#this has to be an album rollout. right? right???

[still-talkingalot]

🕯️ 🕯️ JR3 🕯️ 🕯️

[daisyswift3]

A Summary of the 🎃 Messages--The Overarching Story

So I just realized sth abt the 🎃 messages while listening to ttpd—they’re in chronological order!! I am going to try to give a summary of these messages and explain why I believe this. This album has made 99% of her songs, mvs, metaphors, and symbols make perfect sense. There were always some things like getaway car, cruel summer, and the palm trees in rep era that I could never quite figure out but now it's all crystal clear. It's like ttpd is the last piece of the puzzle needed to make everything fall right into place and to see the whole messy complicated story. One thing I want you to take note of as you read this summary is how incredibly consistent Taylor is w her use of metaphors and symbols. This makes solving the puzzle that is her music more like solving a cypher that you can know you solved correctly bc all the symbols will fit together perfectly just like a secret code. Once you understand what one symbol represents you now know what it means every time you see it. Every word or phrase she uses is intentional and there's not a single easter egg that's out of place. You'll notice in ttpd there are several words and phrases that are repeated bc she wants us to know that certain songs are related. 🎃 anon said there would be many connections and foretellings in the messages that we could find if we held them to the light in the coming unfoldings, and boy they were not wrong. So w/out further ado let's get into it (just a warning though this will be pretty lengthy so grab your favorite drink, some snacks, and get comfy).

1st message: The first one starts right before rep era when her rep started going down and she started feuding w her record label. These are the obstacles she didn’t see coming that made her slam on the (getaway bike) brakes (which were cut so she had to use her foot to slow down) and not come out. The "heel damaged" could be a reference to Achilles' heel since this was a weak spot she didn't see or it could be a reference to Jesus' heel being bruised in the 1st ever biblical prophecy (see this post for more on that). This was her first big pivot and change of plans. Many ppl have theorized that TS6 was originally going to be a different album--perhaps lover/daylight--but kimye and BMR got in the way of that. This would explain why she wears an outfit w palm trees on it while cutting the wings off her TS6 jet. She spray paints "reputation" on it which seems to indicate it was a haphazard last minute change of plans (x). Plus the endgame mv has palm trees and shows Miami, Florida (which I think is related to Florida!!! but I'll have to get to that another time) connecting it to "Island breeze and lights down low, no one has to know...In the middle of the night in my dreams I know I'm gonna be with you so I take my time." Miami is the paradise where her endgame happens. This all seems to indicate she was ready for "daylight" or "paradise" during rep era but had to pivot.

The Prophecy: “Hand on the throttle, thought I caught lightning in a bottle, Oh but it’s gone again"

2nd message: This is abt the lover rollout that started in spring of 2019 -> "The time draws near, springtime sunshine causing small drips and fractures." The ice castle likely represents the lover house (her music empire, past eras, and closet) since she burns it down w a match just like she does in the eras tour visuals and midnights -> "You strike a match and blow the smoke toward the structure that shelters and protects you. Suddenly, you hear a crack, a crunch, a whoosh. There is a sudden give beneath you, and you tumble through the broken, melting hole in your palace." The ivy reference (spring breaks loose, the time is near) just solidifies my theory that ivy is a song abt an eventual kaylor reunion that will happen before she burns all the files and deserts all her past lives (eras).

Lover era was her second big pivot. I believe she knew there was a very good chance Scott B would sell her masters all the way back in rep era hence why she says "I'm always waiting for you just to cut to the bone, devils roll the dice" (see this post for more on that). "However, in this suddenness you find yourself still somehow underprepared, kicking yourself for the time you squandered by wallowing in the seeming endlessness of your predicament" -> Her being unprepared to come out along w the mastersheist is what caused her to miss her 2nd opportunity to come out. She was so caught off guard that it made her indecisive. And so she played it safe and stayed in the closet -> "Our coming of age has come and gone, suddenly this summer it's clear I never had the courage of my convictions as long as danger is near." Remember how I said Taylor is very consistent w her use of metaphors? Well I made a post a while back explaining how folkmore represents the seasons bc summer = daylight and winter = closeting and folkmore was Taylor trying to come to terms w her 2nd failed coming out hence the grey and beige ("I'm just a paperweight in shades of greige"); so that means the ice castle = winter = closeting and springtime sunshine = almost daylight = almost being out of the closet (and spring was also the time when the lover rollout started so it has a more literal 2nd meaning to it as well).

The Albatross: "So I crossed my thoughtless heart spread my wings like a parachute, I'm the albatross, I swept in at the rescue." [I think there's a good chance this song is abt Scoots so it makes sense the parachute metaphor, which relates to her masters and failed coming out, would be used in this song]

The Bolter: "By all accounts, she almost drowned when she was 6 in frigid water...It feels like the time she fell through the ice then came out alive." ['Long story short I survived']

3rd message: This is abt the mastersheist (diamond heist) during the summer of 2019. It parallels the I Can See You mv exactly (see this post). In hindsight it now makes perfect sense why 1989 tv didn't have any mvs--bc the Fortnight mv is a direct continuation of the ICSY mv! Before the Fortnight mv, the ICSY mv was the most recent one. She didn't want anything between those 2 mvs so that it was obvious they were directly related. Her losing her masters and her 2nd opportunity at daylight is what drove her to insanity and caused her to end up in the asylum -> "I find the artifacts, cried over a hat...I trace the evidence" // "And so I enter into evidence my tarnished coat of arms, etc" | "Is it okay? Is it you? Or have they come to take me away?"

"Mere feet away from the light of freedom...Your getaway bike begins to leave without you, sparks flying as the tires try and fail to slow down for you. You have frozen in this moment of indecision" // "It was the great escape, the prison break, the light of freedom on my face...he was runnin' after us, I was screamin', 'Go, go, go!'" -> There are 2 getaway car mentions in this message which emphasizes its importance. This is likely for a few reasons: 1) To explain what the song getaway car was actually abt--her feud w BMR, not the beards 2) To show that message 1 and 3 are related; the getaway bike is mentioned in both since both are abt her masters 3) To show that the lover era pivot was actually just history repeating itself; this is what Cassandra and the Prophecy are abt.

Cassandra (notice the piano melody from mad woman): “So they set my life in flames, I regret to say do you believe me now? ['If I'm on fire, you'll be made of ashes too']…They knew, they knew, they knew the whole time that I was onto somethin', [She knew there was a good chance her masters would be sold as shown in cruel summer] The family, the pure greed, the Christian chorus line" ['Now he sits on his thrown in his palace of bones praying to his greed']

Fortnight: "I was supposed to be sent away But they forgot to come and get me I was a functioning alcoholic 'Til nobody noticed my new aesthetic [Her fans didn't notice the shift from rainbows and pastels to black mourning clothes during the lover era] All of this to say I hope you're okay But you're the reason [The you in the song is Taylor; she's the reason she decided to stay in the closet] And no one here's to blame But what about your quiet treason?" [Taylor's indecisiveness is what led her to not come out the 2nd time]

loml (This is from Karlie's pov): "Mr. Steal Your Girl, then make her cry...You shit-talked me under the table talking rings [Paper Rings] and talking cradles, [Lover mv] I wish I could un-recall how we almost had it all, [They were so close to daylight]...It was legendary, It was momentary ['I touch you (daylight/sunshine) for only a fortnight']...Our field of dreams engulfed in fire" ['So they set my life in flames']

Florida!!!: "Little did you know your home's really only a town you're just a guest in, ['I touch you (daylight/sunshine) for only a fortnight'; 'And so a touch that was my birthright became foreign'] So you work your life away just to pay for a timeshare down in Destin" [Taylor did all this masterminding and planning just to end up still stuck in the closet and bearding and only being able to see her lover in stolen private moments]

Fresh Out the Slammer: "Another [cruel] summer, taking cover, rolling thunder, he don't understand me"

The Bolter: "But it always ends up with a town car speeding" [getaway car]

Peter: "Forgive me Peter, my lost fearless leader, in closets like cedar preserved from when we were just kids, Is it something I did?" [Peter is herself; 'I'd be a fearless leader' and the fearless album; 'closets' is obvious]

How Did It End?: "We were blind to unforeseen circumstances, We learned the right steps to different dances, and fell victim to interlopers' glances, Lost the game of chance, what are the chances?...It's happening again" [This is the 2nd time she's lost the opportunity to come out]

I Can Do It With a Broken Heart: "I'm so obsessed with him but he avoids me like the plague" [They're in love w each other but can't be together in public; 'Break my soul in 2 looking for you but you're right here']

Down Bad: "For a moment [a fortnight] I knew cosmic love, now I'm down bad crying at the gym...'Fuck it if I can't have him I might just die it would make no difference'" ['You (Taylor) told Lucy you'd kill yourself if I (Karlie) ever leave']

5th message: Out of all the messages this is the one I'm the most uncertain abt. But I think it is possibly about JA leaving before his contract was up. "You are in a kitchen. Not your kitchen, of course. Your kitchen is soft and cozy and sacred. THIS kitchen is hard and cold and purely functional" -> This is not the sacred kitchen from Cornelia Street that she shares w her lover, this is a PR stunting kitchen that's a false imitation of the real domestic bliss she has. A few yrs ago kaylors were talking abt how Karlie has a kitchen that she only uses for PR/social media purposes so pumpkin anon could've been trying to remind us of that. These 3 messages from flag 🏴󠁧󠁢󠁥󠁮󠁧󠁿 anon make me think the breakup happened sooner than planned.

The July 29 message wasn’t meant to be posted until Oct 8 since it was hinting at the Toe breakup happening 5 months later in mid March, 2023.

The Nov 23 message mentions a “shift of footing” which we all agreed meant Toe 🦶 was over. The Dec 5 message w “the need to flex is sometimes necessary” directly following the Toe breakup message is what really makes me think it wasn’t planned. They had to pivot/flex but “other milestones are resolute” meaning the endgame is still the same—K and T will still reunite and both will be out of the closet at a certain time. Plus there’s the “…” at the end of the Nov 23 message which also indicates the Dec 5 one is a direct continuation of that message.

To add more credibility to this theory, RFI and SIG also have ellipses. RFI always seemed like it was supposed to be a direct continuation of SIG bc SIG sets up the “chess game” w her and her lover doing magic and pulling the wool over everyone's eyes, and RFI is when this chess game officially begins, "baby let the games begin."

Some other kaylors said they thought “the need to flex” meant that she wanted to give anti hero more time on the charts so she was flexing or showing off. But I think it makes more sense for it to be related to London Boy himself and not having him as a beard since that’s the whole purpose of having the 🏴󠁧󠁢󠁥󠁮󠁧󠁿 flag. I could be wrong though.

So Long, London: “Pulled him in tighter each time he was drifting away…Holding tight to your quiet resentment…Every breath feels like rarest air when you’re not sure if he wants to be there” [This may mean that JA kept trying to break free from the contract and Taylor kept trying to convince him to stay but it didn’t work]. "My spine split from carrying us up the hill, Wet through my clothes, weary bones caught the chill" ['They are bowing out, leaving you with double the workload, now half burnt and smoking. Their duties weren’t finished, and yet there is nothing you can do to make them stay. Shaken by this loss, chaos descends upon the team. Most roll up their sleeves to work harder']. "And my friends said it isn't right to be scared, every day of a love affair" [There were several blind items talking abt how JA was hooking up w men in a very unsubtle way; this could be what the 'cheating husband' mentions in ttpd are abt]. “Two graves, one gun” [Makes me think of a smoking gun which could be what the 'smell of smoke' in the message was alluding to. Maybe JA threatened to reveal her secrets if she didn't let him go and he had the smoking gun evidence to do so which was the recipe card. 'This time is different. Because you know this person actually has the means to share the secret menu, and that they have enough proof to make the waiting guests believe them.' -> I mean if anyone could convince the general public it would be the man who was supposed to be her boyfriend for 6 yrs]. “And you say I abandoned the ship but I was going down w it, my white knuckle dying grip” ['But you have never been one to lay your armor down. When you fail, you fail gloriously. When you go, you go kicking and screaming']. "I didn't opt in to be your odd man out" [She didn't want to be his beard just like he didn't want to be hers; and odd man out is a game that's played w 3 ppl where the odd man is the loser who's eliminated bc he didn't have a match]. "I founded the club she's heard great things about" [The Tortured Man Club -> The Tortured Poets Department that she's chairman of]

7th message: This message is all abt the domestic bliss she has away from the public eye. She has worked so hard to make sure her secrets are safe by building a tall impenetrable fence. However, she chooses to intentionally blow a dandelion full of secrets--perhaps ttpd is the dandelion w all the songs being the florets or secrets. There is one floret in particular that she’s worried abt—my guess is it’s Robin since it’s so damning if you know what to look for. Plus the song Robin parallels this message perfectly and evokes the same imagery. And to add even more credibility to this theory, the lyric vid for Robin has dandelion florets in the background. See these posts: (x)(x)(x)(x)(x)(x). "You are walking through your yard. It's one of your favorite places, all sprawling garden rows" -> Betty's garden; "your wife waters flowers," etc. "There are daisies - so many daisies - in every shade of your rainbow"--I don't think I even need to explain this. "Your lover and your fresh baked buns are safe. (The buns, of course, are in the oven turning golden as you speak. It's an old family recipe, jotted lovingly on a recipe card.)" -> The recipe card is perhaps a picture or some other sort of smoking gun evidence of Taylor's family and it connects the 5th and 7th messages together. And the meaning of "buns in the oven" is pretty obvious. "Golden" refers to Karlie.

Robin: "Higher and higher, wilder and lighter" [This may be a double entendre--not only is she encouraging this child to bounce higher on his trampoline or swing higher, she is also encouraging the dandelion floret (the song Robin) to fly higher and go out into the world after she blows on it]

The Albatross: "Wild winds are death to the candle...One bad seed kills the garden" [This may be connected to the dandelion metaphor and I believe there are many layers to these lyrics; wild winds can carry the dandelion seeds into other ppl's yards; if Taylor's secret gets out this can destroy the domestic bliss she has i.e. kill her metaphorical garden or candle; 'love's a fragile little flame it can burn out']

I Hate It Here: "I hate it here so I will go to secret gardens in my mind people need a key to get to, the only one is mine" [There is only one way to get into this garden since a tall impenetrable fence surrounds it; there are other layers in these lyrics as well like the escapism aspect of it]

But Daddy I Love Him: "I'm having his baby, no I'm not but you should see your faces" [Bc it's Karlie that had the babies]

8th message: This entire message parallels the Bolter. I believe this is abt Taylor finally choosing her lover over her reputation and choosing to intentionally destroy it in order to meet her lover down at the bottom like 🌋 anon mentioned. This may be the purpose of the whole Ratty debacle—to tarnish her image (by jumping into shark infested waters) so that when kaylor are together in public again her fans won’t be able to hate on KK w/out being hypocrites bc Taylor has already done all the things she knows they’ll accuse KK of, like being connected to someone who’s quite problematic. I believe this takes place from May 2023-now since this is when MH and her started “dating.” The use of all lowercase in the 🌋 messages may be a reference to the reputation album title to indicate that this is going to be a repeat of rep era but this time the damage to her rep will be intentional. I find it very interesting that the Feb 20th 🌋 message is the only one that has a word capitalized and the word that's capitalized is "Gold." This is in contrast to "fools gold" which is not capitalized or colored.

The self-loathing is palpable in Taylor's music (x) and it is displayed heavily in this message as well. I think it's possible the "enemy" is actually just Taylor herself or her public persona to be more exact. She is her own worst enemy; the Anti Hero mv illustrates this. She's the one that spreads the dandelions in message 7 which is what the enemy does in this message; she's the bear, and in the Bolter she (real Taylor) tames the bear (Taylor the brand). I believe TSMWEL could possibly be abt herself as well. I mean TSMWEL literally has "TS" in the track title. The clean version of the Bolter has the line "Then she'll call him a bore" which parallels TSMWEL, "You said normal girls were boring." It's as if real Taylor is doing an UNO reverse on Taylor the brand by treating her public persona the same way she treated real Taylor for years. This is very reminiscent of the Archer, "I've been the archer I've been the prey." I think TSMWEL, while it is abt herself, is simultaneously abt Scott B. And the reason for this relates back to what I said abt the 2nd and 3rd 🎃 messages--she blames both Scott AND herself for her failed coming out. The mastersheist threw her for a loop, yes, but she could've still come out anyway were it not for her indecisiveness. And I haven't have time to fully analyze MBOBHFT yet but I think it's similar where it can either be read from Karlie's perspective to Taylor after the 2019 failed coming out or from Taylor's perspective to Scott B/the industry.

The Bolter: "But as she was leaving, it felt like breathing, ['When I was drowning that's when I could finally breathe'] All her fuckin' lives flashed before her eyes...He [the 'enemy'] was a cad, wanted her bad just like any good trophy hunter and she liked the way it tastes taming a bear, making him care watching him jump then pulling him under" [This connects to the 10th message: 'You limp over uneven ground, smiling at the pain of the shark bite with each excruciating step - replaying the satisfying splash as you finally chose her over the world. As you grabbed the enemy and dove into the infested waters']

loml: "The coward claimed he was a lion" ['You’re a selfish asshole. So much of your fear is your own. You wince at your cowardice like it is a gaping wound. You so often find yourself unable to meet your own eyes. You scramble into shadows like a black cat. Scared, even, of being scared...You are a coward, but you are not a fool']

I Hate It Here: "I was a debutant in another life but now I seem to be scared to go outside" [In another life she already came out but in this one she's too scared to even leave her house let alone come out]

The Tortured Poets Department (This is from Karlie's pov): "You're in self-sabotage mode throwing spikes down on the road"

9th message: This message is abt her finishing her 11th album, the last chapter of her 11 part story, and then sending it out into the world like a message in a bottle (the Manuscript). So I'm assuming this would take place on April 19, 2024, the release date of ttpd. "You are sitting on a beach, cold and windswept. The sea is dark and angry before you." -> This may be the same beach and sea from the folkmore era. "The sun sets in muted colors." -> Describing the sunset colors as muted is quite interesting since sunsets typically have very vivid colors; this makes me think it's related to the eras tour visuals during the transition from august to illicit affairs (which I explained the meaning of in this post), and the folkmore color palette was mainly muted colors. "You finish scrawling on the parchment. Your pen dries up as you reach the end of a story in 11 parts." // "Feeling like the very last drops of an ink pen," "my veins of pitch black ink." She is sick of having to dilute her truth through metaphors and allegories which is why she is a tortured poet -> "Take me to the lakes where all the poets went to die." Plus there's the "parchment" which she mentioned many times during her eras tour speeches which relates it to the folkmore era (x)(x)(x). "And now it is just a matter of time. The dripping of candle wax. The ticking of a clock." -> (x).

I recommend reading this post which explains how the Manuscript, ATW short film, message in a bottle, the story of us, and 4th, 9th, and 10th 🎃 messages are related. Many ppl pointed out that the Manuscript lyric vid looks like a movie script, and she's been referencing films and books a lot recently which makes me think there's a good chance she's going to release a film and book abt her coming out story. The 9th message and the lyrics in the Manuscript make it clear that Taylor's discography as a whole IS the manuscript i.e. it's the author's (Taylor's) draft of her story that is getting ready to be published. In academia, a manuscript is a draft of your research that you send in to be peer reviewed and if it's accepted it then becomes a published academic article.

The Manuscript: "And the years passed like scenes of a show, the professor said to write what you know, [She's equating her life to a story w the different eras being different scenes or chapters] The only thing that's left is the manuscript, one last souvenir from my trip to your shores, [message in a bottle; 'It may wash up on a sunny beach in Florida, or a rocky shore in the northwest'] Now and then I reread the manuscript but the story isn't mine anymore" ['Once you blow a dandelion, you never get it back. It isn’t yours anymore']

The Bolter: "But she's got the best stories"

10th message: This is a direct continuation of the 8th message and takes place right before she comes out of the closet (the wooden door in the woods). So this would take place after her rep has already been destroyed which I don’t think we’ve gotten to yet. My guess is that things will start ramping up in the next few months. She may start being papped w all her previous beards looking happy w them or sth similar which is all she’d need to do to show that the relationships were all fake and she’s been lying this whole time. This may be the “chaos” that 🫚 anon was referring to (see this post). This lines up with the blood moon glitch vinyl, representing chaos and disruption, being the 2nd quarter of the yr according to the midnights clock (4-6 or April-June, 2024). Plus many ppl think BDILH is abt MH--and Taylor meant for this to happen bc this album is full of red herrings--and in that song she says "He (MH) was chaos" so this might be a hint that the bearding shenanigans are gonna ramp up. Of course things are already plenty chaotic now w everyone thinking ttpd is abt 3 different men, one of which is pretty problematic, so perhaps this is all ginger was referring to. Taylor calling herself "the Bolter" has 2 meanings: 1) She is a coward who often runs away from danger 2) The 2nd more positive interpretation is that she knows "when it's time to go." I think it's very telling that ITTG is the last track on the deluxe edition of evermore and comes right after RWYLM, a song abt being stuck in the closet after the 2019 failed coming out. She's saying that she's not going to stay there forever(more).

The Bolter: "But none of it is changing that the chariot is waiting, ['The story of 2 princesses. No place for a prince'; the Cinderella metaphor (x)] Hearts are hers for the breaking, There's escape in escaping...Ended with the slam of a [closet] door but she's got the best stories, You can be sure that as she was leaving it felt like freedom" [The 6/21/2020 ♠️ riddle spells out 'They Are Free']

11th message: This message takes place after midnight at 3am on Nov 1 after she’s gone through the wooden door. In this post I explain how 3am connects to the witching hr or devil's hr. The fact that this takes place right after Halloween is quite significant since it is a day dedicated to remembering the dead, and death and ghosts are a big theme in ttpd. This symbolizes how after Taylor kills her old self (by dragging her into shark infested waters), she will resurrect as a new version of herself and leave the past behind her. And in doing these things, she will finally be able to go back to her figurative home, her cabin, that she was exiled from. -> "I think I've seen this film before so I'm leaving out the side door," "And I was catching my breath, floors of a cabin creaking under my step...I had a feeling so peculiar this pain wouldn't be for evermore." "The flame🕯️ finally🕯️flickers🌬️OUT" -> The match that started the "goddamn blaze in the dark" is no longer needed now that the lover house (her closet) has burned down, so the flame flickers out. This metaphor shows up in Peter as well, "But the woman who sits by the window has turned out the light," where the light dying represents the woman losing hope that a coming out will happen. Notice in this message from present anon that "Goodbye" has a capital letter G which I believe links it to "Gold" in the volcano message that was mentioned earlier. This may indicate that Karlie is the woman/neighbor holding the light and waiting for Taylor's return home. The Dec 26th 🌋 message is likely from Karlie's pov in this case.

Fresh Out the Slammer: "Now pretty baby I'm runnin back home to you, Fresh out the slammer I know who my first call will be to...But it's gonna be alright I did my time...Get the matches, toss the ashes off the ledge, [the burning of the lover house] As I said in my letters [the anon messages this corner of the internet has been receiving? Could also just represent her songs] now that I know better I will never lose my baby again...Swirled you into all of my poems ['My mind turns your life into folklore (literally and figuratively)']...To the house where you still wait up and that porch light [jack-o-lantern] gleams" [see this post abt the porch]

The Alchemy (This is from Karlie's pov): "What if I told you I'm back?...I haven't come around in so long, but I'm coming back so strong, ['But I come back stronger than a 90's trend'] Cause the sign on your heart said it's still reserved for me"

imgonnagetyouback: "Push the reset button we're becoming something new...Even if it's handcuffed I'm leaving here with you, Bygones will be bygone eras fading into gray, We broke all the pieces but still want to play the game...I'm gonna get you back"

[itwaslegendary]

“do you think you’re a better fan just because you don’t listen to the leaks?” exactly! and a better person too!

we are HOURS away from the release and you’re telling me that it has already become the most illegally downloaded album? “well i���m impatient” that’s not an excuse, we all are eager to listen to the album yet we have an ounce of respect for the artist and we wait, we enjoy the rollout and listen to it together the moment she intended to.

also… funny how it’s mostly non-swifties who are sitting through a 65 minute album just to go on twitter and say “ew so bad 😂👎🥱”, just say you’re a fan and go because not even the most hardcore swifties are doing what you are doing right now

[ladybugsimblr]

Rolling Stone - Fall Bailey Kay, One of One

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Shoutout to @soulsimmin for the other musical artists noted on the cover and general Team BK shenanigans. Somebody cut the check.

Article Below

Category: Baaad Bitch

10.59pm The initials BK pop on the screen indicating Bailey Kay has joined the Soom call. The camera flashes on and my heart skips a beat. I hear her soft but firm voice say “Kiss” and another face appears in the view. Bailey’s husband Quinton leans in for a kiss as requested. The two quickly exchange “Love you’s” and adoring looks and then he’s gone as fast as he appeared. Bailey Kay turns to me and I now have her undivided attention. She flashes that gorgeous smile and my heart skips a beat again.

“Sorry. Hi! Thank you for agreeing to meet with me this late. I hope you’re a night owl too.” Absolutely not. I’m normally in bed by 10pm, but who says no to the Queen B when she agrees at the last possible second to her first interview in ages. I awkwardly reply “I am tonight!” and she laughs, exclaiming “I like you!” Phew! Any remaining tension and nerves are gone. Let’s get into this.

Channeling my glitteriest of kitties I jump right in and ask “Where are the visuals? We the butterflies are begging for the music videos and performances.” Honestly I expected a glare or an eye roll in return, but I get a sly smirk instead. “You are the visual”

I instinctively look at the small image of myself on the screen thinking I did too much with my look for this call. Bailey must have sensed my confusion and continues: “Butterfly is about celebrating life, love, and freedom, overcoming struggles and transforming into your best, highest self. I didn’t want to dictate how anyone experienced those things with the typical visuals. But I did want to get the party started so I gave you the first step- the music.”

“So you dropped the album and bounced to let us party and figure it out for ourselves?”

“You are funny! But yes, kinda. And look what happened! You all started your own challenge and created the visuals, and all I had to do was sit back and watch. Also I really didn’t leave y’all empty handed. I thought we killed it with the pics in the Butterfly Box. But I can’t forget the hive is the hardest to please and I love that. Keeps me on my toes.”

“Ok, I see the vision, but why literally leave the country and go on vacation during an album rollout? That’s unheard of!”

“Ok two reasons. The first is that was what I needed to do. That was my way of celebrating. I told my baby girl that putting out an album was like graduating. I fought hard to overcome my own issues and dark places and now that the project was out to the world, I needed to release and just be with my family, my babies.”

“And the second?”

“Because I can. I’m THAT girl! Deadass!” Again with a smile and a laugh. BK might be the nicest bad bitch I’ve ever met.

“What do you say to the critics who say the album is going to fail? There are rules to the game if you want to succeed.”

“I say check the streaming numbers and sales.” That eye twinkle and smile return one more time. “Rules are meant to be broken. Sometimes. Note to self: Redact that line before my terrors read this. But seriously if we did the same thing, the same way, every time, art, music, life would all be extremely boring. Tackling the unheard of and never been done before is my shit. I live for that. As far as succeeding… I’ve been lucky enough to have more success in my entertainment career than I ever dreamed of. Whatever I do from here on is the extra sauce and will not be measured by industry standards.”

“Speaking of the future, what more can we expect for Butterfly? Please say tour.”

“Ha! Ummm performances are coming. It’s time for me to party with the butterflies.”

“Ok, will they be on multiple stages in cities near all of us?”

“I can't with you! But I can say I’ll perform songs from Butterfly and the rest of the catalogue, on stage, soon. Stay ready.”

And ready we will stay. Ready for the Queen BK. One of One. Number One. The Only One.

[bettyshoweduptotheparty]

To the lovely person who send a DNP message about Lover.

Hope you see this. Slight disclaimer, I also wasn’t on here in 2019 (actually checked out from TS all together when it became clear all the rainbows were leading to nothing and it got depressing) so can’t tell you how gaylor internet spaces perceived the song back then. But I’ve had my own thoughts on it since. Here's what I think:

Lover is not a lovey dovey love song to me because it has definite signs of insecurity and uncertainty in it. If you compare it to the love songs on reputation, those had certainty and trust in the longevity of the relationship. 'I can take my time with you because I know how this is going to end', 'don't read the last page, but I stay', it might not all be rosey but I know that I'll be your endgame and we'll always clean up the mess together when the glitter fades so Call it what you want, because WE know what this is and where it's going.

Now, Lover expresses the exact opposite of that certainty. The word lover in itself is very generic and non-commital. It's not girlfriend, partner or wife, it's lover, which can be all or none of the above. It's just someone you love with no detail about the state or seriousness of the relationship. I saw a picture a while ago from the Lover rollout of Taylor with a lover straw that was an exact replication of the one Karlie had at her bridal shower that said 'bride'. So, very decidedly not a bride, not a wife, but a lover. (Especially in the bridge, where she uses the wedding ceremony wording 'I take this magnetic force of a man to be my....' you'd usually expect husband or wife to go there, but no, it's lover.) I think that's a choice. And in the chorus, the way she repeats the words 'You're my, my, my...' makes it seem like she's struggling to find the right word, eventually settling on lover, because she can't use any of the above labels. We can't call it what it is, and that's causing insecurity now. (Much like she can only marry this person with paper rings and not an actual wedding ring, and it's taking its toll.)

This uncertainty continues in the verses where she emphasises that they can make the rules for their home because 'it's our place', and admits how she doesn't like that 'everyone who sees you wants you' because she can't openly claim this person as her own. Because no wedding rings, no exact terminology. And the questions in the chorus (Can I go where you go? Can we always be this close?) seem sweet, but they are genuine questions filled with uncertainty. Can I actually go where you go in public or do we have to pretend in front of other people and not be as close as we actually are? It's still very much a 'forever and ever' situation, but a few years down the line it's clearly taking its toll not to call it what it is.

So, that's my two cents on why Lover (and song and the album as a whole) is not all sunshine and rainbows and has in fact quite a bit of denial about the reality of loving someone you cannot accurately label or introduce as your partner or spouse. Other people, feel free to add your interpretations!

[lex-loudestwoman]

Kaylor Swiftgron: Which Muse Inspired Which Songs on Red & 1989

On the precipice of 1989 TV's release and amidst the Kaylorification of 1989 TV's rollout, I thought it'd be a good time to figure out which muses aligned to which songs. I did my research, which includes: lyrical analysis & music video analysis, the timing of when songs were written, which producers and co-writers were credited to each song, social media posts, and where the girls were in real time. Shout out to @sophietv for her incredible work on the Kaylor timelines and evidence, and to @swiftgronmasterpost and @swiftgronmasterpost for their work to outline everything from Achele to Rivergron to Swiftgron. Round of applause to you both!!

Let's get into it!! (and if you want to just see my conclusions for which songs are about which muse, scroooolllll to the bottom)

The Red Muses

2011

Red was written in two phases. First, she worked with her producer from Speak Now & Fearless, Nathan Chapman. They wrote 25 songs together between February and October 2011. She took these songs to Scott Borchetta and he congratulated her on a finished album, but she wanted to experiment with other producers and writers to play with new sounds. So, after October 2011 she started working with a handful of other producers to write more tracks for Red. Here's a breakdown of Red songs by producer.

Nathan Chapman:

State of Grace

Red

All Too Well

I Almost Do

Stay, Stay, Stay

Sad Beautiful Tragic

Starlight

Begin Again

The Moment I Knew

Girl At Home

Martin & Shellback:

I Knew You Were Trouble

22

We Are Never Ever Getting Back Together

Message in a Bottle

Bhasker: Holy Ground

Wilson: Treacherous, Come Back...Be Here

Walker: Everything Has Changed

Lind & Bjorkland: The Very First Night

McKenna: I Bet You Think About Me

The first time we know for sure Dianna and Taylor interacted was on September 4th, 2011 at the Fairfax Flea Market, which implied that the songs Taylor wrote with Chapman weren't about Dianna.

Karlie and Taylor dated (I think) starting in the summer or early fall of 2011. I think they weren't expecting anything super serious, but it was one of those flirtations that starts out strong and feels good with them and all of the sudden you're in love and you barely believe it and feel ridiculous for knowing but you have a feeling this person is for you, maybe forever... It sounds right for Taylor who has admitted how fast & hard she tends to fall for people when she's in love.

Taylor attended the Rodarte Spring/Summer 2012 fashion show during NYFW and sat front row next to Anna Wintour on Tuesday, September 13, 2011. Karlie walked in the show (slay). This was also the day that Taylor spent with a Vogue interviewer for her iconic January 2012 Vogue Cover and Article where she is quoted as saying "I love Karlie Kloss! I want to bake cookies with her!" She said this straight after leaving the Rodarte Fashion Show.

Interestingly, Karlie was quoted in a magazine as having been introduced to Taylor Swift at the Met Gala and they joked about baking cookies together! They both attended the Met Gala in May 2011, just four months before the Rodarte Fashion Show/Vogue Interview day! So it's pretty weird that Taylor would say the exact same thing, unprompted, when she saw a photo of Karlie Kloss at a fashion designer's studio on the exact same day she sat front row for a fashion show Karlie walked in!!

I imagine that Taylor and Karlie fell into something new and beautiful and sweet by accident. The Rodarte Show was on a Tuesday, maybe they met up for coffee the next day on Wednesday, September 14th in NYC? Who's to say!

All that said, I think Begin Again is about Karlie. It was written sometime between February and October 2011, which would've been a really, really fast turnaround for it to be about Dianna. Between the music video and the lyrical connections, it's very Kaylor coded. Starlight also could plausibly be about Karlie because they attended the Met together in 2010 and 2011, and their 2011 dresses were sparkly and tbh Karlie looked hot AF.

But, let's also remember that Taylor is on tour and just got herself out of two on-again-off-again, fairly toxic relationships, and as she said herself in Begin Again that the last 8 months she's been heartbroken and scared to get hurt from love (earliest would've been June 2010-February 2011 and latest would've been February-October 2011). Plus she's not even 22 years old, so she's not necessarily good at being in relationships yet. She's in a messy place, and she falls in love like a ton of bricks.

I think that this delicate, precious new thing with Karlie didn't work out (not for malice or hurting each other, just life) and over the winter they were distant but were still in contact.

2012

On January 17, 2012 we get tweets from BOTH Karlie and Dianna about the *iconic* Vogue article. This makes me think:

1. Karlie is still interested in exploring this new relationship with Taylor

2. Dianna and Taylor have kept in touch and have a lil something something going on, a little curiosity they might want to explore

3. Taylor likes public attention, and she likes feeling wanted, and she's got two hot ass women who want her. Do you blame the girl for being messy!?!

Dianna and Taylor attend the same pre-Oscars party on February 24th, 2012, and this is where I think Swiftgron starts to take off. Dianna is all happy and heart eyes online for the next three weeks until the Speak Now Tour ends. They're spotted together frequently in March and April. The Shirley MacLaine birthday party thing happens April 25th, Dianna's circus birthday party is April 28th, and I would bet anything they started hooking up sometime these first two months. I think Holy Ground was written about Dianna's birthday party, with the note on the door with the joke we made, and that was the first day.

Taylor writes Everything Has Changed and Run on May 15th, 2012, with Ed Sheeran, and records both EHC and The Last Time on May 28th, 2012. Everything Has Changed seems Swiftgron (thanks Gaylor twt for helping me figure out that the freckles are IN Dianna's green eyes bc girl bye I was full of questions). The Last Time is almost certainly about Liz.

But Run is very Kaylor coded! The pale blue eyes, use of darling, the laugh like a child (Begin Again), locket, picture frame...

On May 31st, 2012, Dianna is bearding hard with Henry Joost to distract from her appearance with GLAAD. I have a working hypothesis that Taylor Swift hates beards and is not a fan of having to use them or be with people who have them. I just don't think it works for her with how insanely famous she is, the guys are hyperscrutinized and she's honestly not very good at being a convincing heterosexual woman. I think there's some conflict between Taylor and Dianna because of the beard.

By June 10th, 2012, Taylor has written 22, WANEGBT, and IKYWT. I am inclined to believe that WANEGBT is about Emily or Liz. Same thing with IKYWT. 22 is about her besties and living life and being carefree and embracing all of the beauty and pain of falling in and out of love and everything that is your early 20s.

We get the whole Hyannis Port x Kennedys summer week of pap walks featuring Swiftgron all over the place! But it seems like they probably break up later in July. This was a hot and cold relationship for real.

WANEGBT is released on 8/13 and Dianna tweets at Taylor (like never ever?). On September 29, 2012 Dianna and Naya Rivera are on a cheeky, lil sexy vacation in Paris. Taylor goes to Paris that same weekend to film Begin Again at the Love Lock bridge (Karlie is also in Paris but there's no evidence to show that they saw each other at all).

However, I wouldn't put it past Taylor and Karlie to have seen each other while Swiftgron was cold. Perhaps in September 2012 right around when she filmed Begin Again?

October 17, 2012 Taylor writes This Love in LA according to her diary entries. So I think This Love is about the Swiftgron reconciliation for whatever happened this summer. Things are good for a bit, they go to the Ripple of Hope gala together on December 3rd, 2012. They're pictured together on December 6th, 2012 and Dianna's all cryptic online about her secret love.

Quick Aside: Karlie and Josh have been "officially together" ever since June 2012, but they were first seen together in November 2012 when they both attended the VS Fashion Show. I'm under the impression that these gay celebrities in their early twenties only needed a beard when they were in another relationship they were distracting away from. They didn't need a beard, they could just say they were focused on friends and their career (aka 1989 era). So who was Karlie dating in mid 2012 that needed to be covered up with plausible deniability? This would've been in the works for a bit before they launched it in November 2012.

Also, super interesting that Karlie also met Taylor for the "first time" at the 2013 Victoria's Secret Fashion Show, hmm? Anywayssss.

2013

I think everything Swiftgron blew up on February 14th, 2013 with the 'I Do' episode of Glee where Dianna Agron and Naya Rivera hook up on screen. Taylor made a whole big deal about this episode containing one of her songs and encouraged her fans to watch, but her song wasn't in the show (tweet was later deleted). But picture this: Happy Valentine's Day, watch your girlfriend hook up with the girl she told you not to worry about!! And then learn that they actually did hookup when y'all were on a break, like two weeks before y'all got back together!! Oooh boy!! I'm pretty sure this was what inspired Babe (in the music video Taylor was the mistress, but IRL Taylor was the main character who got cheated on instead of the mistress!!).

Dianna is a mess on Twitter after that and there might have been about two months of back & forth, maybe some breakup sex, but I think Swiftgron died dead by the time the article about them secretly dating dropped on April 16th, 2013.

The Red tour started on March 18th, 2013 and I can't imagine that made things any easier for Swiftgron. Meanwhile... I think Karlie and Taylor re-reconnected in this time period.

The 1989 Muses

2013

Taylor wrote 1989 while on tour for Red (except for This Love, according to the diary entry it was written on 10/17/2012). I think the breakup songs are about Dianna and the love songs (excluding This Love) are allllll Karlie.

If Taylor and Karlie did reconnect in Fall 2012, then Spring 2013 would be a long six months later...

Taylor and Karlie "meet for the first time" (which we have so much proof that it's not but like, okay, fine) on November 13, 2013 at the Victoria's Secret Fashion show. We know this isn't their first meeting or flirtationship, but it certainly is their first public outing to test what people say about their friendship.

Then, I'd wager Taylor plays "cat & mouse for a month or two or three" until they officially are girlfriends on March 6, 2014. Yay!!!

Songs About Dianna:

Red: Holy Ground, Everything Has Changed, Come Back...Be Here, Better Man, Babe

1989: Clean, Wonderland, All You Had To Do Was Stay, I Wish You Would

Songs About Karlie:

Red: State of Grace, Treacherous, Stay, Stay, Stay, Starlight, Begin Again, Message in a Bottle, Run, The Very First Night

1989: Welcome to New York, Blank Space, Style, OOTW, Wildest Dreams, How You Get the Girl, I Know Places, You Are in Love, New Romantics

[roo-bastmoon]

With 17 versions to buy and 8 versions combined for 160 streams per Spotify account, plus Melon and FLO streams now counting, of course Jungkook’s Seven is charting high and sweeping awards. Firstly because it’s Jungkook of course, and secondly because it’s been given every possible advantage.

My (perhaps controversial) opinions about that are below the cut.

Honestly? I really can’t feel good about any “first” or “most” or “fastest” records achieved by this single—catchy as it is—which wasn’t written or conceived by Jungkook and has nothing much personal or deeply meaningful about it. It’s a fun feel-good summer pop song, for sure, but no more groundbreaking than, say, Bad Decisions (in my opinion… I have no musical expertise.)

But I can’t feel super great about all the records and awards because this many versions immediately restocked and shipped and auto play and promoted to radio and ads and leadership hyping only this while Jungkook says he wants to be the one and only artist to conquer kpop and pop for the next thousand years… it all just doesn’t really sit right with me.

When compared to the 10 months Jimin forewent sleep, food, and showers to have a hand in every aspect of his first (and deeply personal and symbolic) album, which was never sent to radio or restocked, got split tracks and delayed playlisting and shady articles, plus not one kudos or congratulations from leadership even after he made history for South Korea and stocks soared…

Forgive me, but it all leaves a bad taste in my mouth. It is ruining the song for me.

Some things like culled streams and sales are out of the company’s control. But the things I mentioned above were all possible for Jimin’s Hot 100 #1. Even if every Tannie has total say in their projects' sales and marketing, and everyone was on board with only Jungkook getting the Hybe America "red carpet" treatment, I can’t lie and say the stark difference feels fine. It doesn't, and I confess I leave the headphones in every time Seven comes up in the playlists now.

I’m not jealous. If anything, I have a warped sense of pride that Jimin has done so fantastically well despite so many, many obstacles stacked against him. I love to champion an underdog and I’m glad I never need to doubt his success was organic. I actually feel extra admiration for how humble and hardworking he continues to be—no resting on any laurels for the It Boy. I'm so glad he is my ult-bias.

*sigh*

Listen to me.

I know Jungkook and Jimin are both genuinely good people. I know they are sincerely talented and hard working. I know they truly love each other. I know all members are legitimately happy for each others' success.

I know what’s important to me may not be important to them, nor what they want for their careers. And even if I feel their company’s making shitty decisions, I know my place as a fan.

So I trust them. And I simply hang in. I hope lessons were learned for smoother, fairer future releases. Because neglecting assets makes zero business sense, and perceived favoritism can erode the group’s bonds and tear ARMY apart. It is, frankly, just plain stupid.

So I may dislike things about their solo era rollouts and I can't bring myself to sugar-coat it; but I mostly try to keep my negative thoughts to myself and find things I CAN celebrate with other fans on an open timeline.

I never want another Tannie to feel anguished and misunderstood the way Hobi did about JitB’s physicals.

Watching Jungkook’s face here on his London live when he talks about people hating him just haunts me. It guts me. I can't stand it. That kid was going through it and I don't believe he has a malicious bone in his body, so it just really upsets me seeing him like that.

There’s so, so much about this company, this industry, this culture that I just don’t understand. But I trust Park Jimin completely. As long as Park Jimin loves and supports his members, God knows, I will too.

So!! On that note...

We have Jungkook’s birthday to celebrate next week and Taehyung’s album to support the week after that. I’m going to do my best to rest up and gather some good energy for these things!

And of course, we must congratulate our Jimin, who made history again today, and no matter what, will always set the standard. I just know he's cooking up something else for us with all these weeks of silence, and I cannot wait to go BERSERK for it whenever it drops.

I’m not really sure I had a point to this post. It’s just that I have been mulling all this over for a long time, and finally felt well enough to sit up long enough to come online and type up my thoughts.

I guess what I mostly wanted to share with my friends here is that it’s okay to feel really disappointed and even enraged at the way some things play out over the (hopefully life-long) careers of BTS members. Don't let folks gaslight you. Call it like you see it. (Maybe keep sensitive things behind a cut or in the DMs--and of course, please change your mind if you get better insight. In the end, only the Tannies really know what's going on with the Tannies.)

But while I’m still side-eyeing the company so hard right now, I’ve decided to love and support the boys as people and artists. I'm trying to believe the best in everyone. I’m still an OT7 Jikooker.

You don’t have to agree with me, and if you need to unfollow, I understand. But I figured I should just tell you guys (especially the new followers) where I am at with all this.

Love, Roo

[rocktavian]

kendrick lamar surprise-dropped an album today! and quite a good one, too!

so far i've only listened to GNX once, but what's immediately clear about the album is that it seems to be, stylistically, looser and more relaxed than a lot of kendrick's other work. what this means in practical terms is that he doesn't seem to be pursuing a grand conceptual opus like his last few albums, and instead is allowing himself to explore different territory than usual – willing to be more braggadocious and combative, rhyming over more trap-influenced production.

and i think this shift is a good thing! kendrick has certainly proven that he can excel at ambitious, conceptual albums— this is the man who made Good Kid mAAd City and To Pimp a Butterfly, after all. but by the time of DAMN and Mr. Morale, i think he was starting to feel encumbered by the need to one-up himself, with the effect that those albums' concepts started to impede on the enjoyability of the actual music. they were projects i respected rather than liked. with GNX, i think he's managed to throw off that encumbrance, and is instead embracing catchiness and listenability as his priorities. (that said – i should also be clear that i'm not trying to claim kendrick has completely foregone meaning or lyricism or any of that. tracks like Reincarnated are storytelling powerhouses that would fit any era of his career. my point is moreso that this album is kendrick seeking to throw off the impression that he can Only be the guy who puts out dense, literary bodies of work.)

it's interesting to speculate on the causes of what exactly led kendrick to go this route for GNX. for starters, i think we can clearly see the knock-on effects of Mr. Morale – large parts of that album focused on kendrick grappling with the pressures of having to maintain his philosopher-poet-rapper image, internal and external alike, and he concluded that album with Mirror and its refrain of "I choose me." his more relaxed approach on GNX seems to suggest that he's taken that idea to heart. i think the surprise release of GNX also probably helped kendrick feel empowered to strip back his ambitions; he didn't face the buildup of expectations that you would get if you're doing a long rollout. (it's also not impossible that the drake beef earlier this year impacted kendrick's mindset, perhaps by motivating him to take a more competitive approach – but at the time of writing we don't know when the album was recorded, so i'm hesitant to give the beef credit for something kendrick could've already been cooking beforehand.)

regardless of the exact motivations behind the approach, though: it's great to see kendrick on a record where it really feels like he's having fun. GNX feels like just the right move for him at this point in his career, and i'm glad to see it.

[cloama]

I just heard Coco Jones’ new track, Here We Go(Uh Oh), a song definitely for the girls who still aren’t ready to go No Contact with their on again/off again ex. It’s something relatable for the twenty-somethings to screamiing along to in the car as they drive to afters. I did. It relate but I will tell you why that doesn’t matter. Because R&B. Storytelling is back, baby! Paint us picture, Miss Coco.

I really enjoyed the cinematic music video that accompanies the song. She’s going all in on the back half 20th century nostalgia here, with a little bit of everything. The cover art is cute 70s nod. No clue if that’s going to impact the entire album rollout but I’m sat, regardless. Having a retro aesthetic while singing about likes and posts is so anachronistically pleasing to me. She’s such a star and I really like this choice for a single. This track is going to get spins because it is so relatable to so many. Coco is going right up there with SZA and Summer Walker who are actual titans of Female Singer-Songwriters but don’t get the credit they deserve despite the numbers numbering. That is because they’re R&B artists and I encourage you all to go back to listen to them if you haven’t. R&B didn’t stop after your need for middle school slow dances. It’s still here and writers are still crafting stories. Coco is absolutely on that path to being an all-star writer and I’m excited to see her lock into this next phase of her career.

Back to my hope for the song… I believe this song will help keep up the momentum. It’s radio ready, with a classic sample that will drive spins to the original track as well as her own. Here We Go has a verbally stoccato chorus which is fun in R&B bc you can clap 👏🏿 your 👏🏿 hands emphatically along to the words and mean that shit.

By the second chorus I was ready:

🎶I 👏🏿know👏🏿when👏🏿said👏🏿say👏🏿good👏🏿bye👏🏿you👏🏿ain’t 👏🏿mean👏🏿no👏🏿good👏🏿bye👏🏿🎶

It reminded me of the “oh oh oh oh oh’s” in the original track.

Speaking of the Lenny Williams sample: it works. I am one of many who are tired of the lack of artful sample. This, to me, was artful and useful. The song being full length with a verses, choruses, and bridge (silly thing to point out but songs have gotten ridiculously short these days) means the sample comes dangerously close to wearing out its welcome, But it comes in just under the gun. I didn’t get tired of it. Why? Her steady melodies in each verse sail your through nicely and then you smack right into that fun choppy waters of the chorus. When the next verse hits you’re ready for another go. It feels exactly like going round and round with a partner. Come on, musical theme! Come on, melodic device!

This is absolutely my favorite thing about this track. Coco Jones is a super talented young woman. I genuinely hope it’s a hit.

4/5

[blythelyunaware]

On the "terrible lyrics" discourse...

It's always interesting to me when, right before an album rollout, we have a subsect of swifties and/or simply bad-faith haters who immediately pan a new album by plucking out lyrics out of context. It seems that the curse of folkevermore will forever loom over any new album rollout because most people aren't...that bright? Folkevermore is brilliant for many reasons, not least of all because it was perfectly timed to fit the tone of the socio-cultural time it was released in. People ate it up because a). those albums were pandemic albums and b). they were written mostly in the "quill pen" style. For some reason, and perhaps this is due to a lack of wider reading, people associate "good lyrics" with flowery prose that is reliant heavily on lots of figurative language and "bad lyrics" as simple statements. And so anything that has been released post-folkevermore has been panned as a "step down" because people think Taylor Swift is only worth listening to when she releases music that people perceive, through stereotypes or general insufferableness, as artsier and therefore of more value.

I don't know if it's just a universally bad education system or maybe we don't read contemporary literature enough, but that's just not true. I love folklore so very much, and its most Keats-style 19th-century poet song, "The Lakes," is perhaps one of its weakest because it's trying too hard and some of it, frankly, makes no sense ("Tell me what are my Wordsworth" ???? Like we know that clunky-ass lyric was only put in there for a dumb ass poet reference). And then we have The Last Great American Dynasty, which contains fairly simple/ slightly kooky statements such as: "And in a feud with her neighbour, she stole his dog and dyed it key lime green." Which is way better at characterising the person in that story!!!

It was the same with the "sexy baby" lyric in Anti-Hero (IMO a very interesting lyric!). It's not about how many metaphors she can pack in or the number of stars or 2 AM dancing-in-the-rain or running-down-a-field-to-her-prince, or other fairytale motifs that makes her songs so good. It's her ability to tie a concept together or create a thread of shared ideas within an album. People are clowning on the whole "Charlie Puth being a bigger artist" because Charlie Puth isn't typically considered "high brow" and has released some pretty cringey stuff. But if you look deeper into the reason for why she included that in her song: it fits into the album conceit. The album visuals are very much dark academia, college prep, intellectuals etc. etc. This lyric is not so much about Charlie Puth as it is about her relationship dynamic with the person she is singing about. It's about how they had shared intellectual values around music. And that is the genius of Taylor Swift. She does not need to point a gigantic neon sign at a lyric saying "LOOK! LOOK! THIS IS A METAPHOR AND I AM VERY CLEVER AND YOU CAN FEEL CLEVER FOR GETTING IT!".

To end it all I would urge swifties to please read more and read widely. (I also realise just how pretentious and obnoxious I sound but hey, if we're gonna play into the aesthetic, why not?)

[dayoungs]

excited about girl group music in a way i haven't been in a very long time and wrote about some of my favorite bsides of the year for nothing other than my own amusement! very long so after the first one it's all under the cut but if u read my ramblings i would love to hear ur faves from this year as well !!

this was nmixx's year. glad to shake off my initial dislike of them- it feels like they've finally hit their stride and i am seriously impressed. they gel so well as unit and there r genuinely no weak links in their lineup (go watch their tiny desk korea set now!) really like both the albums they put out but this bside/pre-release is the standout for me. lily goes insane in this, and i have a soft spot for any signs of fiddle / country influence in kpop because it's so rare (i earnestly think there should be more of it). it's weird with a point instead of being disjointed for the sake of it, and it works! we love you nmixx - probably the gg i feel most invested in right now

oh what a pleasant lovely gorgeous surprise to enjoy this album so entirely. i think loossemble's post ot12 identity as a group has been maybe the hardest to parse out, and with this release they really shine. this song has everything - bouncy chorus, chanty post-chorus, fun little one-off rap lines, some really delicate and pretty vocal parts, a BRIDGE. hyunjin fits perfectly into the main vocal slot with a level of performance i can't believe was hidden away from us for years. loossemble works so well as a group, and you can see plainly how they enjoy this new chapter. my babies forever and ever, excited to see what they do next.

might be album of the year- it's for sure the most cohesive as a single unit. stays true to the kinds of sounds and textures that longtime fans will find familiar, and tries some cool new stuff as well. i'm not a huge fan of a lot of the stuff regarding it's rollout, and i genuinely think the virtual angel music video ruined any real impact the song could've had, but the actual music makes up for it. i could've chosen almost any song, but sparkle is my favorite. it just itches my brain in the perfect way, and i loveeee girl group music that sounds glittery and fizzy. their voices together and the amount of layering is heavenly. i think artms has a really strong musical identity established in just one album, and i'm ready to see what they're able to do.

i like an aespa bside !!!!!!!! the day has arrived. aespa are no doubt the group of the year- the success they've seen (off an insane song like supernova, no less) is unprecedented for them and for sm as a company as well. i've been a critic of them in the past, but like nmixx, i think they've really come into their own in the past year on the title track end of things. their albums have been pretty spotty in terms of consistency and quality- i'm not sure where the disconnect on their team is. their latest, whiplash, is absolutely a step in the right direction, and flowers is the standout. aespa should make rnb forever and ever, it suits them so well. i like my aespa music with a slightly darker tone, and delivers. ning ning and winter kill it on this, and karina and giselle (i am also surpised) pull their weight as well.

is this my song of the year? it really, really might be. i haven't kept up much with billlie, and i'm so glad this didn't slip through the cracks for me. trampoline is addicting. it's such a complete feeling song, truly one of the highest compliments i can think of in today’s 2:20 minute no bridge no post chorus musical climate. every element is interesting enough to both stand on its own and work in tandem - vocals, rap, scatting, chanting, etc. an OUTRO after the final chorus (which is my favorite thing that songs never do enough). the mini album as a whole is incredibly solid as well- it has a groovier, slightly more mature gwsn-esque sound that i haven't heard in kpop in what feels like a long time. we love u billlie, i Will be seated for the next release.

[likeadevils]

I trust your opinion. If you were making bets about what TS11's themes, concepts and sound would be like.. What would you like& prefer? and what would you think Taylor would do?

thank you for trusting my opinion but i am god awful at predicting what taylor is going to do next. that being said:

i think something taylor learned with all too well, anti-hero, and cruel summer is to… trust her instincts, i guess? not that she hasn’t in the past, but she’s mentioned that those songs were her favorites of their respective albums, and she didn’t expect that the general public would enjoy them as much— at least, not to the degree that they have been. but they’ve all been #1s, and more impressively to me, they’ve all broken through into wider pop culture in a way that’s super hard to do nowadays. like can you tell me what’s #1 right now because i can’t. but anyways i think she’ll be following what she wants to hear a little bit more, and trusting that her and the general public’s taste is pretty aligned at the moment. so like, to boil it down into a bingo card prediction, the lead single is going to be taylor’s favorite song on the album

also, bingo square, the color will be white. no evidence just vibes

i think another thing taylor recently learned is trusting that not only her fanbase, but the wider pop landscape would accept complex ideas delivered with a complex vocabulary. in some ways i think she was really burned by me!— she had been taught that it’s the we are never ever getting back together and shake it offs that you send to pop radio, not the all too wells. and then me! got torn apart (deservedly or not), and then the world shut down and it’s not like she needs to find a tour off her next album so what the hell, let’s take out the immediate hooks and replace it with flowery language. and it was a massive hit! twice! but it’s not the kind of music she wants to make forever. so midnights was an added gamble— can you marry the hooks with the collegiate vocabulary? and you can! anti-hero was her biggest chart success ever! so i expect more dictionary/thesaurus starter pack memes in our future, no matter what genre it’ll end up in

that being said, i think she’ll be staying in pop. i maaaaybe could see a kind of pop rock thing happening— think like, the electric guitar she adds to don’t blame me when it’s preformed live.

regardless i do think she’ll be pulling in more rep influences— i’m not super in the buisness of trying to track down when exactly she’s been re-recording, so this is coming from swiftie brain rot not timeline brain rot, but if i had to guess i would say she was mostly recording rep over the summer and with the occasional ts11 track thrown in as well. but i could be wrong maybe she has three albums recorded. idk. i am very interested in what the rep sounds like though, i think that’ll be the biggest clue to what ts11 will sound like

i’m curious how auto-biographical it’ll be. honestly, i could see taylor creating a single character to inhabit and tracking their story throughout an album, which would parallel the emotions she’s going through, but not the exact situations. but that’s me projecting what i would need to do to process the fucking year she’s been through, and taylor has consistently been saying how much she gets from having people sing back the words thought she must be alone in thinking, so like maybe it’ll be intensely About Her, who knows

as for release, i’m a big post eras tour believer. like i know it’s been said a million times but god how impossible would it be to add another set to that thing. like we might get the announcement and lead single while still on tour, but not a full album

i’m also expecting a more talk-y rollout. i would bet we’re getting a couple of print interviews— not anywhere near 1989 or lover levels, but like, you know. rolling stone, vogue, maybe another time, that kind of thing. and in front of camera stuff too— zane lowe, a bbc live longe, some late night appearances, maybe going on kelly clarkson’s show. and maaaaybe a hot wings episode. maybe. i think taylor got a bit burned by the long roll out for lover, and regardless she had other priorities when it came to the midnights release, but it’s been a while and she does like to surprise people by doing something completely predictable. but also this is totally me being like pleaseeeee give interviews they help me with timeline research so much

i predict this every time but visual album!!! if i keep saying it one day it’ll be true!!! it just makes sense she’s been getting so into directing!!!

while we’re in the realm of things that would make me specifically go insane i just think it would be funny if she got paul mccartney to feature on a song. just to be petty. imagine your ex is releasing an album and she gets one of your favorite musicians to play on it. and after the sweet nothing debacle too. oh. so ouchie. also she would have paul fucking mccartney on an album that’s insane in its own right

while we’re throwing spaghetti at the wall. two word title. let’s get crazy maybe 3+ words why not (this is by far the least serious prediction if the title is more than one word i’ll lose my mind)

maybe some religious imagery for the visuals? i’m trying to think of aesthetics taylor hasn’t thoroughly explored. what’s coming to mind is stained glass windows and like, the wild west. this is not at all influenced by me being raised catholic in the american southwest what are you talking about

so to sum up i think i want a pop rock opera with a title along the lines of “the blank of firstname lastname” about a woman in the wild west that has climatic scenes in a cathedral?? i guess that’s the shape i want?? i was not aware that’s what i wanted when i started writing this post okay

[zot3-flopped]

It's amazing how many people think Harry put off an album rollout because Liam died. It's not that I think he would have gone ahead, necessarily, but it shows a lack of understanding of how many moving parts there are to an album launch.

When he's leading up to it, there's usually some sort of cryptic teaser (for HS3 it was the newspaper adverts). There's a website involved, and he has fans checking which domains Sony have registered. There's a big article: a piece that would have had to be pulled and something very very quickly put in its place. It might even have been too late because monthly magazines go to print/start distribution far before anything goes online. Nobody working on a publication has spilled any beans about cancelled promo. A single would have been coming out maybe around now, but no reliable source has mentioned it. There's been actually nothing at all, not even a whisper. (I refuse to count those stupid X accounts and Deuxmoi, they know naff all as well. Deuxmoi cannot read much fan fiction because most of her submissions about Harry are fantasy.)

The other night, a few more sizes of old merch were put on sale, so that might be the start of something...a bit here, a bit there. Probably it isn't. I personally think announcement in late January, first single February, album March/April but that's absolutely not based in fact, I just want it.

That sounds about right, although it could be even later. He might go for a full three year break between albums and release in May. Yes, he does have a very specific schedule around releases and absolutely nothing has happened yet.

[iamnotawomanimagod]

How do you feel about The Great Impersonator rollout? Are you following along with the snippets on Instagram?

Ngl, as of right this second, I have somewhat mixed feelings.

First, I always knew that Halsey would have a very hard time topping If I Can't Have Love, I Want Power for me. It's my favorite album of all-time, zero skips, truly a masterpiece. So I've been prepared since Day 1 for this album to just be a little less impressive to me.

I'm also not sure how I feel about getting song snippets for pretty much every song up until the release date. Part of what was so magical about IICHLIWP was that it was a complete surprise. Other than the folks who saw the film in IMAX, the only song to get released before the album was "I am not a woman, I'm a god." Getting to listen to the album in its entirety without knowing what was coming was really nice, and I think added to the overall experience.

So while I've checked out all the snippets so far - I can't help myself - part of me is a little disappointed that I won't hear those songs fresh and in order when I first hear the album.

If Halsey debuts a new snippet every day between now and the album, and doesn't do any repeats (like impersonating Britney for "Lucky" again etc,) then we will have heard 16/18 songs, or at least bits of them. That's crazy to me. There will only be two songs that will be total surprises.

I'll also admit that not every snippet has made me super excited. "Dog Years" sounds like it's going to be incredible, probably in my top 3. But "Hometown" and "Panic Attack" and even "I've Never Loved You" just aren't really my personal favorite style of music. I'll reserve true judgment until I hear them in full, but as of right now, they're just fine/okay to me.

I wish this album rollout had been a little less intensive, more similar to the IICHLIWP rollout than the Manic rollout.

I might try to avoid the rest of the spoilers, just to see if that helps me feel a bit more hyped again. Obviously, when this record comes out, I will have a period of obsession with it. I think the long rollout has given me a bit of fatigue though. The For My Last Trick website launched in January, the "Lucky" promo was cute and fun but lasted truly way too long, and now we've got a new snippet every day for 2.5 weeks.

I know I should be enjoying this, because who knows when we'll get another Halsey album, or even if, and album rollouts are such a fun and exciting time in the Halsey fandom. But right now... I just kind of want to hear the album. I'm ready. It's been a long wait.

[fromtenthousandfeet]

https://www.tumblr.com/fromtenthousandfeet/762649366059204608/httpsxcom97901suestatus1837382052729311473?source=share

Yes seven and golden were definitely successful. The music that was chosen all have easy hooks and JK's by no means a bad performer. Also JK was extremely popular prior to his solo songs. And anon isn't wrong per se - I'd say JK is definitely the most known member of BTS right now. He should be shouldn't he? Comparing his activities to the only other two members who could've possibly competed - Jimin and Tae had a pretty limited rollout. They didn't go on extended radio legs in the west or otherwise, didn't perform at any big locations like times square or gcf or iheart, didn't have huge collabs with huge western artists, didn't get the Hybe / sb marketing team hounding every music critic, radio host or netting awards for them (imo VMAs are usually negotiated, I've said this before JK entered the picture so i wont be changing my opinion just because he won one - they wouldn't give it to some unknown but the fan voting is a formality). What I question is if goldens only purpose was to be successful for its own sake.

How well did JK really do? With Jimin we can see that his newer songs from muse did better than his older ones from face. Even though sgmb wasn't as popular with his fanbase or in English, it still did better than smf pt 2 and who obviously performed much better than like crazy. Jimin's success with face translated into more fans, more organized fbs and hence a better performance with muse even though he's enlisted and couldn't properly promote his album. I won't consider nlg a worthy comparison since it's just a fansong but let's compare SNTY to 3d or seven. That's fair enough right? JK only had a few weeks to promote it before he enlisted but I would still say better than being totally radio silent like Jimin for muse. Anyhow SNTY's success was very JK from BTS-esque coded. As in without all the marketing and hype, that songs success is what I would've initially expected from JK in the first place from chapter two before the insanity of seven. It did very well of course. But how is it that we went through such a huge hype cycle of the biggest global popstar who sang seven to rival western artists and BTS themselves, all that marketing and activities and then end up right back to the same situation with his music performance that he would've achieved with his popularity post-hiatus anyway. If Jimin is dependent on his fans for his chart performance then SNTY shows that JK is still dependent on armys but how are they both now in the same situation when one has industry plant level money behind him? (industry plant is just a factual moniker for me not an insult for example I love industry plants Olivia Rodrigo and Sabrina Carpenter). But where are all his new fans that he gained from seven and 3d?

If I invested so much money at JK only for his performance at the charts to revert back to the same level as it was before I did that, then I'd be questioning a lot. Of course scooter and his buddies probably still made a sick amount of money from seven and golden but as Hybe trying to make a new BTS, I'd be annoyed that my marketing budget for JK would have to stay huge to get the returns I want. He's no BTS - invest minimal budget and get huge returns. JK might still get the golden treatment once he's back - sunk cost theory is a thing after all. And while JK didn't quite become the next Justin Bieber like he was supposed to, he's still more successful than 95% of Hybe's other projects. Anyway I doubt people who aren't as deep into this as us can even tell his popularity isn't at the level it's supposed to be at. They'll just say JK is the most successful member from BTS because like you said marketing works. However JK in chapter two has shown me that unless he makes a serious breakthrough with his next projects - his merits as a solo artist are still inextricably tied into his groups fanbase. Which is fine since Armys are still huge and maybe that will be enough even though I feel he failed to net enough dedicated fans with his solo music. But I do wonder about the sustainability of this arrangement when the group returns or if the group decides to go on a more permanent hiatus. Will armys all convert to jjks? I guess we shall see.

Also sidenote I know Tae's music has never done as well as Jimin's and his popularity is more superficial than Jimin's but I still think he's more popular than the other members by far and he could've potentially gotten to Jimins level if he'd done a better debut solo album. Just clarifying since I bunched Tae and Jimin together here even though it's not 2022 anymore and Jimin has strided past Tae as a solo artist. Also they may have definitely not opted into whatever deal JK had - I doubt they were offered one but it's possible it was their choice too. I don't want to strip them of their agency. Tae and Jimin have seemed more wary of Hybe than JK I think

Thanks for sharing. Lots of good info here.

[allamericansbitch]

about Taylor rushing it and giving us so much content it's too much it starts too feel lile mass production. I miss when we had defined eras and well crafted themes to them. I enjoyed Midnights but it didn't feel like an actual era of her music that we got to sit with a process for a year or two.

I get that it has to be that way for the rerecordings and I got it when it was for folklore and evermore during the pandemic. I see everyone begging for TS11 and I don't want it. Not right now. Not like this. I don't need 2 to 3 Taylor Swift albums a year.

I need her to slow down so many projects always all the time is too much for me. It's the tour, the merch, the movies, the interviews, all of it. She's been going non-stop for the last 3 years and I need to have some time off to enjoy what we already have I don't want to just go from one project to the next over and over again without pause.

Midnights was a pleasant surprise but I want to be done with the rerecordings and not just jump into a new album in the middle of a tour with all her eras.

Completely agree, nothing she’s done recently feels needed or worth it tbh. We don’t need 3 versions of an album, we don’t need the remixes, we don’t need another new album. I know she’s said her new method of making thing is just to make as much as possible but I just don’t think it’s working to her advantage. It’s quantity over quality. I miss fully thought out ideas and concepts, I miss classic rollouts and having a rare thing to look forward to.