he thinks, at least when being tormented by my own stupid brain. It hits the back of his throat and he cringes. 

Moments pass and he looks back down at the notebook, a fresh page full of potential, possibility, future. His hands search the drawer of a side table within reach and come up with a new pen. The plastic nearly cuts his lip as he pulls the cap off between his teeth and spits it somewhere to his left, bringing one shaky hand to the page.

The next song will be happy. I promise.

April 1990

Eddie sits alone in his apartment– their apartment, now– with his legs outstretched in front of him and his back against the cushions of the couch. It’s as though he’s gone back in time as he sits in a familiar position, the same notebook gifted to him by Steve all of those years ago open in his lap with the pen sitting in the middle of the pages. The last entry stares up at him, his own handwriting pressed deep into the pages. 

The next song will be happy. I promise. 

He hasn’t put pen to page in this notebook in years but life is strange and time is a flat circle. Somehow, he’s ended up right back in Steve’s arms except that this time, they aren’t broken. This time, they aren’t terrified. This time, it works. 

So for months now, Eddie’s poured over the pages of this notebook and agonized over verses and choruses, bridges and metaphors. All of his thoughts are wrapped in writing this song, the one he’d promised Steve without him even knowing.

A song he hopes can convey what he’s feeling without making a true and complete ass of himself. 

A song he’s probably never going to finish because his brain feels like cotton and his thoughts are too jumbled to become words, a ball of yarn wound too tight. 

A song he wants to finally play for Steve.

It’s hard to fit four years of love, and longing, and brokenness, and rebuilding into just a series of four verses– one for each year– but he’s trying. He’s trying because Steve deserves it, and because Eddie needs it. So much time has already passed, and if he has to go one more day without telling Steve exactly how he feels, how he’s always felt, he’s going to implode in upon himself. 

Three deep breaths, and he picks up his pen. 

September 1990

Eddie plays Steve his song. 

Later that night, cleaned up and comfortable, Eddie whips out his guitar. Steve hadn’t thought to question why he brought it– it just felt like an Eddie thing to do. But then he takes out the little notebook Steve gifted him so long ago, right here in the same living room, and Steve hazily puts two and two together. 

The next song will be happy, I promise. And it is. 

“You wrote me a song?” Steve says, incredulous and warm from the inside out. 

“I did. Tried to, at least. Hold your excitement until it’s done and then we can decide if you want to claim it for yours.” Eddie teases and winks, pulling the guitar up into his lap. 

He strums methodically as Steve watches his ringed fingers glide along the strings. Eddie’s voice sings words from his heart, torn free of their cages after so many years.

War made us corpses,  Let’s rise from the shallow graves, let’s watch the way time warps. Hold these broken bones until they’re healed,  Hold them when they shake.  Sometimes it’s hard  To let you see me cracked and scarred.  Moonlight through the curtains and music on the stereo,  Just tell me all you say is true. Love is a three letter word, sweetheart, and it’s you. 

There are no words Steve can muster to respond, but he cries, and that says more than words ever could anyways.

[read the full fic here on ao3!]

[foxes-that-run]

I Did Something Bad (on 29 April 2016)

Taylor wrote Gorgeous, Delicate and Did Something Bad around the same time (see Making of Video), there were all recorded in September but refer to earlier events. In the 29 April 2023 Eras show Taylor added High Infidelity to this story which refers to 29 April.

Timeline

See 2016 timeline

2 January: Harry is on a Yacht with Kendall in the red shirt.

2 February: Harry wore this blue St Laurent shirt on his birthday

11 February - Kanye releases Famous, Taylor & Harry seen in LA

20 February Harry wrote Sweet Creature on the 20th

21 February Calvin started Ole, a bitter song about about cheating. CH wore Harry's shirt in the MV and the red one was included also

28 February: Harry Tweeted you can shake an apple off a tree. His instagram had been B&W for 2 years since OOTW was released October 2014. He posted a colour photo on the 25 Feb 2016. It stayed colour from 7 May.

March 15 - Taylor and Calvin have heavily photographed beach holiday. She repeats this move in 2018 with Joe.

April 29 - Taylor refers to an affair on this date in High Infidelity. as HS and TS were both in LA on that date. Taylor and Kendall were at Gigi Hadid's birthday the night before. Harry's Kiwi music video also includes a kid dressed like Taylor on that night.

May 2 - the met gala was the key date while she was with Joe. On midnights she changed it to 29 April. CH and TS were barely seen together in 2016 and this seems it was over in April. Harry left to shoot Dunkirk. Taylor wrote and recorded IDWLF

29 April 2017 - Our boy celebrated the anniversary of this particular secret rendezvous by getting papped 3 times in the same shirt. They also released Me! and the HH tracklisting on that date.

There is a great detailed post about this here.

Rattata sound

The Rattata sound at the end of I did something bad is also suspiciously similar to a Rakaka sound in a leaked Harry Styles song. In Harry's song, he has a secret rendezvous with an ex who phones him unexpectedly and he picks up on the way home.

This raises a question on the timing of the events of Pick You Up and Did Something Bad, PYU refers to his sister’s birthday which is in December, they were at the VS show 3 December 2014, the songs may be about different days. Taylor was in Australia on Gemma’s birthday 2015. Now we don’t talk seems like they weren’t talking in January.

Calvin's bitter song was' Reggae themed - Ole,

Lyrics

Taylor has said she was inspired by the Stark Sisters in not having remorse for actions.

I never trust a narcissist But they love me So I play 'em like a violin And I make it look oh so easy ... If a man talks shit, then I owe him nothing I don't regret it one bit, 'cause he had it coming

The opening verses set a vengeful mood and highlight the grievance TS had over the Narcissist (CH) taking credit for her work on This is what you came for.

I never trust a playboy But they love me So I fly him all around the world And I let them think they saved me They never see it comin' What I do next This is how the world works You gotta leave before you get left

Here TS has also referred to HS as a playboy who wanted to save her and sets the mood for how angry she feels at the situation..

They're burning all the witches, even if you aren't one They got their pitchforks and proof Their receipts and reasons They're burning all the witches, even if you aren't one So light me up (light me up), light me up (light me up)

'they're burning all the witches' also appears on the stairs in the video for Ready for It, another song in the first half of the album that are about HS.

In later songs, Adore You Harry includes "I'd walk the fire for you"

2016 and Reputation posts.

[tayfabe75]

Thoughts on the TTPD tracklist?

Hi anon! Oh boy, I'm still gathering my thoughts!

First and foremost, I don't think that this album is going to be what anyone expects it to be (in the same way that everyone expected "Slut!" to be a power anthem and it ended up being a 'lovelorn' ballad). From what I'm seeing around on Twitter and Reddit, everyone seems pretty certain that this will be a breakup album full of "tea" about a certain ex, but I'm going to have to disagree.

Now, I don't much care for tabloid culture, myself, so please take this with a grain of salt! That said, I remember reading very early on that Matty had moved in with Taylor, shipping off all his "things that made sounds", since he'd be bunked up with her "to help write her next album". While The Sun is a tabloid, it was the same publication that predicted Matty would be in Nashville on May 5th and that The 1975 would feature on 1989 ("debunked" by most other sources, yet confirmed by several sources on Christmas day…)

If it's true that Matty helped write for the album (he did add "Writer" to his Instagram profile following the "Slut!" leak), I hope we see his name reflected in the credits (again, that is IF he helped write anything). If he has nothing at all to do with it, then it's incredibly likely he inspired several tracks. I could tell you which ones I suspect, but the likelihood anyone agrees with me is slim, because my theorizing includes allusions and parallels to lyrics and themes in older songs or albums, many of which have already been "attributed" to other exes without any further discussion or speculation. I try to keep my answers palatable, but I personally think Matty's been a chief muse for far more albums than almost anyone suspects.

Since it took me a couple days to get to your ask, Taylor has since cleared up that, yep, she wrote TTPD after turning in Midnights, so roughly two years. If you'd like to know who the muse of TTPD might be, let's keep in mind that this happened over two years ago. Whatever people think the timeline is… isn't. That definitely includes me, but I'm at least picking up on inconsistencies that are going largely ignored by many people blinded by personal biases. I'm hoping there are some direct lyrical allusions to the man, himself, to clear up any confusion… or perhaps to cause a whole lot more! They're both fans of chaos, after all. 🤍

[bisluthq]

I have seen people say they think RFI is about Matty, because of the robber allusion. Also what do you think about her using the same silhouette on the Style mv in the Fortnight mv? Curious choice

ok so RFI being mostly written on 1989 tour means that it would’ve, if it was inspired by a real person, been about Calvin to begin with. Obviously it underwent a few iterations from draft to finished product because Rep underwent a few iterations imo and again one of the problems she’s stated repeatedly is she had writer’s block in and around that time (actually she’s implied it started immediately after 1989 and then continued but even 1989 is pretty uninspired lol and had a teensy vault so I believe there wasn’t much discarded material at all). What’s impressive is Taylor’s version of writer’s block - and this speaks to her prolific nature and creativity - still had her writing songs and that’s impressive af. I guess she just wrote fewer/less often and a lot of the stuff she was writing wasn’t that deep. However, I really don’t see how RFI tl wise could, in any iteration (because obviously the finished one wouldn’t have been exactly what she wrote on the plane, she made some Joe specific edits to that song “younger than my exes” for example would’ve been added in later) been about Matty. She was with Calvin while on tour, her and Matty had never been that deep/exclusive for Tatty 1.0, and she’d chosen Calvin over Matty so it’d be super weird if she sat down a song along the lines of RFI about Matty at that point??

silhouettes are silhouettes so I also don’t know about that. Style was written before she and Matty knew each other, it was written to track quite quickly based on Harry having a cool last name. She may feel it applied to her and Matty at this point but I don’t think there are Easter eggs to that effect either in the lyrics or in the MV idk. Fortnight MV has a few 75 referenced moments and that I do think was purposeful but silhouettes are idk silhouettes.

[watermelonsugacry]

So I’ve been going through a Little Mix revival lately and when I got to the Glory Days album I couldn’t help but think if bandmember yn helped write some stuff for the girls, the album came out in late 2016 so she would’ve had some time after the break at the start of the year to get involved before heading to Jamaica with H for HS1

first off: as you should

second: she totally did, those girls are her sisters so it was super duper fun to help produce some of their songs. Little Mix was also one of yn's biggest clients (aside from h of course) that she first got hired for as a producer. not to mention how much all the girls live for harmonies

Salute 2013

Move: YN's first song with the girls which she not only helped produced but was featured in.

Weird People 2015

The End: YN wrote about her ex boyfriend she had during 1d and was the first song she produced/vocal arranged in full accapella

Glory Days 2016:

Shout Out To My Ex: just a good ol' poppy break up song that my or may not have been inspired by a certain ex 1d band member

F.U. : not only was yn's pen game was strong on this one -> "A, B, C, D, E, F.U." (um aRE YEH KIDDIN ME?!) but her vocal arrangements for this one was one of her favorites.

Power: it's songs like these that makes yn feel like a badass being surrounded by strong women. AND to have Stormzy (one of her favorite rappers) feature in on it later on was something she crossed off of her bucket list

Beep Beep: the guitar playing in this song was yn

LM5 2018:

Woman Like Me: if this song isn't about yn literally explaining her on and off relationship with H during this time then i don't know what is

Strip: one of yn's favorites (she also made a cameo in the music video, dancing and singing with her step mum, Penny)

Joan of Arc: another song that she helped write that made her feel like a badass. Like while LM was in the recording room singing the bridge and the harmonies for it, yn was on the other side of the glass dancing and hyping them UP. I'm talking up on the couch pressed against the wall, arms in the air, hips swiveling and screaming the lyrics back.

Wasabi: a fun, sassy bop. enough said.

Motive: a song that the LM girls let yn have creative freedom for how the track was going to sound and she really popped OFF

Notice: a sexy bop with a sexy bridge.

The Cure: this was a song she really collaborated with the most with the girls on an intimate level. it has such a powerful message that they all agreed was important to share and an experience they've all lived through being their line of work

Confetti 2020:

Sweet Melodies: yn was mainly in charge of their vocal arrangements for this song

Rendezvous: a song wrote and gave to the girls inspired by her and h's secret relationship before it was exposed.

Bounce Back: a fun, sassy bop #2

Breathe: the song may or may not have a snip bit of harry yelling "hey!"...yeah yn had a blast when the fandom went crazy and claimed that it was him and the LM girls were denying it every chance they got

Since 2010 Masterlist

Taglist:

@wobblymug @be-with-me-so-happily @ashtongivesmebutterflies @kiwiskiwiskiwi @darlingdesire @obsesseddd @hopefulwastelandcreation @cacapeepee @breezie-b00 @harrysfolklore @theekyliepage @sunshinemoonsposts @nervousspiderling @tbslonelyhes @tenaciousperfectionunknown @harrystylesrecs @certified-nalayak @itsjustsel @iknowyouthinkimbulletproof @gviosca @behindmygreyeyes @twobluejeans @allisonxmcu @theemeraldbutterfly @jean-love @marvellover-sam @b-reads-things @reveriehs @rach2602 @thurhomish @perrypughstyles 

[heyyyharry]

Happier

(inspired by happier by Olivia Rodrigo)

Word count: 2.4k

I'm selfish, I know, I can't let you go So find someone great, but don't find no one better I hope you're happy, but don't be happier

Part 1: Drivers License

Part 2: Deja Vu

A/N: I edited the original lyrics to match the POV :)

.

.

.

Harry had come up with a thousand scenarios of how this day would play out. Actually, he’d been thinking of this day since the moment he’d received the news. He didn’t dare to hope that she’d say yes to coming back for a sequel. He’d been sure that they would write her character off, give a lame excuse for how his love interest could not make a return and make his character forget about her completely to move on with a new girl in town. It would have been great if it was that easy in real life. Once someone was written off the script, they were gone for good. Real-life relationships were not that simple. Goodbye didn’t mean ‘never see you again’. You would still share the same friend circle and social bubbles, and it was worse when you two worked in the same industry. Harry didn’t know how he’d lasted a year without running into her, not since the Grammys.

“Didn’t you two date?”

“No.” Harry shook his head, but his eyes stayed glued on Y/N from across the room. She wasn’t looking his way, too busy saying hello to everyone else. “No,” he repeated, more to himself than to his co-star. “We didn’t.”

“But she wrote an entire album about you,” said the other twin. What was her name again? Lulu?

“Luna!” cried her sister, Lex. “You can’t ask him that!”

“No, it’s okay,” Harry said with a tight smile, slightly annoyed by the blonde twins, but he didn’t want to seem like an ass on the first day of filming. “And I don’t know if it was for me. You should ask Y/N.”

��Ask me what?”

Harry flinched when he looked up and saw Y/N padding towards them. She hugged the twins, who seemed way too excited. Harry guessed they were Y/N’s fans. They gave off crazy fangirl vibes, probably just pretending not to know the drama to interrogate him. He couldn’t blame them for assuming he was the villain and definitely could not blame Y/N for portraying him as one. It was more important that he knew who he was and how much he had changed since his last relationship. Maybe they could finally be friends.

“Were they bothering you?” Y/N asked him once the twins had left.

Harry nodded. “They’re your friends?”

“Oh, I met them last year on tour. I’m surprised you don’t know them. They were on Disney.”

“I don’t watch Disney,” Harry admitted with a smile. “Well, not today’s Disney.”

“Understandable.” Y/N nodded and bit her lip. She seemed guarded with her straight back and hands hidden behind her. She eyed him up and down, quite subtle yet noticeable. “How have you been?”

“Pretty good,” he said, nodding slowly. “You?”

“Yeah, but mostly tired because of tour.”

“You’re done?”

“Yup, last night was the last show.”

“Nice.”

Y/N raised an eyebrow. “Nice?”

Harry blinked. “Did I say something wrong?”

“No.” Y/N giggled. “You still sound very...you.”

“Well, shouldn’t I?”

“Yeah, you should. But it’s been a year so…I mean, you haven’t changed much.”

“Right,” he said lowly, his eyes falling to his feet. Harry supposed he should say something else, perhaps bringing up another random topic to discuss, but all he could think about was what had happened between them. Things had been messy, hadn’t they? How could they go back to before that? Before her first song about him. Before he’d chosen someone else over her.

Or he could talk about her new relationship. She’d been in a happy relationship for almost six months, right? No wait, hadn’t they broke up two weeks ago? He wasn’t sure because he hadn’t been catching up. If they’d broken up, he’d sound like an ass to even mention her ex’s name. He should just stay quiet.

“I’ll see you later?” she said, gesturing at her stylist who was waiting by the door.

Harry could ask her right now -- the reason she’d agreed to film the sequel to their first movie together. He’d heard from a very reliable source that she’d specifically asked her agent to decline any project that he was in. So did this mean they were good? That she didn’t hate him anymore? He could have gathered his courage and got the answer right then…

“Yeah, see you.”

...but he didn’t.

And so she gave him a smile and a little wave, then happily returned to her stylist.

.

.

.

“See you tomorrow, Y/N!”

“See you, Annie!” Y/N said as she put the rest of her things into her tote bag. Her new driver had got her schedule mixed up, and so she had to wait here for another half an hour. She was in no rush. It had been a light first day, and she’d had a fun time getting to know the new cast members and catching up with old friends.

She sat on the sofa in the lobby, legs crossed, texting her best friend about her day. She’d purposely left out the short off-screen conversation with Harry, and her best friend didn’t even bother to ask. In their world, he didn’t exist, and his name was censored in every conversation like a curse word that was even worse than ‘cunt’. Nevertheless, she didn’t hate him anymore. She was doing just fine on her own, being busy with her career, and she’d been in a happy relationship after her fall out with him.

She and the guy, a model, had broken up two weeks ago due to long distance and some differences that they could not change. They had ended on good terms and decided to stay friends. They said you could only stay friends with your ex when you still had feelings for each other, or you had never loved each other that much in the first place. For her, it was probably the latter. Her previous relationship had been more platonic than romantic, apparently. So she had nothing but the best to say about him.

As she was going through her camera roll, just reminiscing about the past, she heard footsteps approaching and looked up to find Harry. He offered a smile and gestured to the spot beside her on the sofa. “May I sit here? My ride is late.”

“Yeah, sure.” She hurriedly scooted over.

“Good job today,” he said. “You were great.”

“Thanks, so were you.” She smiled, and they both looked away at the same time. This was so awkward. She hated small talk. She’d never had to have small talk with Harry. Conversations with him used to be so easy and natural and silly. Whatever this was, it wasn’t them.

“Can we just be normal?”

At first, Y/N thought she’d been the one who’d said it, so when she realised it’d been Harry, she was speechless.

He swallowed and sat a bit straighter, still not looking at her. “I don’t want us to be weird and awkward.”

“Okay,” she said.

He cleared his throat. “Wanna try again?”

“Yeah, sure.”

“Okay, not to sound like an ass but when Joey kept forgetting his lines, I was so pissed off, I could throw a chair at the wall.”

“Right?!” exclaimed Y/N, feeling free to have finally broken out of her shell. “Like, he doesn’t even have many lines. I know he’s new but damn...you can’t get far if you don’t learn your goddamn lines.”

Harry shook with laughter. “Oh God, we sound like dicks, don’t we?”

“Maybe.” Y/N laughed, covering her mouth. “But you know what? We can’t be nice in this industry. It’s impossible.”

“Shhh, if someone heard this, we would be into big trouble.”

“Oh please, I’ve had worse articles written about me than ‘Y/N speaks facts about her lazy co-star’.”

Harry tossed his head back and cackled. “The worst one I’ve got this week was ‘Harry Styles hates therapists.’”

“What?!” Y/N gasped. “No way! That’s so stupid!”

“Right?” Harry rolled his eyes. “I could get all my therapists to speak up for me but I’m kinda immune to bullshit now.”

“Therapists? Like plural?”

“Yeah, one in every city.”

“Damn.”

“Yeah.”

Y/N rubbed her hands onto her legs. “Rough year?”

Harry’s eyes rolled to the back of his head as he leaned back. “You have no idea.” Then he swept his hair out of his eyes, sucked in a breath, and finally looked at her. “I wish I could have talked to you, though.”

She bit her tongue, knowing what she was about to say next would disappoint her best friend so much, but she had to. “So do I.”

Harry looked taken aback before his lips curled into a smile. “It’s silly, isn’t it? I haven’t talked to you in a year, and I feel like I know everything that’s happened to you except that I don’t.”

What he’d just said might make no sense for most people, but Y/N knew exactly what he meant. She nodded and wetted her lip. “You only know as much as everyone else does.”

“Yeah, I got updates on you from the news and our friends.”

“Same.” Y/N smiled back. “I hate how they write articles about your new haircut but not mine.”

“I like your new hair colour.”

“Thanks. I like your new car.”

Then they both burst out laughing. It was fun and also a little bit strange that Y/N didn’t feel the same anxiety talking to him as she used to. It must be because they had grown and were now meeting again as better people.

“Damn, my ride's here,” Y/N said as she read the text from her driver. “I gotta go now.”

“Oh, okay.” Harry stood up and followed Y/N to the entrance. “Hey, just wondering--”

“Yeah?”

“Am I...am I still blocked?” He looked a bit flustered as she tilted her head and squinted her eyes. “On your phone. Because I remember you having my number blocked--”

“I unblocked you on your birthday.”

“Oh, really?”

“Yeah.” Y/N shrugged. “I should’ve sent you a happy birthday text but...I didn’t want your girlfriend to get the wrong ideas.”

“My ex.”

“Yeah, I know.”

They smiled at each other one last time before saying goodbye. Y/N knew it was silly, but she was hoping he would go after her.

Ding.

A notification popped up when she was in the car. She was almost home, and it was from Harry’s number. He’d sent her a link with a message that said, “Hope you like it :)”.

Curious, she tapped on it and was directed to an audio file titled ‘Track 5’. The upload date was last year. About two weeks after their short conversation at the Grammys.

Hurriedly, she fumbled inside her bag for her iPods and put it on before she pressed play.

“Hey, Jeff, I couldn’t sleep so I wrote this song. Listen and let me know if it should go on the album.”

Then came the piano intro. It sounded good, so Y/N wondered how it hadn’t ended up on his last album.

But when he started to sing...

We ended a while ago Your friends are mine, you know, I know You've moved on, found someone new One more guy who brings out the better in you

And I thought my heart was detached From all the sunlight of our past But he’s so nice, he’s so funny Does he mean you forgot about me?

Oh, I hope you're happy But not like how you were with me I'm selfish, I know, I can't let you go So find someone great, but don't find no one better I hope you're happy, but don't be happier

And does he tell you you’re the most beautiful girl he’s ever seen? An eternal love bullshit he might not even mean Remember when you were with me I meant it when you heard it first from me

And now I'm pickin' him apart Like cuttin' him down will make you miss my wretched heart But he’s charming, he looks kind He probably gives you butterflies

I hope you're happy But not like how you were with me I'm selfish, I know, I can't let you go So find someone great, but don't find no one better

I hope you're happy I wish you all the best, really Say you love him, baby Just not like you loved me And think of me fondly when your hands are on him I hope you're happy, but don't be happier

The song was for her. He’d written it when her new relationship had gone public. Y/N sat there, staring blankly ahead until the honking of a car tore open her inner peace, and reality came crashing back in. The driver dropped her off at her house. Instead of going inside, she stood on her front steps and replayed the song one more time. When it ended, she decided to text him: Why didn’t this make it to the album?

She didn’t know where he was now, but it showed ‘typing’ in less than a second, as if he’d been waiting in their chat since he’d sent that link.

You would’ve hated me, Y/N.

True, she replied. Still, I would’ve loved the song lowkey. And added, I love it btw.

He took so long to type that it was driving her crazy. She flopped down on the concrete stair with her phone clutched in her hands, her heart thundering against her ribcage. Anxiety popped like a balloon when his message appeared: Were you happier?

She reread it again and again.

No.

I wasn’t either, he responded. I kept getting deja vu.

Ha, nice reference.

That song is my guilty pleasure. Love listening to you roasting me on loop.

That last message made Y/N bury her face into her palm and giggle like a fool. She thought for a second and wrote: I could come roast you in person now if that’s what you prefer. I think we’ve never had a proper roasting.

Can we meet, Y/N? Or are you busy now?

No, not busy.

Great, I’ll pick you up.

Just tell me where, she responded with a smile on her face. I got my drivers license now :)

[bananaofswifts]

Taylor Swift Turns on a Facsimile Machine for the Ingenious Recreations of ‘Fearless (Taylor’s Version)’: Album Review

Swift recreates her entire 2008 album literally down to the last note, then gives herself room for stylistic latitude on six never-before-recorded "vault" tracks.

By Chris Willman

Swift recreates her entire 2008 album literally down to the last note, then gives herself room for stylistic latitude on six never-before-recorded "vault" tracks.

There is no “best actress” award at the Grammys, perhaps for obvious reasons, but maybe there should be this coming year. And the Grammy would go to… Taylor Swift, for so persuasively playing her 18-year-old self in “Fearless (Taylor’s Version),” her beyond-meticulous recreation of the 2008 recording that did win her her first album of the year trophy back in the day. It’s impossible to overstate just how thoroughly the new version is intended as an exact replica of the old — all the way down to her startling ability to recapture an untrained teen singing voice she’s long matured and moved on from. It’s a stunt, to be sure, but a stunt for the ages — mastering the guile it takes to go back to sounding this guileless.

There are two different, very solid reasons to pick up or stream “Taylor’s Version,” regardless of whether you share her ire for the Big Machine label, whose loose ways with her nine-figure catalog precipitated this, the first in a six-album series of remakes where she’ll be turning on the facsimile machine. One is to marvel at her gift for self-mimicry on the album’s original tracks, where she sounds as possessed by her younger self as Regan ever was by Pazuzu. The other reason is, of course, to check out the six “vault” numbers that Swift wrote during that time frame but has never released before in any form, which dispenses with stylistic fealty to the late 2000s and frames her “Fearless”-era discards in production and arrangements closer to “Folklore.” Those half-dozen (kind of) new tracks really do sound like modern Taylor Swift covering her old stuff.

But those original lucky 13? It’s the same damn record… which is kind of hilarious and marvelous and the kind of meta-ness that will inspire a thousand more think-pieces than it already has, along with possibly efforts at forensic analysis to figure out how she did it.

It would not be surprising if, as we speak, Big Machine was putting a combined team of scientists and lawyers on the case of the new album’s waveform readouts, to make sure it’s not just the original album, remixed. Honestly, it’s that close. The timings of the songs are all within a few seconds of the original tracks, if not coming in at exactly the same length. The duplication effort doesn’t allow any detours. If “Forever and Always” had a cold open then, it’s going to have a cold open now. If the 2008 “That’s the Way I Love You” had slamming rock guitars with an almost subliminal banjo being plucked beneath the racket, so will the 2021 “That’s the Way I Loved You.” A drum roll to end the old “Change”? A drum roll to end its body-snatcher doppelganger. And if she chuckled before the final chorus of “Hey Stephen” 13 years ago, so will that moment be cause for a delighted giggle now.

Of course, much analysis will be put into whether the new laugh is a more knowing-sounding laugh. And that will be part of the fun for a certain segment of audiophile Swifties who will go looking for the slightest change as evidence of something meaningful. When “Love Story (Taylor’s Version)” first came out weeks back to preview the album, there were reviews written that swore she’d subtly changed up her phrasing to put a contemporary spin on the song. And maybe they were right, but, having done a fair amount of A/B testing of the two versions of the album, I found myself feeling like I do when vinyl buffs insist there are significant sonic differences between the first stamper version of an LP and one that was pressed a year later. If you can spot those very, very, very modest tweaks, go for it.

But my suspicion is that if Swift has decided to turn a phrase a little differently here or there on this album, or done anything too differently aside from brighten the sound, she’s doing it more as an Easter egg, for the people who are on that kind of hunt, than anything really designed as reinterpretation. Because the last thing Swift wants most of her fans doing is A/B-ing the two versions, the way I did. The whole point is to have folks retire the OG “Fearless” from their Spotify playlists, right? The Swift faithful were already threatening to rain down damnation on anyone caught sneaking an audio peek at the old version after midnight. What she intended was to come up with a rendering so faithful that you would never have a need to spin the vintage album again. In that, she has succeeded beyond what could have been imagined even in the dreams of the few self-forgers who’ve tried this before, like a Jeff Lynne.

Is there any reason to find value in the new versions if you couldn’t care less about the issues of masters and contracts and respect in business deals that made all this strangely possible? Yes, with the first one being that the new album just sounds like a terrific remastering of the old — the same notes, and you’d swear the same performances, but sounding brighter and punchier just on a surface level. But on a more philosophical one, it’s not just a case of Swift playing with her back catalog like Andy Warhol played with his soup can. It’s really a triumph of self-knowledge and self-awareness, in the way that Swift is so hyper-conscious of the ways she’s matured that she has the ability to un-mature before our very ears. With her vocals, it’s virtuosic, in a way, how she’s made herself return to her unvirtuosic upstart self.

On Swift’s earliest albums and in those seminal live shows — at the time when she was famously being told she “can’t sing,” to quote a song from the follow-up album — there was a slight shrillness around the edges of her voice that, if you lacked faith, you might’ve imaged would be there forever. It wasn’t. That was partly youth, and partly just the sheer earnestness with which she wanted to convey the honesty of the songs. She’s advanced so much since then — into one of pop’s most gifted modern singers, really — that the woman of “Folklore” and “Evermore” seems like a completely different human being than the one who made the self-titled debut and “Fearless,” never mind just a woman versus girl. It wouldn’t have seemed possible that she could go back to her old way of singing at the accomplished age of 31, but she found and recreated that nervous, sincere, pleading voice of yesteryear. And maybe it was just a technical feat, of temporarily unlearning what she’s learned since then, but you can sense that maybe she had to go there internally, too, to the place where she was counseling other girls to guard their sexual virtue in “Fifteen,” or wondering whether to believe the fairy tale of “Love Story” or the wakeup call of “White Horse,” or proving with “Forever & Always” that writing a song telling off Joe Jonas for his 27-second breakup call was better than revenge.

If at first you’re not inclined to notice that Swift has re-adopted a completely different singing voice for the “Fearless” remakes, the realization may kick in when those “vault” tracks start appearing in the later stretch of this hour-and-50-minute album. The writing on the six songs that have been pulled up from the 2008 cutting room floor seems primitive, even a little bit by the standards of the “Fearless” album; there are great lines and couplets throughout the rescued tracks, but you can see why she left them as works-in-progress. But she doesn’t use her youthful voice on these resurrections, nor does she employ the actual style of “Fearless” very strictly. Of course, she feels more freedom on these, because there are no predecessors in the Big Machine catalog she’s asking you to leave behind. Her current collaborators of choice, Jack Antonoff and Aaron Dessner, divided the co-producing work on these fresher songs, as they did for the two all-new albums she released in the last year. (The “Fearless” recreations are co-produced by Swift with Christopher Rowe, someone who worked on remixes for Swift back in that era.) They co-produce the vault songs in a style that sounds somewhere between “Fearless” and Folklore”… a more spectral brand of country-pop, with flutes and synths and ringing 12-string guitars and a modicum of drum programming replacing some (but not all) of the acoustic stringed instruments you’d expect to be carried over from “Fearless” proper.

Of the previously unheard tracks, Swift was right — she’s always been her own best self-editor — in putting out “You All Over Me” first, in advance of the album. With its imagery of half-muddy stones being upturned on the road, this song has advanced lyrical conceits more of a piece with the level of writing she’s doing now than some of the slightly less precocious songs that follow. Still, there’s something to be said for the sheer zippiness with which Swift conveys teen heartbreak in “Mr. Perfectly Fine,” which has a lyric that shows Swift had long since absorbed the lessons Nashville had to offer about how to come up with a high-concept song — the concept, in this case, being just to stick the word “mister” in front of a lot of phrases relating to her shallow ex, as if they were honorary titles to be conferred for being a shit, while she employs the “miss” for herself more sparingly.

Some of the remaining outtake songs go back more toward the sedate side of “Fearless”-style material; she didn’t leave any real bangers in the can. “We Were Happy,” the first of two successive tracks to bring in Keith Urban (but only for backgrounds on this one), employs fake strings and real cello as Swift waxes nostalgic for a time when “you threw your arms around my neck, back when I deserved it.” It’s funny, in a good way, to hear Swift at 31 recreating a song she wrote at 17 or 18 that pined for long-past better times. The next song, “That’s When,” brings Urban in for a proper duet where he gets a whole second verse and featured status on half a chorus, and it’s lovely to hear them together. But, as a make-up song, it doesn’t feel as real or lived-in as the more personal things she was writing at the time — and the fact that its chords are pretty close to a slightly more balladic version of the superior “You Belong With Me” was probably a pretty good reason for dropping it at the time.

the 18-year-old Taylor Swift is a great place to visit, but “Folklore” and “Evermore” are the place you’ll want to return to and live, unless you have an especially strong sentimental attachment to “Fearless”… which, sure, half of young America does. It’s not irreconcilable to say that the two albums she issued in the last year represent a daring pinnacle of her career, but that “Fearless” deserved to win album of the year in 2008. Has there been a greater pop single in the 20th century than “You Belong With Me”? Probably not. Did the album also have lesser moments you probably haven’t thought about in a while, like the just-okay “Breathe”? Yes. (I looked up to see whether Swift had ever played that little remarked upon number in concert, and according to setlists.fm, she did, exactly once… in 2018. Because she’s Taylor Swift, and of course she did.) It’s not certain that her duet with Colbie Caillat really needed to be resurrected, except it’s fun, because hey, she even roped former duet partners back into her time warp. But there are so many number that have stood the test of time, like “The Way I Love You,” an early song that really got at the complicated feelings about passion and fidelity that she would come to explore more as she grew into her 20s… and just kind of a headbanger, too, on an album that does love its fiddles and mandolins.

It doesn’t take much to wonder why Swift put up “Fearless” first in this six-album exercise; it’s one of her two biggest albums, along with “1989,” and it’s 13 years old, which does mean something superstitious in the Taylor-verse. In a way, it’ll be more interesting to see what happens when she gets to more complicated productions, like “1989” or “Reputation.” But maybe “Fearless” did present the opportunity for the grandest experiment out of the gate: to recreate something that pure and heartfelt, with all the meticulousness a studio master like Swift can put to that process now, without having it seem like she’s faking sincerity. Let the think-pieces proceed — because this is about six hundred different shades of meta. But, all craftiness and calculation aside, there’s a sweetness to the regression that’s not inconsequential. It harks back to a time when she only wondered if she could be fearless, before she learned it the harder way for sure. What they say about actors “disappearing into the role”? That really applies to Taylor Swift, playing herself.

[opera25]

Pls spare my soul, I just had a sudden spark of inspiration and just wrote whatever came to mind in 30 min. So basically I wrote a lil' MLL!Etho pov song (but I don't really want my voice on the internet so you're only getting the lyrics), even though I don't think he would sing and um I'm probably gonna wake up tmr and regret this immensely (sorry if it's very out of character, I'm in desperate need of sleep) ~Birdie

Dear Bdubs,

We live in the same apartment; sleep in separate rooms

But it feels like I am stuck on Earth while you're all the way on the moon

It's been so quiet without you, just the clock's constant ticking

And when I sit down to write, there's my pen's anxious clicking

Just talk to me and you will see that together we can pull through

Cuz right now I'm only thinking of the life that I once paved with you

This song has no chorus, I'm just venting out my sorrows

And you'll NEVER receive this letter, because without me you're doing better

You have a great life ahead of you and I'm pulling you back no more

If you wanna move out, that's fine by me, just leave a message at the door

And despite the pain I'll wish you the best and hope you will not miss your train

But please just let me see you again... please just let me see you again

Sincerely

Your Ex-best friend

PLEASE DON'T REGRET THIS THIS IS SO FRICKING EPIC DUDE!!!

YOOO guys Birdie is so talented like?? They can write, draw and now they're writing a song?? whaa?

God I love this;; Etho might never sing this out loud but it may play in his head sometimes. Man's grieving so hard,,, 😔

[mayflowers07]

Some fun facts and behind the scene notes about the ICBTOYC series because the next update is taking a bit longer then I would like, so here’s something to hold down the fort:

The title of the series comes from a lyric in the song Brother by NEEDTOBREATHE and Gavin DeGraw. It’s sort of the theme song of the series in my eyes and if you check out the song, you’ll understand why

Actually all of the fics have a song that inspired it. For most fics, the song’s lyrics ended up in the title, but some didn’t- Doc’s is Brother by Matt Corby, Iskall’s is Belong by X Ambassadors, Etho’s is False Confidence by Noah Kahn, Keralis’ is Two by Sleeping at Last, Cub’s is Guillotine by Jon Bellion, False’s is The Fixer by Brent Morgan, and Zedaph’s is Dreamland by Glass Animals

My favourite quote from the whole series so far is a tie “Apolllo you bitch, I never wanted this gift of prophecy. Take it back you coward” and “Mumbo tried to stop him and Ren just straight up barked at him, Mumbo looks so offended”

Some very early foreshadowing that may have been missed is that in Iskall’s fic, they say that Jevin doesn’t go with them to the party because he doesn’t like big public spaces. Jevin doesn’t like those spaces because- as we learn in his story- he hates his body and constantly feels different and judged

Speaking of Jevin’s fic, in it Wels says “we all have our own demons” and Hypno says “your brain has a way of distorting the world against you,” both of which are foreshadowing their own stories later on

In Cleo’s fic, False tells her “I’d give you all the time in the world if you needed it.” This is a direct quote of what Xisuma tells False in her fic, showing how what Xisuma told her and how he helped her really stuck with her and how she wanted to help Cleo in the same way

Yes, I do have the fics for Pearl and Gem planned out. It might just take a bit before we get there

Many people noted that ‘Zed’ was acting out of character in Hypno’s fic, but eagle-eyed readers may have been able to figure out that it was actually Ex before the reveal because Ex (under the disguise of Zed) tells Hypno in chat “you need help and I can’t be the one to give it to you” which is very very similar to when he told Zed in his fic “You need help from people who can give you what you need, constant support and love. I’m really not in a position to be that friend for you.”

The whole thing with Helsknight’s first episode did actually happen in this AU, it just never made it into the main series because no one used the code during it. The reason Wels didn’t use the code during it was because he was scared that no one was going to answer if he did, just like last time. This is also why Wels is so quick to trust Ex, because he thinks Ex is Xisuma’s Hels equivalent and Hels hermits are basically the darkest, most hidden away part of a person’s mind. Wels thinks X is the best person he knows, and there’s no way X could be that evil, so Ex can’t be that bad himself. Neither the assumption that Ex is a Hels Hermit, nor the assumption that Xisuma doesn’t have dark, twisted thoughts is correct.

Here are some alternative versions of stories that I almost wrote before I changed them for whatever reason: Keralis’ was going to be about him feeling like the other Hermits assume he’s stupid and getting upset by this before I fully started fleshing out the Ex storyline and decided to link it in, Scar was going to be the Vex fic instead of Cub, False’s was about her getting struck by lightning and nearly dying during MCC training and Cub having to use the code for her then feeling guilty about what happened in a two-parter (this idea later developed into Joe’s and Cleo’s), and Hypno’s went through many changes, first being about him feeling forgotten and alone because of a prank someone played on him, then being about him having a psychotic disorder and experiencing depersonalization and derealization

The reason Beef’s fic went how it did was because I knew I wanted a Canadian to get hypothermia for the irony but I had already picked Etho’s prompt so it ended up being Beef, which I think is hilarious

And in Beef’s fic, the reason he says his favourite song is Here Comes the Sun by the Beetles is because of the lyrics ���Little darling, it's been a long cold lonely winter, Little darling, it seems like years since it's been here” and “Little darling, I feel that ice is slowly melting. Little darling, it seems like years since it's been clear.” Think of this as gentle foreshadowing from me that everything was going to be okay by the end: the winter may have seemed cold and lonely and almost deadly for Beef but the sun was going to eventually come and a happy ending was on the horizon

3rd life is canon in this world but because it’s a permadeath AU, instead of it being a murder game, it’s essentially a giant game of lazar tag

My favourite fics in the series are Beef’s (was super fun to write) and Mumbo’s (still relatable af and a message I often have to remind myself)

[whatiwillsay]

what really inspired the babe music video though...

So if you’ve read my babe mv analysis you know it’s one of the world’s loudest and best gaylor proofs in existence.  What I want to explore here however is why 5-6 years after Swiftgron was over, is Taylor digging up the grave another time to drag her ex.  

Seriously stop and think about it.  Why on God’s gay earth did Taylor decide to Swiftgron her ass off in 2018.   When she’s supposedly moved on to the London Lover and happy? The simplest explanation is that Babe is about Dianna so Taylor made sure people knew that.  And hey that’s completely possible. 

However it’s Christmas and I’m feeling generous so buckle up for some crack and reaching.  (read: this is mostly a joke post so don’t come for my neck for playing around and making it. if you don’t like it don’t read✌️)

What if Taylor painting herself as the desperate other woman in this music video all about Dianna has a meaning further than it just worked out like that?  What if Dianna was cheating on Winston with Taylor in a late stage illicit Swiftgron affair 👀👀👀????  (no I don’t think IA is about dianna, she doesn’t take runs)

Taylor said herself that “the narrative is never truly over” about her and Dianna so right after she and Karlie broke up why wouldn’t we expect a Swiftgron fling:

Babe was released in late spring of 2018 so let’s try and pin down when this Swiftgron tomfoolery could have taken place...

We know Dianna was in London at the beginning of 2017 (with Carey Mulligan no less, a friend of Taylor’s!)

Thanks to @swiftiesleuth​‘s (who is probably going to make fun of me for this theory but THAT’S FINE W ME) realistic Kaylor Timeline we know Taylor was hiding out in London at this point in time as well:

3 January 2017 - Taylor diaries that she’s “essentially based in London” and that “we have been together and no one has found out for three months.” (This could be three months with Joe from September 28 OR three months from Tily’s Halloween party. Either way, not Karlie).

8 January 2017 - Taylor and Zayn film the I Don’t Wanna Live Forever MV in London.

So the question is, can we build a theory about Swiftgron having a late stage affair simply because they were in the same city at the same time?  Well if Kaylors can claim Kaylor got engaged solely because Taylor was not papped while Karlie went on vacation then I say YES!  Tis the damn season!!!

Let’s look at social media clues.  Dianna seemed to be in on Rep promo.  You want proof?  Well what else could she have meant when she posted a photo captioned “please don’t eat the daisies” a few months after the London affair. We know Karlie called Taylor daisy so perhaps social media criminal mastermind Dianna “queen of shade” Agron was trying to humiliate Karlie because Karlie smirked at her at that fashion show in 2015:

Emboldened by her own crimes she then flexed her insider knowledge of Rep promo by posting video of her singing on instagram with the caption “Zombie Love” a mere three days before Taylor appeared in the LWYMMD music video dressed as a zombie in the OOTW (a song about Dianna) dress.  Why is Taylor a zombie in specific outfit?  Because Swiftgron is back from the dead of course:

Not only that but in the music video she buries the Taylor in the met gala dress from 2014.  She attended that met gala with Karlie.  RIP KAYLOR LONG LIVE SWIFTGRON!??!?

Now positively DRUNK with power, Dianna seems to stalk Karlie to an event only to tauntingly call her goooeeoeoeooueuueugoussssssss to her face, the queen of manipulation and psychological warfare has struck again!!!  This happens in Feb 2018 a mere matter of weeks before babe is dropped as a single.

We of course know Dianna admits to her own commitment issues on instagram two days before Babe drops but what if she is referencing her commitment issues not with Taylor but with her husband Winston because she is cheating on him with Taylor at this point in time or did some time in 2017???

Taylor releases babe and then later the music video seeming to be screaming to the whole world that yes she is cucking Winston Marshall and she wants you, your mom, and your cat to know about it!

Dianna voices her support of this by posting this to her IG stories at the end of May:

We know Taylor’s symbol was a snake during the rep era and she couldn’t trust just about anyone but, Dianna was letting her know to trust in her!!!

I’ve always suspected DBATC is a Swiftgron song due to the lyrics “i look through the windows of This Love, even though we boarded them up” -that references the flood that happened in Clean that taylor says she and the London Lover (or Karlie) boarded up the windows of after the storm in CIWYW.  

I see you everywhere The only thing we share Is this small town

What if “i see you everywhere” is literal? because they’re sneaking around and actually seeing one another in a literal since?

My heart, my hips, my body, my love Trying to find a part of me that you didn't touch

Sounds like an affair to me!!!

When she says “the morning comes and you’re not my baby” she’s saying speaking present day because Dianna is still married to Winston.

and while Dianna seems to love rubbing Karlie’s face in it, like the evil villain we all know she is, Taylor likewise seems to like to rub Winston’s cuck status in his face in it since she adds a song he wrote about Dianna to her me! playlist in June of 2019:

look at the other songs she taunts him with “glad he’s gone”, “just friends”, “hey, ma”, “open my mouth”!! she’s sick!!!

Winston has had enough of this and he and Dianna split in July of 2019 though it doesn’t go public for a year.

To add insult to injury (and to personally attack tumblr kaylors all over the world) Taylor performs false god at SNL, a song she wrote about her and Dianna’s late stage affair with Dianna in attendance. 

So in summation, perhaps Taylor is referencing Dianna so much recently because they hooked up more recently than 2013 and that’s why Taylor paints herself as the other woman in the Babe mv and has become obsessed with adultery lately.  Because maybe Dianna was cheating on Winston with her 😌😌😌.

[swiftgronmasterpost]

Winter 2013 - The Beginning of the End and Dianna’s Private Tumblr

January 4, 2013 - Haylor Breakup

Taylor and Harry publicly split and leave us with this iconic picture:

January 10, 2013 - People’s Choice Awards

Haylor is done, Harry is back in the UK, but Taylor shows up with a hickey anyway.  (Dianna is in LA at this time.)

Some time this month Taylor writes How You Get The Girl which is about obviously someone who comes back to get the girl.  She references “standing in the rain” and “a long six months.”  It’s hard to know if these details are more “fanfic” or actual autobiographical details.

This six months may actually refer to the end of bearding for a while (because it seems like Swiftgron did reunite in Paris in early October.)  Exactly six months after Taylor started dating Conor Kennedy would be January 25th, 2013.

As for the rain...

It rained twice in LA this month according to weather reports on the 21st and on the 23rd:

Dianna is in LA at this point and has started a private Tumblr blog under the name whosirmesir (we verified it was hers over on @swiftgron-get-married - and you can click here for more on that if you’re curious and actually I did an entire podcast episode walking people through it if you’re like like to listen to an in depth breakdown of it click here for apple OR click here for spotify OR click here for google.  

I also recommend searching the whosirmesir tag on @swiftgron-get-married​ because we’ve logged a lot of interesting moments and connections to Taylor (quotes, art, and other items that tie DIanna and Taylor together.)

On the private tumblr on January 25th Dianna reblogs this:

It reads “i think we’re just gonna have to be secretly in love with each other and leave it at that...”

This is also the time period it is rumored that Dianna proposed to Taylor.  I’m not sure what to make of these rumors.  I have not been able to get anywhere near confirming them.  It’s entirely unsubstantiated - but I explored the rumor further in this blog post (click for link.)  And also on the podcast (will link just a bit down in this post because it relates to something else we’re about to discuss.)

February 4, 2013 - Dianna recommends “Far Nearer” by Jaime on twitter:

The lyrics are essentially:

“I feel better when I, you feel better when I I feel better when I have you near me

You Me You I do, I do, I do“

repeated over and over again

February 9, 2013 - Neruda quote on Tumblr from Dianna

Dianna posts a quote to Tumblr.  The translation is, “I love you as certain dark things are loved, secretly, between the shadow and the soul.”

It’s worth noting that Taylor namechecked Neruda in the Red album booklet.

February 10, 2013 - The Grammys

Dianna wants to make sure everyone is watching:

And Taylor posts:

“Look what happened! :)”

She won for Safe and Sound:

And she performs her circus themed rendition of WANEGBT (where she mocks Harry Styles on stage making fun of his accent when she sings the “so he calls me up on the phone” part of the song even though this song was written before she was even with him.)

The only other time Dianna tweeted about the Grammys was when Glee was involved the year before.

February 14, 2013 - Achele breakfast and The Inside Source at Glee Tweet

According to a Facebook user Cory, Dianna, and Lea have breakfast this morning (or around this time):

Later that day Taylor posts the infamous tweet:

The Glee Episode “I Do” airs and there is no Taylor song included.  However Dianna and Naya’s characters hook up:

After the episode airs Taylor deletes her tweet.

As always I’m not entirely sure what to make of this but to me it boils down to three possibilities:

1.  The fandom seems to think this proves that Dianna purposefully tricked Taylor into watching her “hook up” with Naya on screen.  It’s completely possible that that’s the case but I think the next two options make a bit more sense.

2.  It was a simple misunderstanding or a joke gone wrong.  Taylor had a song earlier on that season of glee (Mine sung as a breakup song by Naya) and I have been told another song of Taylor’s was marketed for another glee episode later that spring.  Perhaps someone got their wires crossed and misinformed Taylor.  

3.  Other nefarious parties:  

a.  It’s possible that Lea was behind this - she publicly had beef with Taylor at one point and she had been with Dianna that morning.  Maybe she met up with DIanna, heard about Swiftgron being happy and back together and got a little jealous and decided to prank Taylor.  

b.  Ryan Murphy also seemed to despise both Dianna and Taylor around this time.  He was also famous for stirring up drama with Gleeks on twitter and generally sewing discontent (particularly surrounding wlw ships and fans).  Ryan seems to have a problem with women/lesbians in general.  He treated Brittana as a couple horribly on Glee as well as their shippers.

He very publicly shaded Taylor in season one of Scream Queens and said in an interview that Dianna ruined Quinn for him because he said she made her sympathetic. 

Not only that but in season 3 he destroyed her character - he made her have a mental breakdown - he had her try and steal a baby - he had her get hit by a car - and a huge plotline in season 3 was Quinn begging Rachel (Lea’s character so Dianna’s irl ex) not to marry Finn (played by Cory - literally the guy Lea chose Dianna over - this is like...emotionally abusive if you ask me.)  After season 3 Dianna only appeared in 8 episodes of the remaining 55 after being in every episode and the top third billed of the cast in the first three seasons.

Furthermore in a show called The New Normal there was a bitchy actress character named Brynn who he wrote as high maintenance and unpleasant and then killed off.

So yeah...seems fair to at least consider that Ryan or Lea who publicly had problems with both Taylor and Dianna may have been trying to create problems for Swiftgron.  One last note about Lea - there was not a single Achele interaction for the entire year of 2013.  The most we got was Dianna liking a tweet about Lea’s album in December 2013 and when asked about one another in interviews they would vaguely say they were still friends.  No tweets to one another, no birthday messages, no candids, no hang outs.  Lea’s book was also written around this time and does not make a single mention of Dianna - her former roommate and “best friend” even though she spends plenty of time talking about others on the Glee cast.

I did a podcast episode on both the proposal rumors and the inside source at Glee tweet if you want more extensive takes on that!

While I’m not entirely sure Dianna had anything to do with this tweet Taylor references this date (2-14-13) by putting it on a dollar bill as a serial number in The Man music video:

At any rate Taylor deletes the tweet and replaces it with one about her dancers:

Dianna tweets 9 hearts that day (I don’t know if that’s significant but if they were together from March 2012 to July 2012 and then October 2012 to this point it would mean 9 months together...)

February 19, 2013 - Sad Charlie Brown Tumblr post from Dianna:

February 27, 2013 - Fitzgerald quote

Taylor listed this as a quote to live by in an interview with Marie Claire a few months later.

I’m not sure if it’s important but Dianna is very quiet this winter and spring in terms of showing up at events, parties, even being papped out on the street compared to other years around this time.  She seems to disappear a bit.

February 27, 2013 - Taylor gives a bday shoutout to her Fiddle player Caitlin:

“Happy Birthday to my magical friend, fiddle extraordinaire @/caitlinbird” 

March 12, 2013 - Weird tweets from Dianna “One of those days.”

March 13, 2013 - It’s the first day of the Red tour (is that why Dianna had questions?)

About the Red Tour - the last act of the tour seems to be circus themed which may have been inspired by Dianna’s 26th birthday the previous year and really interestingly Taylor has a white rabbit, which is a reference to Alice in Wonderland (Dianna’s favorite piece of media ever) follows Taylor around stage during the WANEGBT performance as she’s dressed up like a circus ringleader:

March 18, 2013 - Dianna goes on a Girls HBO rant (we know who also loved Girls the show and its creator Lena Dunham (Taylor))

End of March - Lena and Ashley show up at the Red Tour backstage

Conclusion - Swiftgron is on but completely underground.  Dianna is blogging and tweeting romantic things about missing girls, Taylor’s interests, and secret love, all while watching Taylor perform at the Grammys and encouraging others to tune in.  Something weird happened with the inside source at Glee tweet but who knows what.  Dianna seems a bit restless and emo while Taylor leaves to go on tour.

Click here to keep reading!

[ginkgomoon]

Gavin's 'Falling Slowly' and Film 'Once'- Analysis

Since the beginning, I’ve wanted to do an analysis on the song Falling Slowly by Glen Hansard and Markéta Irglová, but since it was only mentioned twice (in Mark Date and Gavin’s Music and the Past Call), I thought it was going to be left at that. But because of the mention again in @cheri-translates' post, perhaps... there could be more to it. Because this song was made for the film Once, I had actually watched it earlier this year. I wasn’t going to post this analysis originally, but the trailer literally made me cry. After watching it with the knowledge from my first viewing, the trailer had a bigger impact on me that I didn’t expect. This allowed me to push on. Rewatching the film for this helped me realise some parallels between the film and Gavin’s history with MC, along with its song Falling Slowly. For me, the film was so heartfelt, vulnerable, honest and real. Just like the side that Gavin shows MC. It also had super hilarious moments that made me laugh so much while crying over the sad bits. Highly recommend this movie (if you don’t mind some occasional cursing!) Now I can say I’ve watched Once twice.

Below contains spoilers for Gavin's CN content (referring to Cheri's translations) and on the film.

“Your performance… was a miracle to me.” -Gavin

Once is a 2007 Irish romantic drama about two struggling artists in Dublin, Ireland. The film was turned into a musical and won various awards, with Falling Slowly winning at the Critics’ Choice Awards and the 2008 Academy Award for Best Original Song. This was on top of receiving a Grammy nomination. Once only had a budget of only $150,000 USD.

In an Interview with Glen Hansard (male lead), he stated that during the scene of Falling Slowly in the music store, director John Carney wanted this shot to be the centrepiece- just two musicians connecting through music. This scene where the actors first got together to perform and sing in harmony allowed the crew to maintain the perseverance needed to finish the film despite various major setbacks. (People kept buying the same piano in the music store featured because of this film LOL)

“The closest a non-musician will ever get to feeling what it feels like to write the song… or to discover… it was the most moving scenes of the film.” -The Interviewer

The first impression some viewers may have upon watching would be criticising the shakiness of the handheld cameras. However, the actual intention (from the ex-film student perspective that I had) was to give it a sense of realism. This film aims to depict more of real-life from the perspective of the main characters. Even the characters' names weren't disclosed as they were literally 'unknown artists' in everyday life. It was ultimately based on Carney’s own personal experience, while Hansard, wrote the music for the film.

“The movie is sad, funny, real, everything that life is and it gives you hope. It's about a moment that happens in life that may not come by again or may not last forever, but it just might have the greatest impact on you. I know I'll be watching "Once" again.” -A fellow Once viewer.

We are introduced to the male lead (Guy), playing the guitar and wanting to make it big with his music, who also fixes vacuums with his father for a living. He meets the female lead (Girl) and she bugs him into fixing her vacuum. In the beginning, he’s cold and doesn’t want to associate with her (especially after when she gives him 10 cents for his busking).

Look how grateful he looks-

Even when Gavin and MC met again after their separation, Gavin puts up a fragile guard in front of MC while protecting her from a distance, like in high school. And just like how Joe Zieja stated in his MLQC interview-

“Gavin is a really interesting character, especially when we first started out before he and the producer really had a relationship… Gavin’s very cold. He’s very business-like, he just wants to get stuff done. But it’s really neat to see Gavin’s shell melt over time as he develops a relationship with the producer.”

In the film, Guy finds out that Girl can play the piano, who learned it from her father before he passed. Turns out, Guy is heartbroken from his ex (who’s currently in London) who cheated on him. Girl tries to convince him to get her back with his songs.

Similarly, Gavin discovers MC’s music during his fall shown Campus Date, in the moments where he received his Evol. Gavin devotes his life to protect her.

(I also did a timeline of MC and Gavin’s high school history together here that also references these parts.)

*Casually dragging vacuum*

Together, they go to a music store and she plays Mendelssohn for him. Then finally, at 15:42 of the film, they start to play Falling Slowly.

(So good! So good!! When they start harmonising!!! No fancy editing or cuts- it’s just two artists and pure music.)

Through music, they connect with each other’s souls. Just like how MC saves Gavin with her music that fateful day. And soon enough, Gavin comes across MC playing another song in the music room.

That song was Falling Slowly. He doesn’t know the name of the song though, only remembering the melody. Later, he learns how to play the guitar because he liked it and thought that perhaps he could perform it to his special someone one day. Such moments had inspired Gavin to write and make his own songs then record them onto his CDs so that maybe one day she could listen to them.

A thought I had was that did Gavin hear the piano and decide to make a guitar version, only to figure out that he was the missing piece?

Even the music store owner was very impressed-

Just like how Gavin slowly begins to soften up to MC, in the film, the instrumental of Falling Slowly plays when Guy and Girl start to bond. Guy tries to talk to her more but she states that she “has responsibilities”. It’s revealed that she has a daughter at home and a husband still in the Czech Republic. Even so, together, they write and record songs for his journey to London- back to his ex and to pursue his dreams as a musician.

Later, they go out for a spin on his father’s motorbike- he even prepared another helmet for her (SPARKY 2.0??). He asks her to teach him how to say “how much do you love him?” in Czech when they talk about her husband upon finding out that she’s married. She replies with, “it is you I love” in Czech. But he has no idea what she said. (*Grips heart*)

He wants her to go to London with him, start a band, and sell out shows. But she can’t. The song they recorded together “When your mind’s made up” (I have this song on repeat) plays in the car as they drive to the beach before he leaves for London the next morning.

So, if you want something And you call, call Then I'll come running To fight and I'll be at your door When there's nothing worth running for

The music producer is clearly so impressed-

Together, they schedule a time to meet up just before he leaves for the airport. Guy waited all night till morning for her.

But she still doesn’t come. And that was the last time he ever saw her. Just like how MC wasn't able to see Gavin who waited the whole day before he left. This was shown in Old Days Date that I did a heart-gripping analysis on here.

Guy’s father had said, “make your Ma proud.” (*Cries upon remembering Gavin’s loving mother*)

In the end, still unable to reach her, Guy gifts Girl a piano. In the beginning, they had a conversation where they spoke about pianos being too expensive, hence why she kept going to the music store in order to be able to play. Even though they are both short on money, he still manages to buy her a piano- the same one they played Falling Slowly together.

And while the film comes to an end, Falling Slowly plays in the background while Guy is off to the airport.

*Dramatic power-walking*

This was a heartbreaking ending for the viewers because not only that they didn’t end up together, they weren’t able to see each other before he left. And it wasn’t disclosed why she couldn’t make it.

Nothing too fancy happens because again, this was to show a slice of real life, and this proves it to be more tragic and beautiful. It can’t really be described unless it’s experienced. And I had the chance of viewing it not once, but twice.

This film (and song) is important for Gavin and MC because, despite their complicated history of misunderstandings, he always wants to put their relationship first and make the most out of what they have now together. Girl had helped Guy achieve his record deal and pursue his dreams. She had done her part on his journey to becoming an artist and both had to part ways. Without her, he wouldn’t have been able to record his songs and leave. Likewise, without MC, Gavin wouldn’t be the man he is today (hence, Winter World). Gavin is very vocal about this as well.

Gavin lowers his head, and the light follows his movement, descending onto the scrapbook, illuminating every word he writes- “I’m very happy to have met you in the past.” -CN Mark Date

“It doesn’t matter what happened in the past. What matters is every moment I spend with you now.” -Sugar Figurine Phone Call

“Seeing you again is the best present I could hope for.” -The Best Gift Phone Call

"Even though I'm curious about the future as well... I care more about the present. For me, it's good enough to seize the day. As long as you're here. The next second will be everything I need. Protecting what I have now, is the best plan for the future." -School Legend ASMR

With Falling Slowly, it’s quite a straightforward, romantic song. Originally in the film, Guy wrote it about his ex-girlfriend so it does has some sad lyrics. MC didn't know how Gavin knew about it.

Teacher Zheng: Just now, MC mentioned that you play the guitar and bass incredibly. Could you let me hear it? It’d be best if the two of you could play together. I haven’t heard my Orchestra Leader play the piano in a very long time.

To be honest, this is not a “request” at all. If Teacher Zheng wants to hear it, I’ll definitely be willing to play for her. But Gavin…

I cast Gavin a probing glance, wondering if there’s a need to persuade him. To my surprise, he nods.

Gavin: I could, but I’m really not as skilled as she says.

Teacher Zheng: Haha that’s all right. I just want you to use your heart when performing. What’s important isn’t how good it sounds, but the heart.

Gavin: Could I borrow the guitar over there?

Teacher Zheng: Of course.

Basically shown in Mark Date, Gavin’s been preparing for this moment all this time. He already knows what song to play. And what’s so amazing is that the first instrument we hear is the guitar which leads the piano. Therefore, once Gavin plays his piece, MC would know what song it is and then join in with her piano. AND THEY WOULD SING TOGETHER.

Maybe it’s just my misperception, or the sunlight just happened to fall onto his eyes, but I keep feeling as though his eyes are even brighter than usual. It’s as though they are flashing with light.

This is a slightly melancholic song, but the moving light and wind seem to make it refreshing and clear.

🎶 Lyrics 🎶

It's a slower song to help listeners slowly take in the emotions, lyrics and main dueting instruments of piano and guitar with the occasional violin in the back. It's so simple, and yet so powerful.

The guitar has its solos and the piano appears more prominent in the chorus. In the beginning, it's just the guitar, with the piano joining in after.

[GUY & GIRL] I don't know you but I want you All the more for that Words fall through me and always fool me And I can't react And games that never amount To more than they're meant Will play themselves out

Gavin never got the chance to be close to MC in high school, so he showed his affection through other methods. He walked 10 metres behind her after school and was her silent guardian against those who had negative intentions towards her. In the library, he had tried to introduce himself to her, but she had already dashed off.

Before waiting for him to say the introduction he had rehearsed countless times in his heart, the girl had already uttered a “thank you” and hurriedly fled. -CN Tilted Time Rumours and Secrets

Gavin couldn't help but develop this softer side for her and didn’t know how to control it or express it other than doing things such as leaving strawberry milk on the piano and learning guitar in hopes of playing it for her one day.

Those "games" he's referring to were those things they did, such as MC smiling at him when crossing each others' paths in the hallways, and Gavin buying her hot drinks and only looking at her among the snowball fight chaos at school in the Winter. Gavin has no power over how everything will turn out, nor does he try to have complete control over it either.

"... I believe that some things are destined. Like..." -Gacha and Destiny Phone Call

[GUY & GIRL] Take this sinking boat and point it home We've still got time

This "sinking boat" of the relationship is what they're both trying to save. For Gavin, this could be suggested to be about himself.

In a split second, the noise ceases abruptly. After a moment of silence, whispers surface in the crowd. Vaguely, I can catch a few phrases.

“Bad.” “Fighting.” “Misfit.” -CN Mark Date

Gavin had a tough time in high school being the outcast, but MC kept him going, fighting in the name of justice. And had quite literally saved his life. She was his lighthouse when he was battling the rough waters back home. And MC- she was also his home.

“As he clenched his fists, a power deep down within awakened. It was a rapture of rebirth. A declaration of the end of darkness and the advent of the light.” -Campus Date

[GUY & GIRL] Raise your hopeful voice, you have a choice You've made it now

Gavin wants her to realise his feelings, be around and talk to him more- and say "yes". But even so, he still gives her a choice not to, and would have to live with that. Gavin thought she already had when he departed and spent years thinking that her absence showed all of what had to be said.

[GUY & GIRL] Falling slowly, eyes that know me And I can't go back

Gavin's falling slowly for MC (compared to when he fell really fast before MC saved him LOL). Once he starts, he can and would never go back. He hopes that MC would see him the way he truly is.

MC: “I have one more thing to tell you. MC is a bit slow. She is not as good as you think, and will also be blinded by rumours…”

Gavin: “She’s a very nice person. What she thinks of me has nothing to do with anyone else." -Old Days Date

[GUY & GIRL] Moods that take me and erase me And I'm painted black

Gavin can't handle his feelings. (*Cries*)

After being in a daze in the piano room, he’d be in a daze in the library, continuously staring at the empty seat where MC used to sit, and I have no idea what he’s thinking about.

But I really didn't expect a person who sleeps in class to be in a daze in the library for an entire afternoon... Did Bro Gavin and MC have a fight recently? -CN Minor's Memos

[GUY] You have suffered enough And warred with yourself It's time that you won

He states that he understands that the girl had it rough, but if she was to be with him, she wouldn't get hurt. Gavin wants to be the one for her.

"MC, I want to make you happy forever. If... I hope that person is me." -First Year In-Game Birthday Visit

[GUY & GIRL] Take this sinking boat and point it home We've still got time Raise your hopeful voice, you have a choice You've made it now

[GUY & GIRL] Falling slowly, sing your melody I'll sing it loud

Gavin recognises MC's "melody", and urges her to sing (her presence) and Gavin will listen and follow, singing his one, too. Together they will harmonise.

[GUY] Take it all Oh, I played the cards too late Now it's gone

The song finally ends with both the guitar and piano, whereas at the beginning it was just the guitar.

This part is the most powerful and heartbreaking. Gavin regretted not giving the farewell letter to MC directly- from "playing the cards too late", then suffers the loss of her, her presence, and her melody.

But fortunately, in the end, Gavin successfully returned home- to MC.

"Want to play for a while tonight? I haven’t heard you playing the piano in a long time too.

If possible, I’d like to make a song request.

How about “Falling Slowly”?

We could sit by the window and play it together again." -CN Gavin’s Weekly Text - Piano Concert

Somewhere, Gavin is happily playing Falling Slowly with MC.

[kaypeace21]

ignoring the fact that they sound like a married couple arguing, mike and will are also bickering over whether or not el and mike are still together. it was written in the script, rehearsed, performed, and kept in the final cut that will OUTRIGHT SAYS “she said she dumped your ass, that doesn’t sound like a break.” and max yells “it wasn’t!” :@;$:@/&$:&:??!?! they literally said they’re not endgame. they aren’t endgame.

i KNOW right! Based on the s4 movies I think things are reversed and it’s El who can’t accept they are broken up. A lot of films said to inspire s4 have ex gfs refuse to accept the break up -one even hits on her gay ex-bf ( ‘birdcage’ ). Similar scenario in ‘clueless’ with girl hinting on gay guy who just wants to be friends.  Max in s3 having to correct El that Mike is her “ ex boyfriend” and Will saying “that doesn’t sound like a break”. And Max agreeing “it wasn’t!” is foreshadowing they never actually got back together.  IT WASN’T A BREAK! But El may not accept this.

It’s similar, to the random telemarketing joke where they had Mike say on the phone “El, sorry not interested “ and hang up . It was foreshadowing.

In the films the exes constantly call . Mike telling El “i’ll call so often you’ll have to turn your walkie off” was also foreshadowing of what Mike will do to her in s4. Since ,he hung up on her in s3 when she called demanding to know where he was at 9:30 in the morning.  In  ‘swingers’ the guy name mike (whose friends call him ‘gay’)  hangs up on his ex gf who wants to get back together . He hangs up on her so he can talk to his new love interest (Will) . Specifically, Hangs up on his ex as she says  “I love-“. Then in ‘splash’ he breaks up with his gf on the phone and says “do I love you?well what about you?” To dodge the question (then yells at a family member ease dropping on the other line -Karen). And they break up on the phone. And he tells a friend later he never loved her. 

2 movies the ex says they’ll get back together and their new relationships are “just phases” etc ( waynes world,  high fidelity, dumb and dumber). Saying they’re still together when they aren’t  (wayne’s world). Loads of movies had the crazy ex sabotage new relationships, call constantly, stalk, and flirt despite the exes discomfort and repeatedly saying it’s over (despite the ex not loving them and just be possessive and not wanting them with other people).

The exes are cray in the films (el stalking and never apologizing for spying. And mileven dancing to the song ‘every breath you take’ a song about a stalker ex who doesn’t take no for an answer -after their ex hooks up with their friend, wasn’t a coincidence). Along with El watching ‘days of our lives’ where she mimicked erica who was in a relationship with Mike roy. And it ended messy with one of them sabotaging their new relationship, stalking them, and claiming the stalking victim still loved them. (Although, they eventually accepted that wasn’t true).  

El  stalked Mike in s2 (all that stuff milevens found romantic- El watching him without him knowing. Mike said he was not ok with it in s3). And in s3 (like the song) she stalks him after their breakup, and when he said not to do that she just says ‘i make my own rules’. I think s4 shows just how ‘un-cute’ this behavior can get.

 I’ve already talked about that awkward kiss scene to death. But i think it indicates Mike assumes they’re broken up and el assumes they’re back together. 

FIrst he  LIED AGAIN (the cause of the breakup)- and pretended he didn’t confess to her at the end of s3. And never said “ I love you’ back! He even tries to take the words back and  says about the prior love confession “ “Oh! Oh, yeah that.Man, that was so long ago. Um…”  and starts to scratch his head and says everything he said at the cabin was “in the heat of the moment stuff and we were arguing…”

They even frame the scene right before the kiss strangely, making El look larger and imposing, as she approaches. Mike feels cornered (you the viewer subconsciously are supposed to feel claustraphobic/trapped/cornered/stuck along with Mike).

We see him furrow his brows (uncomfortable and confused ) when El initiates the romantic moment, saying “I love you too.”

 And cue most awkward kiss in history- where he keeps his eyes open the whole time and doesn’t kiss back. (In Will’s room, mike in front of an open closet, as el holds Will’s s1 bear.)

 During the kiss, the song ‘the first i love you ‘played. The only other time they played that song in s3,  was when Robin rejects Steve’s  romantic confession and she comes out as gay . Interesting choice for that awkward mileven kiss/confession shown later where El says she loves Mike (and mike keeps his eyes open, doesn’t kiss back or return the ‘I love you’). It’s foreshadowing of Mike rejecting El (in the future) cause he’s gay.

We even see El’s reaction first (happy, smiling and giddy). Assuming they’re back together. But then we blur the screen to see Mike’s opposing expression. He looks confused, bewildered and even furrows his brows again.

Then we see El initiating all the romantic stuff outside.El seems to be the one trying to make it romantic- like Mike hugging el and lucas with one arm identically (hand on their upper back), but El caresses his chest.

And as Mike stops the hug El shoves his head into hers (it actually looked like it hurt honestly XD)

the byler centric ending with the Hopper monologue reinforces this theme. Mike while looking at both cars driving away was thinking of Will . They show this by having Mike be sad as Will drives away (alone) twice as Mike  sadly watches him leave- this was done to show that he’s actually upset the 2 later times where Will and El leave at the same time -because of Will. I showed it in one of my vids here, at 23:11

When we first see Mike during the Hopper monologue , it continues to pan to only Mike and Will (not El) cause what he says is mostly about them. “I’ve been feeling distant from you. Like you’re pulling away from me or something” (Will does this both figuratively/literally). I miss playing board games every night (d &d)”. Then Mike looks back at the Byers house (he just lingers there and looks back as his friends leave without him) like how Will turned to watch Mike leave and hold hands with El  (as the crew  go up the hill without Will).  “But I know you’re getting older, growing, changing. And I guess, if I’m being really honest, that’s what scares me. I don’t want things to change.”

It pans to both of them on  “i don’t want things to change’ cause that’s how they both feel. Mike , ‘doesn’t want things things to change’. He doesn’t want their friendship to change as they ‘get older’ because he’d have to and acknowledge his feelings for Will are romantic and if he’s “being honest” that “scares” him (especially in rural 80s conservative-Indiana at the height of the aids epidemic).  Why we see Mike trying to act like a adult while dating El, and Will trying to act like a kid- they’re both trying to escape  growing up to be gay in different ways. Will reverting to childhood activities and saying he’ll ‘never fall in love’ (after his double date with lumax). And Mike trying to act like “old people’ saying “we’re not kids anymore... what did you expect that we’d never get girlfriends?” Cause he equates straight romance with being an adult and his feelings for Will as something he has to grow out of . Which he learns in the very end isn’t possible.

Right after that scene it switches from Will crying,  to Mike entering his house. His face is visibly red from crying and he looks shocked (almost as if he realized something) before he hugs his mom- to mirror the time he thought Will died in s1. 

And the dialogue in this scene says “So I think maybe that’s why I came in here, to try and maybe stop that change. To turn back the clock. To make things go back to how they were.” He goes back to his mother for comfort, like he did the 1st time he lost Will. But also to reverse back time, to s1, before he realized his feelings for Will are romantic.  When things were simple. I think the last episode is when Mike truly realizes he’s been in love with Will this entire time and he can’t fix it and transfer his feelings for Will on to el (something he’s been trying to do all of s3). El said he loved him and he felt nothing-and he was heartbroken over Will leaving (not El). Which is why he just seems almost shocked/numb as he’s processing this fact. This whole scene only showed Mike and Will transitions- el was never there, cause Mike wasn’t upset over her.

In the last ep (in s3) Mike mirrors the scene in s1, hugging his mom, since he feels like he’s losing Will all over again. In s1 the romantic/queer coded lyric from the song ‘We can be heroes’ plays as he hugs his mom “And we kiss as though nothing could fall. And the shame.”. And during the s3 move  (‘we can be heroes’) plays again!  And David Bowie wrote this song and Jonathan even said to Will  in his ‘being a freak is the best speech’ “who would you rather be friends with David bowie (a queer singer) or Kenny Roggers?”

It’s why finn wolfhard after s3 liked this byler pic. cause s3 was all about Will and Mike denying their feelings for each other.

Not to mention,After s1 Finn quoted the  Duffers saying Mike thought of El as a “puppy’ (dart) or “et” , and then said  Mileven was a  “first summer love thing”- foreshadowing mileven’s downfall during the Summer (aka s3). He repeats this “first summer love” phrase 2x.  Millie when he mentioned what the duffers said rightfully thought the puppy thing was “awful”, but Finn was clearly told mileven doesn’t last -very early on- and most likely the Duffers told him “it’s like a first summer love thing”.Summer love” by definition fails-as it only lasts during the summer.

[fromthefishbowl]

10 italian songs that are terribly horny

Kind of a sequel of this post I wrote about the three Italian songs every Italian knows without fail, here comes another in the same vein and, as you might guess from the title of the post, they all are horny.

Because there’s absolutely no need to title your fic about Nicky losing his virginity after a Hozier song, when the Italian music scene of the 1970s has already blessed us with Cristiano Malgioglio!

Beware that this list features: threesomes, implied choking, implied masturbation, lengthy descriptions of dicks, and a whole lot of “dying”.

So, if you’re new to the Italian music scene, I bet you now have two questions: who is Malgioglio, and why is that “dying” in between quotes?

Cristiano Malgioglio is an Italian songwriter who has been working in the music industry since the early Seventies. Now known mostly for his flamboyant style and white strand of hair in his otherwise completely black head, he was a close friend of Fabrizio de Andrè, who was actually the one who introduced him to the music world. He has written a lot of songs that are LGBT+ themed and has always been very open about his sexuality, to the point that he has never even felt the need of coming-out. Out of the ten songs here presented, he has written three of them, and one of them is about one of his boyfriends.

As the censorship didn’t allow for song lyrics to be too explicit, songwriters and singers had found a way around it: rather than saying “coming” or “orgasming”, they would go with “dying”, which was a lot more elegant and could be inserted in literally every song without the censors being able to complain. And, trust me, there’s a lot of dying.

Here is the list, from the least horny to the most horny.

Chi Non Lavora (1970), by Adriano Celentano

Link to lyrics and translation here.

Commonly called Autunno Caldo (Hot Autumn), the workers strike that begun in 1969 and dragged itself into the August 1970 greatly influenced this piece (but for all the wrong reasons). Workers were demanding safer working conditions, which had been completely ignored up until that point. As the days went on and the more people joined the protests, the police got more and more violent, to the point that they had begun shooting people on sight. This caused a huge uproar from the protestors, and when the voice that people had been shot and harmed by the law enforcement, even more workers and even students joined the fight. Through a year of strikes, they forced the Italian government to create a new set of laws that would protect both workers and students.

The song mocks this movement: the singer complains about the fact that, since he is on a strike two days out of three, he cannot give his wife enough money and therefore she’s going on a strike too and won’t have sex with him. Basically this song is nothing but the woes of a privileged, extremely wealthy man who thinks that people protesting for the rights of a safe work environment is inopportune and stupid.

The only reason why I included this song is because “Chi non lavora non fa l’amore” (Those who don’t work don’t make love) is still very much used to this day. If you want a piece of media that actually explores the protests and the work environment of the time, I suggest watching La Classe Operaia va in Paradiso (The Working Class goes to Heaven), a movie from 1971.

10 Ragazze per Me (1969), by Lucio Battisti

Link to lyrics and translation here.

Lucio Battisti is a national treasure and if I’ll ever do more of these, he’s surely going to end up in more of them. Whereas De Andrè would write more traditional music and focus on the lyrics, Battisti’s music was a lot more danceable and his lyrics a lot lighter, usually focusing on loneliness and heartbreaks rather than social issues.

In this song, the protagonist is bragging about how he wants ten girls for himself, all for different reasons (one because she knows how to dance, the other because she’s a virgin, that other one because she has been with everybody but him). It is soon revealed, however, that the only reason why he’s doing it is because he’s still thinking about a very specific girl who broke his heart.

Remembering the note above, peep that “And red lips to die upon”.

Gelato al Cioccolato (1979), by Pupo

Link to lyrics and translation here.

First song written by Cristiano Malgioglio and also the one about his ex! And yes, it was sung by another man, but... oh, well. The lyrics are the same.

I feel like the only thing I need to say, about this song, is to quote it directly: “Chocolate ice cream, sweet and a little salty”. And that’s it, because the subtext is right there and it’s impossible to miss what it implies.

What I think should be added is the fact that the singer had absolutely no idea of what the song was about. Like none. It was only in 2007 that Malgioglio told him that he had been inspired to write it after spending a torrid summer in Tunisia, where he had gotten a boyfriend with whom he’d often get ice cream.

Carlo Martello Ritorna dalla Battaglia di Poitiers (1967), by Fabrizio de Andrè

Link to lyrics and translation here.

Translating this song absolutely murdered me: Paolo Villaggio, one of De Andrè’s best friends and an extremely important figure in Italian entertainment history, wrote it to play over Middle Ages sounding music, so the words chosen and the way sentences are structured are reminiscing of that time, and it was incredibly hard to find English words that matched.

This said, it’s possibly one of De Andrè’s most light-hearted songs (probably because he and Villaggio wrote it while their wives were giving birth to their sons), even if it does mention social issues.

King Charles Martel comes home from Poitiers but has lost the key to his wife’s chastity cage, so he doesn’t even go home before looking for another girl that can quench his thirst. He sees a beautiful maiden taking a bath and, seduced, convinces her to have sex with him. It is only when he has finished that she reveals that she’s actually a prostitute and now he has to pay her, but he runs away before doing so (but still after having complained about the rising prices).

The lyrics of this song were censored and fought against by the censorship so much that, even to this day, records with the uncensored version are extremely difficult to find.

Una Carezza in un Pugno (1968), by Adriano Celentano

Lyrics and translation here.

Yes, another Celentano song. I don’t like him either, it’s just that we cannot get rid of him for some reason.

Anyways, here we begin to get into hotter waters, as this song is about a man asking his girlfriend to think of him while she masturbates. Of course, since he cannot be left out of the question, he will think of her while he jerks off too.

Basically, unlike what a first read might make you think, the “fist” he makes while thinking of her is not because he wants to beat her up.

Il Triangolo (1978), by Renato Zero

Lyrics and translation here.

Renato Zero is another extremely flamboyant personality of the Italian music scene, and “Il Triangolo” is one of the songs of his that are best known.

As the title may suggest, this song is about a threesome. The protagonist goes on a date with their boyfriend and finds out that he has brought a second man, with the intention of convincing said protagonist to have a threesome. Although at first they need a little convincing, the protagonist then agrees to it and finds out they enjoy it a lot, to the point of coming to the conclusion that “Geometry is not a crime”!

Kobra (1980), by Donatella Rettore

Lyrics and translation here.

This song is about dicks, there’s no way around it and there’s nothing else to say. The singer sees a certain man and thinks about his dick, getting wet and fantasizing about the many things she could do with said dick. That’s it.

Pensiero Stupendo (1978), by Patty Pravo

Lyrics and translations here.

Second threesome song!

Unlike “Il Triangolo”, this song is a lot more subtle. It’s clear what the singer is talking about, but the lyrics are not as on the nose and leave more to the audience to feel it, rather than hearing it through words.

The song begins with the three people part of the threesome that are already doing it, and are still doing it by the time the song ends. It’s not about the act in and on itself, but more about the sensations it brings.

Ancora ancora ancora (1978), by Mina

Lyrics and translation here.

Second song written by Malgioglio!

Mina is probably one of the best known Italian singers, as her voice is said to be one of the best in recorded history and has an impressive rage of three octaves, so it really says something, the fact that this piece is so difficult that even her voice broke while holding a note (in an incredible way that only gives it character, but still).

The lyrics play with the fact that in Italian the word “ancora” can be translated and understood as “still”, “again”, and “more”. I couldn’t really give it justice in the translation, but it’s as if she was saying “Your hands still”, “Your hands again”, and “More of your hands” at the same time, and this kind of logic is repeated for every “ancora” she sings.

Even if the lyrics are suggestive, what was censored in this case was the video (the one linked with the song), as the close shots of the singer’s face, and especially of her mouth, were considered to be too sensual to be freely aired.

L’importante è Finire (1975), by Mina

Lyrics and translation here.

Third and last piece written by Malgioglio!

The story behind this song is a little nebulous, but I have read that apparently Malgioglio wrote it for Dori Ghezzi, De Andrè’s wife, but that that project never came to life and, in the meantime, he had managed to meet Mina, and had tried to get her to sing it. But... not sure if this story is directly related to the song in question or not.

Anyways, even for this piece it’s impossible to escape it’s meaning, to the point that, even if it didn’t contain any forbidden words, it was censored anyways for weeks, forbidding radios to air it and Mina to sing it on TV. However, people were so eager to listen to it that it still managed to climb the charts and was, eventually, allowed on air.

[shemakesmusic-uk]

Frontiers Music Srl is pleased to announce the release of 'The Flood', the new single from the Portuguese alternative metal act Kandia. The single precedes the band's upcoming label debut, due in early 2022. Kandia create raw, melodic and sensual music that delivers a positive message while retaining an aggressive sound. “We are excited and very eager about working with the Frontiers label,” state the band. "They are passionate about music and we are proud to be part of their family. Our upcoming new album definitely has our identity stamped on it, but we always like to experiment with new things. The hard times we have all been going through are actually giving us much inspiration, so this record will be filled with different emotions.“

Italian symphonic metallers Eternal Silence's new album Timegate Anathema is out now. For the album's release, Eternal Silence is sharing the new music video for their single ‘Edge of the Dream’, a powerful song, with heavy riffing and a strong orchestral section. The alternation between female and male vocals designs a catchy melody together with the inserts of the choir. “Since the very beginning this song was there, and it looked like it was always there. Alberto wrote it in the initial stages of the preparation of the album, but it wasn't immediately chosen to be part of this work. Marika took part in writing the lyrics and we struggled a lot to find a good solution for the chorus. Everything fell in the right place when we were recording in studio and with Michele Guaitoli we had the idea of a choral part in the chorus, used as a counterpoint to the main voice. The result was one of the most epic songs we've ever written.” adds the band.

After setting the music world ablaze in May with the release of their mind-bending latest full-length album, Initiation, fans instantly clamored for more SUMO CYCO. Those prayers are now answered with the drop of the official Initiation Digital Deluxe Edition. Featuring peppy new single ‘Sun Eater,’ plus additional limited edition tracks ‘New Jive,’ ‘We Are The Nation,’ and ‘Awakened,’ the Initiation Digital Deluxe Edition is available now. Fans can check out a delightfully demonic new music video for ‘Sun Eater’ below. [via Outburn]

Once Human, the band featuring ex-Machine Head guitarist Logan Mader, is now streaming their new single ‘Only In Death.’ The single almost feels like a ballad with its lilting rhythms, but still remains plenty heavy and clear outta "ballad" territory. "This is my most personal song on the new album. It meant so much to me, that I really needed to get my hands dirty with the visuals," said vocalist Lauren Hart. "Logan and I filmed everything to keep the song’s the raw meaning. Musically, it’s very emotional and dire, and the outro is probably my favorite piece of music on the album!" ‘Only In Death’ is off Once Human's forthcoming album, and first since 2017, Scar Weaver due out February 11. [via Metal Injection]

This September, the Symphonic Metal Band Shattered Vessels arrived on the scene with their first single ‘Portrait of Us’. A track that will be part of their first EP Humans are Alive. A melancholic composition of Symphonic Metal made up of romantic pianos, cellos and dark operatic vocals, fused with the intensity of distortion-laden guitars and piercing percussions. Mixed and mastered by Jacob Hansen. An audio engineer of bands such as Epica, Fleshgod Appocalypse and Volbeat. ‘Portrait of Us’ is a song that reflects on the toxic relationships that drain our potential and distancing from them to drive our growth. [via Metal Goddesses]

After dazzling the alternative scene with their recent mini-album Vampire, Saint Agnes are back with a new self-made single that sees them at their most hardcore. From that very first line of ‘Die! Fucking die’, you know you’re in for something intense with ‘Uppercut!’. The harsh, frantic lyrics strike out at self-doubt and criticism, proving that you can often be your own worst enemy. It’s a hardcore horror-punk type of defiance that’s going to make their live performances unmissable. Here’s how Kitty A Austen described ‘Uppercut!': “Uppercut! is about fighting with yourself, fighting with your own mind. No one is more brutal to us, more precisely evil in their criticism, than the voice in our own heads and it’s something I’ve struggled with a great deal in my life. Uppercut!’s message is one of self-destructive defiance: do your worst but it won’t be a patch on what I already do to myself. It’s a song that lives at rock bottom but hopefully lets people feel less alone if they struggle with the same thing. It’s the most honest song I’ve ever written and I hope, when we sing it together on tour, that we can silence those voices together. It’s also brutal as fuck and hits like an uppercut to the jaw, so that’s fun.” [via Gigwise]

[taylizmasterpost]

Liz After the Agency (September 2012 - September 2014)

So, Liz is spiraling. Her mental health isn’t doing great. And she was just asked to leave The Agency (presumably to take care of herself, although the public reason given was for her to start a solo career). Things are bad.

However, in the darkness, there’s always a light. And the light for Liz, in this case is her neighbor, Bryan Brown.

24 September 2012 - Liz and Bryan tweet at each other for the first time:

17  October 2012 - Taylor writes This Love:

Now, this COULD be about Liz, considering the back and forth. However, I’m more inclined to believe Taylor wrote this about Swiftgron’s first break up, right after they got back together, which you can read more about here. 

The same day, Liz makes a vague tweet about jealousy:

It’s crazy weird to me that the same day Taylor is celebrating getting back together with Dianna and writing This Love, Liz is pissed off and jealous about something. Coincidence? Maybe. But I don’t think so.

22 October 2012 - Red is released. According to a later interview with the photographer who did the Red booklet (who happens to be Liz’s current roommate), Taylor based the concept of the photoshoot on some headshots they’d taken for Liz: 

“Taylor is a mutual friend of ours. Stephen and his brother were friends with her years before, and I became friends with her separately. What ended up happening was one of her background singers needed headshots. When Taylor saw them a few months later, she came to me and was like, “Liz showed me the shots you took of her, and I need my album to look exactly like that.” Clearly, this was a no-brainer. I said, “OK!” Before then, I’d been kind of burned out on music photography. A lot of the shoots were super controlling. I needed a new perspective on the field itself and wanted future shoots to be very free-flowing — just the artist and a minimum crew. Luckily for Stephen and me, that’s exactly how Taylor presented the Red album shoot. So it was just the three of us shooting everything together. She wanted everybody else to remain off set, allowing for a more personal and intimate experience.”

So, I don’t know why Taylor did this. Maybe she wanted to look like a hipster for the Red album and Liz was the best she knew. Or, maybe, she wanted to scream to those who knew her well that this album was about LIZ HUETT. 

In this series of Liz headshots, there’s also one specific photo of Liz wearing the Stevie Nicks moon necklace that Taylor possibly gave to her:

Is this possibly one of the reasons why Taylor wanted to mimic them for the Red album? 

Later that day, Taylor goes on Good Morning America and says she wrote a new song “like two days ago” (probably talking about This Love?)

And after that, Taylor tells the LA Times that Begin Again and State of Grace are about the same person:

“There were a few track list choices I knew I was going to make way in advance,” she said. “I knew I wanted to bookend the album with ‘State of Grace’ and ‘Begin Again’ because they’re inspired by the same person who inspired a few songs on the record. I wanted to start and end the album with the first and last song I ever wrote about that relationship.”

“Then in between those songs, I wanted to paint a picture of the ups and downs I’ve experienced in life and love, not necessarily in the order it happened chronologically,” Swift continued. “I like to spread the emotions out in a way that never makes you feel like there’s a sad lull, then a burst of four songs in a row about joy. At the end of the day, I make a track list based on what my gut feeling tells me.” ‘Begin Again’ is my song version of a cliffhanger ending. Throughout the whole album, there have been songs about the trials and tribulations of love and loss, and there at the end of the record it starts all over. As soon as I wrote that song, I knew exactly where I wanted to put it.”

Now, I don’t think this means Begin Again is about Liz. I think it means that Liz is the past relationship in the song, and Dianna is the present. And Liz actually has a song called “Good About Her” that kind of mirrors Begin Again and I find that HILARIOUS and also kind of a smoking gun.

26 October 2012 -Taylor goes on Katie Couric. Katie asks if Taylor’s ex in WANEGBT got the message and Taylor says she “hasn’t heard from him since” and also mentions “some of my exes like to write really long emails.” Now, if the song is about Liz, this is a lie, because she definitely did get lunch with Liz after WANEGBT came out. However, I think it’s fair that what she’s hinting here is that things did not end well in that messy relationship.

25 October 2012 - Liz quote tweets Caitlin about crying on the treadmill to All Too Well :

8 November 2012 - Liz releases Never Know on YouTube:

The lyrics that make me think this is about Taylor are the “now and then I catch myself singing your old song.” ESPECIALLY in the context of that treadmill tweet and Liz probably having written this during her Nashville sessions over the summer. However, it could also be about Jason, who, as we know, was a struggling musician before he became a photographer.

18 November 2012 - Taylor shoots the MV for IKYWT, wears the same black and white shirt she wore around when Liz first joined the band. Liz calls the news of her leaving the Agency “bittersweet.”

And “bittersweet” is the exact same phrasing that around a week later Taylor would say the ex who most of Red is about used to describe listening to the album:

19 November 2012 - Ali Puliti tweets about listening to two Liz demos -- Blessed Are the Brokenhearted and Dammit, meaning this song, which wouldn’t be released until 2018, was likely written during those summer 2012 songwriting sessions:

When the song was eventually released by Jana Kramer in 2018, Liz posted this on Facebook:

The song also notably contains the lyric “cause I could hear you in the kitchen, playing your guitar” which REALLY REALLY makes me think of Taylor. Although it could maybe be for Jason, who was also a musician.

Here’s the story Liz told about the song:

“‘Dammit’, actually, was a story that I lived out. Like, I was with somebody I was, you know, getting very serious. We were talking about starting a life together and we even had this house, like, picked out in the city where we lived and we would drive by it and be like ‘one day when we buy that house’. And, so, when we broke up, the pain of, like, saying goodbye was really, you know, really intense, but it was also mourning the loss of the hypothetical future. So, it was like saying goodbye to the past memories and stuff, sort of what we almost had and that’s where that song came from. So, honestly, I didn’t write it for anyone else, but myself, truly. But, um, it’s beautiful that music has such a way of resonating with someone who might not even know and they connect with it so much that another artist would want to sing it. It’s such a high compliment.”  

And here’s a quick clip of Liz singing it. So, seems like a Jason song, if not for the fact that she wrote it almost a year after they broke up and kept it hidden for years before eventually giving it to another artist.

13 December 2012 - Taylor’s birthday. Liz does not wish her happy birthday. This, to me, is the biggest evidence that there’s some amount of bad blood between them at this point.

14 December 2012 - The Music Video for IKYWT comes out. Taylor wears a shirt she wore a LOT when TayLiz was first a thing in 2009. She also wears a key necklace, which will be important later.

17 December 2012 - Liz posts a picture from Claire’s birthday party using a picture without Taylor in it (even though it seems fair to assume Taylor would’ve been invited).

20 December 2012 - Liz tells a fan her favorite song from Red is All Too Well:

21 December 2012 - Liz wishes Claire happy birthday. Further signaling bad blood with her and Taylor since she didn’t bother to do it for Taylor.

9 January 2013 - Liz releases Blessed Are the Brokenhearted:

Here she describes love as “burning up out of control” which is the same phrase Taylor used on Red -- “burning red” -- and Begin Again -- “I’ve been spending the last eight months thinking all love ever does is break and burn and end.” Also, the idea of love as an out of control flame really does describe their relationship.

20 January 2013 - Liz releases One Hand on the Wheel:

Here, much like in Red, Liz describes a relationship using the metaphor of a car. The relationship is messy, maybe even toxic. There’s even a lyric that sounds like it could be out of treacherous: “Being wrong shouldn’t feel so right like it does / But it does.”

22 January 2013 - Liz releases Wreck of Who I Am.

This is the song that is the strongest evidence for me that Liz WAS going through some mental health stuff over the summer when she was doing all this songwriting, and that that Reddit post about running into a drunk Liz who said she was fired for being “out of control” seems somewhat accurate. Here Liz sings about her battles, the way she’s losing them, and asks her younger self what she would think if she saw her now.

I’m not going to go into too much detail on Liz and Bryan (since unlike her and Jason there’s no need to use them to say much about TayLiz) but, despite his flaws, he was the person to pick Liz up off the ground when she was feeling this way, so he should get some credit for that.

Sometime around this - Liz releases Stones. Similar upbeat nature to Blessed Are the Brokenhearted with mentions to some of the struggles of Wreck of Who I Am.

Choice Lyrics:

When you’re knocked off your throne And lying on your back Things will never be so clear Cause when you see it all like that Sooner or later it comes around Yeah we all taste that bitter truth But all the stones you’re throwing now Will be the ones they throw at you

Also with these batch of songs, we get Sun Out of the Rain:

So baby, hold on, the storm will roll away It may be pouring down, but it’s only for today A million pieces might be falling into place And when there are no words to say We’ll make the sun out of the rain

29 January 2013 - Chantelle Paige posts a picture of Liz and Taylor and talks about a “sad night turned awesome.” Once again, I think this is a throwback from that night in 2012.

2 April 2013 - Liz goes to therapy. Her and Bryan are dating at this point.

2 September 2013 - Liz tells a fan on twitter that she hasn’t been to any of the Red shows, which to me definitely backs up that fan account of Liz being bitter about being fired.

23 December 2013 - Liz wishes Taylor Happy Birthday. This seems like a peace offering to me, considering they haven’t spoken in like a year and she refused to do this the earlier year. Also worth noting that Swiftgron is on its last legs at this point.

1 March 2014 - Sara Evans releases Put My Heart Down, which was co-written by Liz and is about walking away from a toxic relationship:

Now, from what I know of Liz and Jason, this doesn’t seem like their dynamic at all. It’s too soon for it to be about her and Bryan However, it does remind me a LOT of what Taylor was writing about on Red. Her are some choice lyrics:

I never pictured us fighting this much Thought we were figured out, but it’s so messy now Your words cut so deep and I think you should leave

Put my heart down and walk away This kind of love is dangerous So pack up all your things, just leave some air to breathe A million toxic tears fallin’ like rain over here This is the final hour The end of our story tonight And I don’t wanna fight

Now, please go listen to Treacherous, Battle/Let’s Go and Story of Us and tell me this is not the same relationship.

Bonus though, this song is copyrighted for 2014, making it make even LESS SENSE for it to be written about Bryan. 

17 July 2014 -  Timothy James Brown releases a song called Change My Mind that was co-written by Liz. I’m out of video links, so here are some choice lyrics:

All the horses became soldiers Dark as night to drag me away A complicated kind of heartbreak When you promise somebody you’ll stay

I know you’ve been hurting I know more than most I don’t have the courage Where you’re going, I can’t follow

To me, this reads as Liz making peace with leaving the Agency. She recognizes her demons, and how they ruined her relationship with Taylor, and says “where you’re going, I can’t follow” because she’s not in a good enough place to keep touring with Taylor.

So things are looking bleak in TayLiz land. However, Liz seems to be recovering! She’s writing songs acknowledging some problems in the relationship and her own battles, and she’s also in therapy and dating Bryan. It’s time for some reconciliation. But first, let’s see what’s up in Taylor-land:

Liz References on the Red Tour