#which is also very similar to folklore's journey for taylor

[daisyswift3]

Jumping in the Deep End 🐇🕳️💛

So there’s sth else I noticed related to the Gracie rabbit hole I’ve fallen down that I haven’t mentioned yet bc I feel crazy saying it but I’ve already said a lot of insane stuff lately so fuck it. But before u read this post I do recommend reading this other analysis I wrote as well as this post first bc it’ll make everything make more sense. Ok continuing….

Not long after The Secret of Us was released on June 21, I watched this interview that was uploaded the day the album was released where Gracie texts her fans. One of the first things I noticed was how Gracie suspiciously looks straight at the camera as she makes a typo which I mentioned in the analysis I just linked, but another thing that caught my attention was that one of the fans is named Aimee (3:06 mark in the vid). I thought this was a little strange bc Aimee isn’t really the typical spelling of that name, it’s usually spelled like this instead, Amy. But even more strange was that the day after this interview was uploaded, June 22, Taylor just so happened to play thanK you aIMee as one of the surprise songs in London. What an interesting coincidence!

June 22 was a big deal bc it was Midsummer Day which celebrates daylight. This is likely why Gracie made yellow 💛 the main color of the album and chose to release it on June 21, Midsummer Eve—bc this album is abt a coming out journey (see these posts for more on that: x, x, x, x, x, x, x). And if you look at the text “Aimee” sends, it sounds like sth an artist would ask another artist rather than a typical fan question. Aimee specifically asks abt her creative process which is a very artist thing to do. So basically all that to say I wouldn’t be surprised if Aimee was actually Taylor and this text was also an easter egg for us to find just like the intentional glitches and typos.

If this text was in fact from Taylor, I believe the purpose of it may have been to lead us down the Gracie rabbit hole where we could find endless cross references between Gracie’s music and Taylor’s music. If you watch the music videos for those 3 songs Aimee mentions and listen to the lyrics, they could easily be interpreted as being abt Taylor’s secret relationship w this korner of the internet that is almost like the Hanging Gardens of Babylon bc there’s no tangible proof it ever existed but there is a lot of folklore surrounding it and the story has been passed down and become a myth. “Wonder if you regret the secret of us.” I believe these 3 songs could be from Taylor’s perspective. And to go even further w it (fair warning, this is where we really go off the deep end), I think it’s very possible that not just these songs are abt this secret relationship, but most of Gracie’s songs bc all of them reference each other and have lyrical and visual parallels to each other much like Taylor’s songs (see this post).

Now I want to make it very clear: Gracie is her own person w her own talents outside of Taylor. I don’t want anyone to get the wrong idea or think I’m trying to undermine Gracie’s artistry or give all the credit to Taylor. And I also don’t think this secret relationship was the only inspiration for these songs since it’s very clear Gracie uses her own personal experiences and feelings, and I believe she could be writing abt more than one muse or from more than one person’s perspective in each song, similar to how in hoax Taylor sings abt 3 different relationships simultaneously. I am simply trying to point out the insane amount of parallels between Gracie and Taylor’s music that I think are too abundant to simply chalk up to coincidence. And I’m not saying that my interpretations are for sure the right ones, I could definitely be wrong. It wouldn’t be the first time. This is just a fun clown theory that I think is worth considering.

So going back to those 3 songs in the text—Mess It Up, I know it won’t work, The Bottom—I wanted to do an analysis on them and the mvs bc I think the reason why “Aimee” might’ve been pointing us to those specific songs and mvs is bc they are an important part of this coming out story. Plus the specific symbolism and imagery used in the songs can be cross referenced w pretty much every other song in Gracie’s discography (and w many Taylor songs) making them all connected.

For instance, the main themes in Mess It Up are:

Not growing up -> minor, tehe, Wishful Thinking, Older, Better, Augusta, Alright, Difficult // Peter, The Archer, cardigan, betty, peace

Groundhog Day (This is related to the next theme) -> Under/Over, Risk mv, I Love You, I’m Sorry, us // The Prophecy

Making the same mistake over and over/Bad habits -> Long Sleeves, Rockland, The Bottom, Best, Will you cry?, Difficult, This is what the drugs are for, Fault line, Block me out, Blowing Smoke, I Love You, I’m Sorry, us, Let It Happen // Anti-Hero, coney island, Florida!!!, Fresh Out The Slammer, The Black Dog

Not being able to sleep at night -> Rockland, Hard to Sleep, Camden, Painkillers, Difficult, This is what the drugs are for, The blue, 405, Risk, Blowing Smoke, Let It Happen, Tough Love // Midnights the stories of 13 sleepless nights, hoax

The birthday cakes -> 21, Stay mv, Mean It mv, Risk mv // All Too Well short film, coney island

“Let it happen” -> The song Let It Happen on TSOU, Better

Lying -> For Real This Time, Best, Full machine, Where do we go now?, Block me out, Blowing Smoke, Let It Happen // Getaway Car, illicit affairs, the lavender haze/bearding/red herrings

Phone calls -> 21, Rockland, Full machine, I should hate you, This is what the drugs are for, The blue, Block me out, us, Let It Happen // cowboy like me, Anti-Hero mv, Fortnight mv

Going onto a porch in order to apologize to someone -> Risk mv (technically not to apologize but it’s still related to coming out and making things right) // betty, cardigan, this is me trying, long story short, Fresh Out the Slammer

The main themes in I know it won’t work are:

Closets -> Peter, seven, cowboy like me, I Know Places

Drawing the line in the sand and putting up boundaries or crossing boundaries -> Mess It Up, Long Sleeves, For Real This Time, Best, Felt Good About You, Let It Happen, Gave You I Gave You I

Cutting ties w someone -> Friend, Blowing Smoke, Free Now

Being someone’s ghost/haunting someone -> I miss you, I’m sorry, us, Block me out // Basically all of TTPD and much of folkmore and Midnights (Anti-Hero mv)

The main themes in The Bottom are:

“I told you I was down bad, you hate to see me like that” -> Down Bad

Making the same mistake over and over/Bad habits -> Long Sleeves, Rockland, The Bottom, Best, Will you cry?, Difficult, This is what the drugs are for, Fault line, Block me out, Blowing Smoke, I Love You, I’m Sorry, us, Let It Happen // Anti-Hero, coney island, Florida!!!, Fresh Out The Slammer, The Black Dog

Opening up the door and letting someone into your house, closing the door, or going into someone’s house uninvited -> Mess It Up mv, Under/Over, tehe, I should hate you, us, Let It Happen, I Love You, I’m Sorry, Gave You I Gave You I // cardigan, hoax, Anti-Hero mv

Dragging someone down/Hitting rock bottom/Coming down after a high or being high (drug metaphor; becoming more famous=“getting higher”) -> Long Sleeves, Rockland, Wishful Thinking, Painkillers, Alright, This is what the drugs are for, Fault line, Right now, Block me out, Blowing Smoke, I Knew It, I Know You, Gave You I Gave You I, Free Now // Many songs on TTPD use the drug metaphor, gold rush, long story short, Anti-Hero mv (pushed from balcony), seven, this is me trying, illicit affairs

Being the problem -> 21, minor, Rockland, Wishful Thinking, Older, Painkillers, Best, Difficult, Block me out, Unsteady, I Love You, I’m Sorry mv // Anti-Hero

Mess It Up

So as I stated before this song is all abt making the same mistakes over and over and reliving the same day like it’s Groundhog Day. Gracie, the narrator, keeps trying to make things right and apologize to the person she’s hurt, but every time she tries she messes it up which is represented by her dropping the cake repeatedly. But finally at the end of the mv, she is able to get it right and properly apologize. She knocks on someone’s door and they open it which symbolizes this person opening their heart to Gracie and forgiving her. If you go to the 2:12 mark in the mv when the letters and numbers on the fridge fall, you’ll see that they spell out a secret message “Hi (13, 31) Peter Pan - T” (the “I” doubles as a 1, the “3” doubles as an E, and the “L” doubles as an R/r if flipped on its side). Taylor was 31 yrs old when the Mess It Up mv was released on May 6, 2021. Peter Pan is the boy who never grew up. This means that it’s likely the narrator’s inability to grow up that is causing issues in the relationship. This is why the song starts w “Opened two double doors, typical, pretty sure I could grow up.”

“Did I fall out of like when I called you” -> Did I cross a boundary and make things worse when I called you? Boundaries are one of the main themes in I know it won’t work. I believe that Gracie and Taylor could be using “phone calls/texts/letters” as a metaphor for the anon messages and riddles we’ve received over the years. As a result of trying to solve these messages and riddles, kaylors have gotten a ton of hate and many have had to leave the fandom bc the environment is so toxic. This song could be Taylor acknowledging these issues and apologizing for how we’ve been treated.

“'Cause every time I get too close, I just go mess it up” -> It’s possible Taylor has tried many times over the years to properly apologize to us by giving us more cryptic messages containing these apologies, but the problem is that these anon messages and riddles are the main reason why we get bullied so this only makes the issue worse in the end.

“Funny that (Funny that) didn't work (Didn't work), I could be anywhere, I'm on your block” -> I believe this could be related to I Love You, I’m Sorry. “The way life goes, Joyriding down our road, Lay on the horn to prove that it haunts me, (I'm wrong again, wrong again) I love you, I'm sorry.” This song also has the lyrics “I wanna speak in code” which makes me think of the anon messages and queer flagging.

“I keep thinking, maybe if you let me back in, we can make it better, breaking every habit” -> Taylor talks abt breaking bad habits in The Black Dog which I believe represents putting an end to the bearding/lavender haze/red herrings/smokescreen/blowing smoke/not growing up.

It’s very interesting that Gracie uses a birthday cake to apologize. Birthday cakes are a common symbol that shows up in Gracie’s music. They also appear in 21, another apology song, and the Risk mv which is likely abt the mass coming out (see this post). In the All Too Well mv, Sadie’s character receives a birthday cake at the same time that Taylor sings, “But then he watched me watch the front door all night, willin' you to come, And he said, ‘It's supposed to be fun turning 21.’” In both 21 and ATW 10 min version, the older person in the relationship misses their significant other’s 21st birthday which greatly hurts them. These songs could be 2 sides of the same coin from opposite perspectives like dorothea and TTDS. With how many connections there are between Gracie and Taylor’s music, I’m inclined to believe this isn’t a coincidence.

(From the Mean It mv. When the 21 candles are thrown in the box they almost look like a backward "t" and "s")

“If it doesn't go away by the time I turn 30, I made a mistake and I'll tell you I'm sorry, ‘Sorry.’” The narrator is saying once she turns 30 she’ll apologize to the 21 yr old if her feelings haven’t changed by then. This is immediately followed by a “sorry” meaning the narrator has actually already turned 30 yrs old which is another indicator that Gracie is in fact speaking from someone else’s perspective bc Gracie was only 20 at the time of this song’s release in 2020. Plus just a few tracks later in the same album, the narrator says "I miss you, I'm sorry" which she said she wouldn’t say until after she turned 30. Taylor was 30 yrs old when the album minor was released in July 2020 and when 21 was released as a single on Feb 20, 2020. If this song is from Taylor’s perspective at 30 yrs old, then the significant other/ex being 21 indicates it (along w all the other cross-referenceable songs) is likely not abt a literal romantic relationship; rather, the song is an allegory or metaphor. The 21 (acoustic) mv has "I miss you" on the piano and "I'm sorry" in the notebook which indicates that 21 is directly related to I miss you, I'm sorry. The emphasis on birthdays and age in 21 fits well w the Peter Pan metaphor that shows up in many of Gracie’s songs. Even though the narrator is getting physically older, she is not getting metaphorically older. To add even more credibility to this theory, the song minor has the line “Hit me 3-1-0” which could represent both Taylor turning 31 in 2020 and a backwards 13. 13s show up several times in Gracie’s mvs and songs. The Secret of Us is a 13-track album that was released on June 21. Additionally, the first 🏴󠁧󠁢󠁥󠁮󠁧󠁿 message was sent July 21 and the second to last message, which I’m now pretty certain is abt Gracie’s album TSOU, was sent May 21 (x).

Look at the numbers on the houses ⬇️ Going column-wise there’s 226(1), 226(3) which is a 13 and there’s also ✌️✌️ which Taylor has used a ton for TTPD (Taylor said in Nov 2021 she wanted to try to plan sth 3 yrs in advance); 2267 -> 6+7=13. Adding up 2+2+6+3 also gives u 13 while 2+2+6+1=11=K. And 6+6 from the 2261, 2263 (again going column-wise) is 12 which is 21 backwards. The 13 showing up in the Risk mv just confirms these choices in the Mess It Up mv were completely intentional.

Gracie and Taylor performed I miss you, I’m sorry together at eras which was Taylor’s suggestion since Gracie’s set was canceled that day (x)(x). I just think it’s very interesting that Taylor wore a yellow dress when they sang this song and then a yr later she just so happened to be featured on the title track of Gracie’s very yellow album 💛 which they (allegedly) didn’t start writing until Nov 13 a few months later (x). This indicates that this performance was likely planned ahead of time and not a last minute decision like they said. I think much of the timeline we’ve been given for Gracie and Taylor’s friendship might be a red herring to prevent ppl from figuring out what these songs are really abt. Gracie and Taylor (allegedly) wrote us together on Nov 13, 2023 spontaneously; but Taylor wearing yellow during IMYIS along w the pap walk w the Cassandra handbag, almost burning down the house 🕯️🧯, and and the fact that all this happened on Nov 13, the day Karlie and Taylor met, indicates that us was actually written much earlier and that the Nov 13 story was just a red herring.

I know it won’t work

This song is all abt boundaries. There are different types of boundaries that show up in the mv: A shoreline, a line in the sand, a fence. It’s clear the narrator doesn’t want to end this relationship and put up walls but she believes she has no other choice bc of her circumstances (not being able to grow up -> Peter, closets).

“I left you here, Heard you keep the extra closet empty, In case this year I come back and stay throughout my twenties” -> The narrator knows there’s no guarantee she’ll actually “grow up” and come out of the closet so her ex keeps the closet empty just in case she wants to move back in and stay in the closet.

“What if I won't? How am I supposed to put that gently? And down the road you will love me until you resent me” -> Since these lines directly follow the ones I just mentioned, you might be inclined to think that “What if I won’t?” is the narrator asking “What if I won’t move back in and rekindle our relationship?” BUT I believe the wording was intentionally ambiguous bc that way it could also mean “What if I won’t grow up and leave the closet? Will you eventually come to resent me if I can’t be the hero you want?”

“But it's a lot, All the shine of half a decade fadin', The whole facade seemed to fall apart, it's complicated” -> This perfectly parallels the 11/09/2019 ♠️ message. The narrator is saying her ex is asking a lot of her by wanting her to come out and destroy the facade. I believe decade might’ve been changed to half a decade so as to not make it obvious Gracie is singing from Taylor’s perspective. The “shine” symbolizes the love and support from fans that has come w being such a famous and successful artist. That’s not an easy thing to give up.

“Why won't you try movin' on for once? That might make it easy, I know we cut all the ties, but you're never really leavin'” -> Taylor knows that even if us kaylors walk away from her we will always eventually come back bc we can’t help but be invested and this puts a lot of pressure on Taylor that she doesn’t want.

“I'll open up, I'm thinkin' everythin' you wish I wasn't, The call was tough but you're better off, I'm bein' honest, So, won't you stop holdin' out for me when I don't want it? Just brush me off 'cause I'm your ghost right now, your house is haunted” -> This entire 3rd verse is extremely telling and fits perfectly w the 2019 failed coming out. The call to not come out was tough bc she was conflicted abt it but she thinks she ultimately made the right decision. Taylor is asking us to stop holding out for a coming out bc it’s not what she wants. Of course I don’t think this is how Taylor currently feels bc I think she’s getting ready to burn down the closet but I think this song shows how she felt at one point. I think the ghost imagery is supposed to connect this song w I miss you, I’m sorry and us as well as all the ghost imagery Taylor has used.

The Bottom

This song is abt hitting rock bottom and being worried that you will drag the ppl you love down w you. It’s kind of a more scathing version of Anti-Hero. I think this song could be directly related to the Mess It Up mv. Someone opens up the door to let Gracie in bc she wants to apologize by giving them a cake. But the narrator warns this person that they should keep their guard up bc she will always be doomed to repeat the same mistakes and drag ppl down w her. Since this song is kind of self explanatory, I’ll instead focus on the mv.

The first thing I noticed when watching this mv is the striking similarities to the Bejeweled mv. Both seem to be inspired by Disney movies/fairytales and even the bells during the title card parts sound similar. PLUS 🎃 anon told us to watch out for things that “ring a belle” -> there are bells in both mvs and one also shows up during the burning castle scene at the end and it is literally ringing; and Bejeweled should look and sound familiar if u have watched The Bottom mv; AND Belle is a Disney princess which is another indicator that 🎃 was referring to these mvs (Taylor wears a yellow dress just like Belle at the end of Bejeweled). Gracie said that The Bottom is supposed to be a satirical mv (see description of vid) and this parallels the Bejeweled mv being satire.

Another thing that’s interesting is that The Bottom mv is kind of the opposite of the Bejeweled mv. In The Bottom, Gracie is dragging a body down the stairs and burying it (descending) while in Bejeweled, Taylor is using an elevator to get higher and higher until she reaches the top floor (ascending). Ascending and descending are things that 🫚 emphasized in this message. Ascending and descending are also things a plane does when flying from one place to another -> “I thought the plane was going down how’d you turn it right around” and all the plane imagery lately. I think 🫚 could have been trying to get us to realize that the beginning stages of this coming out plan (the “ascent,” PR stunts w MH and 🏈, red herrings, 2023-early 2024 🛫) aren’t what we should focus on, it’s the end stages of the journey (the “descent,” cracks in the facade, getting louder w queer flagging, mid 2024-Dec 2024(?) 🛬) that are important.

Yellow shows up a few times in this mv, and I think it’s significant that the room in which the murder happens is a bright one w yellow chairs. Yellow is commonly used to symbolize happiness; Taylor and Gracie use this color in a very similar way to represent daylight/sunshine/summer/being out of the closet/not hiding your real self 💛🌼☀️🏝️ So putting these things together, this scene is symbolically similar to the yellow closet in the Lover house where Taylor has had to put away her sunshine and happiness bc she wasn’t able to come out during Lover era. What was supposed to be a joyous celebration ended w death and destruction.

It’s also interesting that throughout the mv, Gracie is dancing and performing (showmanship/PR) while in a literal spotlight. This ties in perfectly w the very last scene where Gracie is smoking a cigarette which represents bearding/red herrings/lavender haze/smokescreen/smoke and mirrors magic/Blowing Smoke/bad habits. In The Black Dog, Taylor uses smoking as an example of a bad habit/self-destructive behavior she is trying to quit.

Lastly, I wanted to leave you w a few things that I think are very interesting and that could tie in w this theory:

[greatestwizardofthisage]

assigning each of the bad kids a taylor swift era because i am feeling deprived of tswift content now that she's on break from the eras tour

Kristen: Fearless. I can't even explain why, but to me that album is just so sunny and in my mind it fits Kristen perfectly. I think maybe it's because Fearless was one of the first album I ever really loved, then when I was older the rerecording is what got me back into tswift and I can totally see Kristen going through a similar journey with it where maybe she loves it as a kid but then stops listening to it as she distances herself from her childhood/family, only to fall in love with it again later on. Also I feel like the country vibes fit her well. (She would also LOVE betty but she would pretend it's a lesbian anthem)

Gorgug: Ok this feels controversial but he's a Lover stan. I just fully belive that to his core Gorgug is a lover not a hater and he would un ironically love Lover. Like to me that album is all about having gone through some bad shit and choosing to only carry forward the best of it? And that fits with my perception of Gorgug. ALSO the end of afterglow 'I want to be defined by the things that I love, not the things that I hate, or the things that haunt me in the middle of the night' just feels very Gorgug coded to me dont ask me why. However if you've seen any of my other posts about music and the bad kids you know that I wholeheartedly believe Gorgug loves all music so I think he'd be hard pressed to choose a favourite album.

Riz: Midnights. And not just because this kid never sleeps. Bassically I really couldn't decide which album he would listen to because none of them really fit, but then I started thinking about specific lyrics and I think Midnights has the most that he could relate to. I mean 'no one wanted to play with me as a little kid so I've been scheming like a criminal ever since' is about him. You can't change my mind. I do think though that Riz is definitely more invested in all the easter eggs and firguring out which album is coming next over actually listening to her music. Like he would for sure be among the first to figure out all her clues.

Fabian: 1989 and Folklore. I fully to the bottom of my heart belive that until his sophmore year Fabian would exclusivly be listening to pop music, sea shanties, and weird elven music. So obviously he would love the greatest pop album ever made. He wouldn't listen to Folklore until post sophmore character development. Also he would For Sure learn the choreography for the dance in the background of Dress on the Rep tour and recreat it perfectly using his sheet.

Fig: Speak Now. I mean do I even need to explain this? It's the perfect album for Fig. It's the kind of thing she would have loved when she was in her Preppy Cheerleader phase, but it has just enough of that pop punk influence that I feel like she could still appreciate it when she's older. I feel like she would definitly take issue with some of the misogynistic lyrics used in some of the songs, and would be all for the lyric change in Better Than Revenge. Also as I've mentioned many times before, Fig would love Paramore, and would LOVE Castles Crumbling. Like you're going to sit here and tell me that lines like 'They used to cheer when they saw my face, Now I fear I have fallen from grace' + 'Their faith was strong, but I pushed it too far, I held that grudge 'til it tore me apart' + 'Ones I loved tried to help, so I ran them off, And here I sit alone, behind walls of regret' + 'People look at me like I'm a monster, Now they're screaming at the palace front gates, used to chant my name, Now they're screaming that they hate me, Never wanted you to hate me' weren't written by Figueroth Faeth? I also just think songs like Never Grow Up and Long Live would perfectly fit with her not so secret sentimental streak.

Adaine: Evermore and Folklore. I think theres just a sort of elegence to these albums that really reminds me of Adaine. I also think theres so much vulnerability in them and a lot of the songs touch on feelings of not being good enough for others (mirrorball, tolerate it, this is me trying, right where you left me) that I think she could relate to not from a romantic relationship standpoint but from all the expectations placed on her by her parents. I also think that although these are probably the most low key of tswifts albums, they have some good angry songs (no body no crime, illicit affairs, mad woman) that she would definitly love. But yeah this is mostly based on aesthetics. Evermore and Folklore were albums written with a quill and Adaine is the kind of girl to appreciate this.

[niuniente]

Have you ever heard of a podcast called Monstrous Agonies? It's an advice segment for creatures of the night, and I think it's really good. (They're also here on tumblr @monstrousagonies.) Asking because I realized you've reblogged the same types of posts as they have, which tells me you have similar tastes in at least some things, and also because I always want to share things I think are awesome. (All their episodes have transcripts, so one can read the stuff if listening to it might be a problem; great for ADHD, also great for when there was noisy construction going on outside.)

I listen to non-fiction podcasts (and videos) a lot! Especially when drawing. I will give a try to this podcast series, even though it's fictional.

I typically listen to peoples' experiences, like near-death experiences, cryptid encounters, paranormal encounters etc. My newest favorite is The Why Files, which is an investigating journalism channel or various topics as different paranormal encounters, CIA, UFOs, conspiracy theories like is the Moon a man-made object, secret USA military projects, time traveling etc. Always with the question "Is this REALLY true and if not, here are the facts supporting it and if yes, here are the facts supporting that". Highly fascinating and well composed, unbiased series!

Other channels I listen to are

Mom on the spectrum Taylor, a mom of 2, tells about her journey to autism diagnosis at the age of 32, and about life as an autistic, adult woman. Very informative, not a v-blog.

Weird World Stories of peoples' paranormal encounters, glitches in the matrix, past lives etc. unexplainable.

Darkness Prevails The best channel for all kinds of paranormal encounters! Contains tons of cryptid encounters, too.

Dogman Encounters An online "radio" program which interviews face-to-face people who have encounteres dogmen cryptids.

Raven Reads Tons of paranormal encounters of myriad of kinds! Typically sent to Raven directly. Raven also makes 5-10h long video compilations.

Absolute History Super amazing British history channel with short episodes of varied historical topics! These are made to be watched but you can follow them by listening, too.

What Lurks Beneath I haven't been listening to this channel much after it changed its format but the older episodes, which are just read compilations of peoples' paranormal experiences are amazing, especially the military encounters. These helped me to stay sane when I was recovering from a surgery and was in agony.

Paranormal Rising Another excellent channel for all kinds of paranormal experiences people have reported to have!

Anita Moorjani Official I love Anita and listen to her videos whenever I can. Anita is a spiritual speaker and a teacher, helping people to discover their own joyous lives.

Irish in Finland As it says, an Irish man lives in Finland with his Finnish wife. He makes lots of videos about Finnish mythology, history and ancient culture. Probably the best source for Finnish folklore history!

NDE Diary People tell about their near-death experiences. This is one of the best NDE channels if you ask me, as some of the American run NDE channels concentrate on NDEs which align only with Christian values. I want to listen to all kinds of experiences, not just something which supports one religion's views.

Thanatos TV EN An English version (dubbed) of a German channel, which interviews face-to-face German people who have had near-death experiences. Updates rarely but the quality is good.

SPECIAL MENTION - TO WATCH うさぎ村Ch - UsagimuraCh Usagimura - literally Rabbit Forest - is a Japanese breeder who breeds small rabbits. She always introduces newborn bunnies and follows their growth for a month. Videos have English subtitles, if you click them open. This is my happy mood channel!

[tayfabe75]

Speaking of the IILWY mv… It’s interesting that the songs — IILWY and COH — are not linked, but the mvs are. The same goes for cardigan and willow. COH and cardigan end with the protagonist alone and IILWY and willow are about reuniting with the lost lover. Also the invisible string in the willow mv appears to be music!

It's not just IILWY or ACOH, anon! Matty brings back the clown for the beginning of the 'Somebody Else' video as well as the end of 'Sincerity is Scary', even describing clowns as a "motif", heh!

Anon, I love that take about 'Cardigan'! I interpret it in a very similar way, though slightly different. But before I get into it, I want to stress, yet again, to anyone who might be reading this… that Matty Healy is the muse of 'Cardigan', confirmed by Taylor, herself! This rarely happens!

"I've never named names, so I feel like I still have a sense of power over what people say."

I've noticed that most fans completely ignore this bombshell because, rather than explore 'Cardigan' from a new, exciting angle or trust their favorite popstar not to get seduced by or romantically entangled with a "literal monster", they'd rather jump on the bandwagon and believe a 280-character gross misrepresentation of him on Twitter. Boo!

But... I digress! Anyway, as we take this journey, just please remember that Matty is who she is singing about all throughout 'Cardigan'… and keep him in mind as she purposefully ties various songs together with these "plot devices" (more on that in a bit!)

In 'Cardigan', we see how Taylor accesses that golden thread through music (the piano), and the way it is tied not just to this enchanted, magical place (memories from the past, I'm thinking), but by continuing to follow that thread, she ends up in a precarious position - in the middle of dark, turbulent waves during a thunderstorm (very reminiscent of 'Clean'). As the camera pans out, we see just how massive the body of water is. In nothing but a nightgown and totally unprepared to suddenly find herself in this giant ocean… Taylor luckily finds her piano floating on the surface, clinging onto it for dear life. The piano, or the music, is the only thing that saves Taylor from drowning in that abyss - the golden thread luring her to, instead, immerse herself in music once more. Through the piano, or through music, she is able to return to safety and ground herself again, even finding comfort in having taken the journey, because in it, she found a lot of strength and resilience.

Gosh, that sure sounds familiar… doesn't it? Here is where it gets even more interesting! Yes, the beginning of 'Willow' is a continuation of the end of 'Cardigan'. Taylor described the golden thread as a "plot device", which is a "technique in a narrative used to move the plot forward". Taylor is suggesting that there is a plot.

So, let's check out what the Vevo Footnotes video for 'Cardigan' has to say (found on Taylor's official YouTube channel - so, it's as good as "official" to me):

"Returning to the cabin signifies returning to a sense of self after experiencing love lost. However, Taylor's clothes remain soaking wet to represent that she was changed by the journey but has discovered who she always was. I view folklore as wistful and full of escapism. Sad, beautiful, tragic. Like a photo album full of imagery and all the stories behind that imagery."

It's a bit subtle, but the ending of 'Cardigan' is just another iteration on the same story we've already seen elsewhere in Taylor's work. The two that immediately spring to mind are these:

Out of the Woods: She lost him. But she found herself. And somehow that was everything. I Knew You Were Trouble: I don't know if you know you who are until you lose who you are.

And of course, Taylor is directly referencing another song from Red, this time by name: 'Sad Beautiful Tragic' (by the way… I strongly suggest listening to that one back to back with 'Bigger Than The Whole Sky'!)

Taylor suggests that she uses various scenes in 'Willow' to represent the songs 'Seven', 'Exile', 'Mirrorball', and 'Mad Woman'. By the way… 'Mirrorball' is a song that shares sonic similarities with The 1975's 'About You' and 'Medicine' (click the links for fun mashups that help showcase those similarities!)

In the Folklore foreward, Taylor alludes to 'Cardigan' again by describing "lovestruck kids wandering up and down the evergreen High Line" - does that remind you of anything? It sure reminds me of:

"Slut!": Got love-struck, went straight to my head Superman: I'm far away, but I never let you go, I'm love-struck and looking out the window

So, we have a connection to a song that we know Matty helped co-write a different version of… as well as a song that he, himself, hearkens back to via the Superman shirt he chose to wear in the music video for 'Me & You Together Song', as well as lyrically in 'About You'… for some, reading parallels is better, for others, listening is better, so here goes both:

Superman: Don't forget, don't forget about me About You: Do you think I have forgotten? Do you think I have forgotten… About you?

Even the golden thread in 'Cardigan' and 'Willow' is reminiscent of the pixie dust from Peter Pan! Just another connection to Matty, who has not only compared himself to Peter Pan about half a dozen times in interviews throughout the years (slowly adding all instances to this blog), but in one of them, he even talks about Wendy!:

"For me, the Peter Pan analogy of him not wanting to grow up because his… Captain Hook is his only example of a grown-up and he has Wendy, who's a conservative lady who wants to grow up and get married, but he has Tinker Bell who titillates him and she's like pornography, she's like all these… it's like, of course you get like um, titillated by the absence of a domestic reality. You don't live anywhere. You're doing something for other people, although it's yours, you know. You eventually find solace in relationships, like I have done."

Of course, I get it - that this could all be "accidental", but upon studying Taylor's techniques and listening to countless interviews where she says storytelling is the most important aspect of her work… I just don't see coincidence being the most likely conclusion, here. Forgive me, anon... I can get a bit carried away 😅

Thanks for the ask! ♥

[crazyexdirkfriend]

for the ask meme, R and/or Z

ty ty!

R: Which writers (fanfic or otherwise) do you consider the biggest influence on you and your writing?

Hm difficult to say! With me, it's often more like I'll read a passage of something or a deconstruction of something and be super influenced or inspired by it. And I'd have to credit everything I've read, good bad and indifferent, for a *very* long time to really say what's influenced me. I suppose maybe it would be easier for me to look at specific fics I've written and ascertain what influenced my writing of those specifically. shag, emotionally devastate etc., and two short hours etc. were largely influenced by mixed media fics like Don Juan Manlet King, House of Dirk, Detective Pony etc. that kind of showed how to work outside the bounds of ao3 HTML, and some of the old MSPFA works I would have read as a teenager. Also Henry Jenkins I guess then lmao. Also influenced by social media aus but funnily like, the only one I had read at the time was the doofenperry kpop stan au...so that's lore there.

we were something is influenced by A Christmas Carol and Taylor Swift's folklore, and all of the above. It's also influenced by journey to the centre of the mind fics like Way Stations of the Heart, A Litany etc., and A Thousand Years

eschewal was inspired by the script for the season 1 finale of Steven Universe, Sylvia Plath, and psychology texts I was reading at the time.

lunar calendar was inspired by Moon Song (and I Know The End) by Phoebe Bridgers and a number of stylistically similar fics I read in quick succession with a nonlinear narrative

perpetuity was inspired by Endlessly by The Cab, Emily Dickinson, my nervous breakdown, and many stylistically similar fics I'd read until that point

With regards to like, writers specifically who have written or said stuff that I've found inspiring though, I guess all of the above. Then reading Save the Cat helped a BUNCH with my script-writing, as did reading the scripts for Gone Girl, Fraiser (selected episodes), and Death in Paradise. Stephen King's On Writing was very useful too I found. And recently I've been into this essay by Chuck Palahniuk that's helped me re-look at writing crutches I have. I'm not actually using this when I'm writing fic (because sometimes the reader *does* know because they've read the source text and it can get very clunky to come up with reasons, y'know the drill etc.) but it's changed the way I approach personal work a bit.

I've written too much for this question apologies.

Z: Is there a story you’ve written that doesn’t seem to get much love?

I'm going to be honest I am consistently overwhelmed by the amount of people who read my stuff. I put things out into the ether and then am like WUH when someone acknowledges me. It's a great feeling though.

I supposeeeeeee we were something perhaps, but it's a short WIP that people probably don't want to start until it's done. But I sort of lost steam on it and forget to work on it because I'm not sure many people read it. I will finish it! But it's probably my least popular of the dj fics (aside from my ancient ones from when I was a teenager)

[septembersghost]

not to relate everything to taylor (who are we kidding, right?), but i saw someone else this morning say keep driving is harry's you are in love, in that it's snapshots of all these seemingly mundane, small moments, and some of the crazier, more difficult ones, that ultimately becomes this tender portrait of making it through while holding onto each other, and that makes so much sense to me? it's even told similarly, now that it's been brought to my attention - buttons on a coat, lighthearted joke...morning, his place, burnt toast, Sunday /// black and white film camera, yellow sunglasses...maple syrup, coffee, pancakes for two, hash brown, egg yolk, I will always love you. you're spinning round in a snowglobe, should we just keep driving. it's the moments that don't seem important, but that ultimately mean everything and keep you going.

in my head, satellite is his mirrorball, matilda is his seven, cinema is his delicate, love of my life is his hoax, there are reasons i have specific feelings for all of them - i am mentally charting an entire list of connections/parallels to process this album alongside songs of hers because i love the way they fit together expressively/artistically. and because it makes me happy. 🥰

sunflower and canyon moon both have such vibrant home themes (kiss in the kitchen like it's a dance floor...mouthful of toothpaste before i got to know you, i've got your face hung up high in the gallery; doors yellow, broken blue...i'm going home), and some of the funky/weird/vintage sounds that are even more fully expressed on this album, so they feel really connected and complimentary. (also cherry and boyfriends, but that makes sense since he was working on the latter near the end of recording fine line.) he was singing about coming home and now he's found it, and realizes it's always with him.

i was reading reactions last night and saved this because it reminded me of you, but i didn't want to send it to you until you'd had a chance to listen! it just fits ✨🌻✨

I’m so glad it reminded you of me!

And I completely agree, but like this op I can’t explain it either. Sunflower vol. 6 is so weird and so fun, and hs3 is too, but there’s more to it than that that I can’t explain except that they both make me very happy

Keep Driving is maybe one of my favorites, but it’s too early to tell

[path-of-my-childhood]

Musicians On Musicians: Paul McCartney & Taylor Swift

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

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

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

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

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

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

Paul McCartney: Yeah!

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

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

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

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

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

McCartney: Yeah, that’s true.

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

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

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

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

Swift: Wow.

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

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

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

Swift: That’s so cool.

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

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

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

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

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

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

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

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

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

Swift: You want to stay in the zone.

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

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

McCartney: Ends of decades.

Swift: Was that important?

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

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

McCartney: Thirteen is lucky for some.

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

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

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

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

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

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

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

Swift: Love a pseudonym.

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

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

McCartney: Well, yeah, you need that.

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

McCartney: Do you ever do that?

Swift: Oh, yeah.

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

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

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

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

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

Swift: Thrilling, absolutely thrilling.

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

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

McCartney: You do that, do you?

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

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

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

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

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

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

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

McCartney: “Peace,” I like that one.

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

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

Swift: Oh, absolutely.

McCartney: They have to, don’t they?

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

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

Swift: She went to a regular school...

McCartney: Yeah, she did.

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

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

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

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

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

Swift: Ohhh!

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

Swift: Cares about that stuff?

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

Swift: I think that sounds like a perfect day.

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

Swift: That can’t happen in Downton Abbey.

McCartney: [Laughs.] Exactly.

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

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

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

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

Swift: Wow.

McCartney: It’s very magical.

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

McCartney: Did you do that on Folklore?

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

McCartney: What stuff were you reading?

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

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

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

McCartney: How about “marzipan”?

Swift: Love “marzipan.”

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

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

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

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

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

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

Swift: That really is powerful.

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

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

McCartney: What, a “cardigan”?

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

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

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

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

Swift: Get a hammer and a nail.

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

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

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

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

Swift: No, it’s cool!

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

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

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

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

McCartney: What do you paint? Watercolors?

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

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

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

McCartney: She’s a fantasy character?

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

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

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

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

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

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

Swift: That’s amazing.

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

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

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

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

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

Swift: Wow.

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

Swift: Making a table.

McCartney: Making a table.

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

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

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

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

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

McCartney: I know it, it’s in C!

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

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

Swift: We’re really lucky.

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

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

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

Swift: “Something will happen.”

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

Swift: That’s the best.

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

Swift: “Something will happen.”

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

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

[sgt-paul]

MUSICIANS ON MUSICIANS: Paul McCartney & Taylor Swift

© Mary McCartney

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

interview below the cut:

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

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

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

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

Paul McCartney: Yeah!

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

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

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

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

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

McCartney: Yeah, that’s true.

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

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

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

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

Swift: Wow.

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

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

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

Swift: That’s so cool.

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

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

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

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

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

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

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

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

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

Swift: You want to stay in the zone.

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

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

McCartney: Ends of decades.

Swift: Was that important?

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

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

McCartney: Thirteen is lucky for some.

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

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

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

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

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

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

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

Swift: Love a pseudonym.

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

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

McCartney: Well, yeah, you need that.

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

McCartney: Do you ever do that?

Swift: Oh, yeah.

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

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

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

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

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

Swift: Thrilling, absolutely thrilling.

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

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

McCartney: You do that, do you?

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

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

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

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

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

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

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

McCartney: “Peace,” I like that one.

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

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

Swift: Oh, absolutely.

McCartney: They have to, don’t they?

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

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

Swift: She went to a regular school .…

McCartney: Yeah, she did.

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

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

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

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

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

Swift: Ohhh!

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

Swift: Cares about that stuff?

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

Swift: I think that sounds like a perfect day.

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

Swift: That can’t happen in Downton Abbey.

McCartney: [Laughs.] Exactly.

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

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

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

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

Swift: Wow.

McCartney: It’s very magical.

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

McCartney: Did you do that on Folklore?

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

McCartney: What stuff were you reading?

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

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

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

McCartney: How about “marzipan”?

Swift: Love “marzipan.”

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

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

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

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

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

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

Swift: That really is powerful.

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

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

McCartney: What, a “cardigan”?

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

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

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

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

Swift: Get a hammer and a nail.

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

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

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

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

Swift: No, it’s cool!

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

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

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

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

McCartney: What do you paint? Watercolors?

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

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

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

McCartney: She’s a fantasy character?

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

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

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

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

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

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

Swift: That’s amazing.

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

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

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

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

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

Swift: Wow.

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

Swift: Making a table.

McCartney: Making a table.

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

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

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

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

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

McCartney: I know it, it’s in C!

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

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

Swift: We’re really lucky.

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

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

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

Swift: “Something will happen.”

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

Swift: That’s the best.

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

Swift: “Something will happen.”

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

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

[smellycinnamonthundahfudge]

fuck it. have the five page essay-ish thing i wrote on hoax.

it's so underrated and contains so many references to taylor's one great true love... that she lost.

(but there's also a bit about what the album cover means since i just think it adds to the evidence of something)

Let me take you on a journey, more specifically, the journey taylor’s music brought me to.

But fine for irl context, and disclaimer as well, I’m a new swiftie.

Yes, folklore was the one that really really pulled me in.

I’ve always loved her music, those that I knew of anyways, and she’s always held a special place in my heart and some part of me always knew that I was always going to explore her discography someday… and those days and months of exploring aforementioned music finally arrived.

So, for context, I’ll say that I mostly loved her bops. I always knew and loved her as that teenage girl feeling of wanderlust, and just wonder, and sweetness, and love…

That was what taylor was to me, the feeling of love.

It’s only when I very quite recently really really grew up and at the same time, taylor’s most popular music at the time, folklore, also happened to be really grown up, is when I realized and found out that taylor always had this depth to her.

So, for me, debut to speak now and half of red will always have that child-like wanderstruck look of awe and love vibe and feeling to me, cause nostalgia, it’s what I spent my life thinking of it and her as.

Also it’s been some time since I fully listened to those albums, so the journey/throughline narrative that I see from taylor’s discography is

Debut – young kid figuring it all out, emotional but sweet

Fearless – growth, ambition, dreams, complexity of wanting someone you know you’re not supposed to

Speak now – cinematic movie like quality of storytelling, these are fantasies, epics, novels all on their own, legend

Red – reckless abandon, intense extreme adult love, and also growth

1989 – true love, actual adulthood, scandal, gossip, hiding, protecting what’s important, dwindling mercurial highs

Rep - …

One thing that I started to notice only on 1989 and then it looked to be the case for the ff albums too, is that the latter half of one album oft bleeds onto the next one

So like the sound of I know places and even kinda wonderland to some extent, is very similar to reputation’s sound.

Then idk, new year’s day being a really sweet love song transitioning into lover

And then it’s nice to have a friend’s simple acoustic nostalgia & daylight’s nature imagery transitioning into folklore

And theeenn I’m betting the lakes as a positive song is a foreshadowing for the more softer positive outlook evermore is going to have, compared to folklore at least

But I honestly believe that if you look at the albums themselves, debut to speak now and red all seem to be about fleeting romances that pass and go

But 1989, that’s when things start to get real, and I believe, that’s when taylor really starts to get her muse…

Cause if you look at from 1989 to folklore evermore heck even to the rerelease of fearless and red…

These songs seem to be stemming from one relationship

A relationship that’s secret, that’s fragile and delicate, and complicated and complex

And correct me if I’m wrong, but…

Is king of my heart the first time taylor ever used the term, the one???

The one real thing you’ve ever known?? All too well

One touch you are in love??? One step one night

Point is, I think starting from 1989, most of the songs taylor wrote and sung about could all be attributed to just one person.

A tumultuous complex but nevertheless real and true love.

And I bring up the one connection because the one clearly parallels king of my heart

And all at once, YOU ARE THE ONE I HAVE BEEN WAITING FOR

why would taylor write about losing someone that she thought she was the one if the person you think it’s about is still supposedly with her when she wrote it?

And finally, in taylor’s announcement of folklore, she wrote about an exiled man walking the bluffs of a land that isn’t his own, wondering how it all went so terribly, terribly wrong.

And in its music video, you get the same imagery?

…

…

…

You know where, … you… also… get… the same… exact… imagery…?

The folklore album cover.

Where it’s taylor, walking, in the middle, so small in the grand vast bluffs of a land that wasn’t her own.

In every single music video for every folklore song, the only ONE, THE ONLY ONE, where you get the same imagery, the same color palette as the album cover, is exile.

Which is about someone, a man walking the bluffs of a land that isn’t his own.

So if taylor is the man, then she’s

I can see you standing, honey

With his arms around your body

Guess who she has a close relationship with, who betrayed her, who got married to someone else?

*regina george anger screaming*

Me is a breakup song.

Taylor rereleasing red second has so much more weight to it now.

“In the land of heartbreak, moments of strength, independence, and devil-may-care rebellion are intricately woven together with grief, paralyzing vulnerability and hopelessness.”

moments of strength, independence, and devil-may-care rebellion – me, I PROMISE THAT YOU’LL NEVER FIND ANOTHER LIKE ME.

WATCH MISS AMERICANA AND I DARE YOU TO NOT SEE ME AS A SPITEFUL/VINDICTIVE/REBELLIOUS BREAK UP SONG

grief, paralyzing vulnerability and hopelessness – FOLKLORE.

Then I guess, fine… we’ll get to why hoax is so fucking meaningful yet you don’t understand why it is.

Yes, my only one.

Smoking gun.

I saw someone call this a reference to the fire and ash in mtr, but I also think of this as someone being your one weakness…

Think about it like this, in reputation

And what if the one person who kept you alive through all that

Betrayed you too.

Taylor talks so deeply and passionately over how much this person matters, they were her smoking gun.

Because they were what kept her going through the death of her reputation.

When no one trusted her that one person did.

They were her smoking gun.

My eclipsed sun.

Lover ended with daylight.

Taylor called reputation as night time.

And now what once was daylight has now been eclipsed over, by betrayal grief sadness desolation.

(darling this was just as hard as when they pulled me apart, folklore is as dark as rep)

Winless fight – ma & thp, fight that someday we’re gonna win.

They or she didn’t.

Frozen ground brings me back to holy ground and to doht, my love had been frozen

The imagery of hoax’s lv, is of a cliffside overlooking an ocean

Which brings me back to gorgeous, of OCEAN blue eyes looking in mine, I feel like I might sink and drown and die

Screaming, similar to mtr’s I still talk to you when I’m screaming at the sky

(sidenote might not related to taylor references, but that line gives me hopelessness give me a reason to live vibes, and what with gorgeous’ line of sink and drown and die and this is me trying’s Pulled the car off the road to the lookout Could've followed my fears all the way down…

Anw… the sidenote is cause that feeling of hopelessness just really resonates with me personally, kind of the type screaming at the universe, at whatever’s out there why… sigh…)

Faithless love – false god

Hoax – illicit afairs

Blue… rep (delicate)

Best laid plan – dbatc, paper cut stings from our paper thin plans

Sleight of hand???

Five whole minutes pack us up leave me with it???

Could barren land also be bluffs of a land that isn’t his own?? Idk… *shruggie*

Ash from your fire mtr

New york, DBATC, 1989, false god, cornelia street

Hero died, remember when I said I’d die for you? False god

What’s the movie for, exile, I think I’ve seen this film before

You knew it still hurts underneath my scars from when they pulled me apart

Like I said, reputation… who was her saving grace/smoking gun from all that

THEY WERE THE ONE, THE ONLY ONE, TAYLOR HAD WHEN SHE WAS PULLED APART

SO THEY KNEW, THEY KNEW HOW MUCH IT HURT HER

BUT THEY BETRAYED HER ANYWAYS.

Password let you in the door, I knew you’d come back to me, front porch light cardigan

What you did was just as dark, just as hard

Why wouldn’t it be?

They were the one she had throughout all that turmoil… yet they betrayed her too…

Kingdom come undone – komh, we rule the kingdome inside my room

Beaten my heart – KOMH, dbatc

The feeling of thinking you found the one, the one you’re going to spend the rest of your life with… the one you would throw away all of this for…

Don’t want no other shade of blue but you, no other sadness in the world would do

You don’t want anyone else but them if they were the one you were going to throw it all away for…

You don’t wanna say goodbye…

You just wanna keep feeling the pain, the love, the conflict that you had with them…

You don’t wanna say goodbye

[bananaofswifts]

Taylor Swift forges ahead with a dreamy throwback in Fearless (Taylor's Version)

By Saloni Gajjar

A

Taylor Swift’s second album, Fearless, catapulted her to fame, and firmly established Swift as a flourishing musician and songwriter in November 2008. Now, almost 13 years later (of course the number 13 factors in somehow), she has launched the re-recorded Fearless (Taylor’s Version), adding a mellifluous upgrade to an already remarkable album. Sure, it works as a throwback, but it’s mainly a showcase of Swift’s mature, confident vocals, with a sharper sense of musicianship and instrumentation this time around. At a whopping 26 tracks—including six previously unreleased songs and a “Love Story” remix—the songs maintain the lovelorn essence of 2008 while syncing up tonally in a striking way with her two 2020 releases, folklore and evermore. It essentially makes Fearless (Taylor’s Version) the perfect retrospective follow-up for Swift.

Those unexpected albums from last year are full of rich, complex details and stories (“the last great american dynasty,” “no body, no crime”) balanced out by tales of nuanced, aching loves (“the 1,” “august,” “happiness”). The latter bore imprints of Swift’s specific style of depicting romances that remained incomplete or left you wanting more, but throughout folklore and evermore, she presented them through a lens of acceptance and emotional growth. It’s a distinction from Fearless, which she wrote at the cusp of adulthood, in which the love story literally takes the form of a fairytale or then succumbs to devastating heartbreak—or at least it appears devastating when you’re just 15. Fearless was an encapsulation of the growing pains of teenage love. Listening to a 31-year-old Swift belting those same songs in hindsight and within the context of her professional trajectory (and personal life, to quite a degree) is a whole other experience.

She lets her journey over the last decade blend into recording the songs again, almost inviting listeners to ruminate on their own adolescent or past relationships with her. None of the tracks differ in lyrics, as seen in the early drop of “Love Story (Taylor’s Version).” The subtler changes are observed in more pronounced beats, or in some of her punctuated deliveries of certain lines. In songs like “You Belong With Me (Taylor’s Version),” for example, the brief pause after “She doesn’t get your humor like I do” gently lifts up its impact. These small changes actually enrich the “reminiscence” vibe of this album, which contains some of her earliest hits from before she pivoted to full-on pop music with 1989 in 2014. It’s also captured in the new “from the vault” songs, two of which she released prior to the album’s launch: “You All Over Me” featuring Maren Morris, and “Mr. Perfectly Fine,” which is apparently about Joe Jonas (though Jonas’ wife Sophie Turner has given her seal of approval to it on Instagram). The drama is left behind in 2008—it’s just the music and lyrics that get the spotlight now.

The other four “from the vault” tracks fit in well with the album, too. On the slower “We Were Happy,” Swift sings: “We used to watch the sun go down/On the boats in the water/That’s sorta how I feel right now/And goodbye’s so much harder.” It’s an evocative song, much like “Don’t You,” about a woman still pining for her former love. The lyrics here, “Don’t you smile at me and ask me how I’ve been/Don’t you say you’ve missed me if you don’t want me again/You don’t know how much I feel I love you still,” are buoyed by lively rhythms. Swift’s collaboration with Keith Urban on “That’s When,” where they both jam about past lovers reuniting, also hits all the right soothing notes. Like the rest of Fearless (Taylor’s Version), these new songs incorporate similar moods and concepts—especially rain, a motif running throughout the album, including the last track here, called “Bye, Bye Baby.”

Swift still has five more albums to relaunch following the very public legal battle over the ownership of her back catalog. She could have dropped any of the others first, but the choice to follow up her three most recent albums (which she owns) with Fearless (Taylor’s Version) bodes well, as it’s a fun look back at the old Taylor, who was already providing bops and chart-toppers just a few short years into her recording career. It also lends an appreciation for how she has since taken control of her narrative with albums like Reputation and Lover while expanding on her songwriting abilities in folklore and evermore. Fearless (Taylor’s Version) is definitely going to invoke memories of what made Swift a household name in the first place, and should take fans back to a certain time in their life, probably when they first discovered what it means to—borrowing a phrase from the titular song—dive in “head first, fearless.”

[folklorevermoremythology]

So Many References: the Willow Music Video

So many references!!! Let's start with one of the first scenes: 

TayTay admires the reflection of the lake that shows her beside her lover. Moments later, she jumps into the lake, as she is in search of the heart that fate has in store for her. The Greek legend of Narcissus tells a similar but more tragic version of what is shown in the music video: Narcissus was a beautiful young man who was never able to recognize his own reflection. After rejecting the nymph Echo, the gods punished him for his petulance, causing him to fall in love with his own reflection. Seeing his beautiful face reflected in the lake, he also jumped towards the one he loved, but that caused his death. The next scene in the video, after the dive, depicts a Taylor younger than the one who jumped into the lake, which may suggest that her passion for her beloved is very strong and crosses the boundaries between different lives. Taylor herself confirmed that the song portrays the strong desire for someone and how complex that desire can be.

On to the second reference in the video... The song’s lyrics read: “head on the pillow I could feel you sneaking in / as if you were a mythical thing”. This little passage alludes to one of the most beautiful Greek myths: Eros and Psyche, the conflicting allegory between Love and the Rational Mind.

Psyche was a young woman of beauty comparable to that of Aphrodite, who was offended by such a comparison with an ordinary mortal. Cursed by the goddess, Psyche was never able to find a lover. Furthermore, Aphrodite ordered her son, Eros, the Cupid, to go to Psyche and make her fall in love with a terrible monster. Fulfilling his mother's wishes, Eros went to Psyche, but was so entranced by his beauty that he wounded himself with the arrow of love, falling in love with the young mortal. Psyche, following the advice of an oracle who determined that her destiny would be to marry a horrible monster, irresistible to human or divine eyes, then went to live alone in an enchanted palace in the middle of a valley where she should wait for the monster's visit. Every night, the god Eros, hidden from his mother Aphrodite, would sneak in to visit Psyche, always asking her never to look at her face or ask her about her identity. Taken by curiosity, Psyche ended up discovering who was the supposed monster that visited her every night, causing the wrath of Eros, who rebelled to Olympus.

This was just the beginning of Psyche's journey in search of her love, Eros, but telling it in full is not the intention of this text. The interesting thing here was to see Taylor making reference to the greatest classic myth about the fight and reconciliation between the Mind and the Heart, always present in any relationship.

Third reference: we all remember the snakes from the 'reputation' era, right? Well, now that Taylor has left that dark and vengeful phase, she has made a point of referencing this moment of her career as something comical – a circus attraction: 'The Python'! Python was a terrible gigantic serpent who presided over the oracle of Delphi before the sun god Apollo killed it and took the temple of the oracle for himself. 

Sounds familiar? If not, remember that Swift claimed to have written 'Daylight' (from the 'Lover' album) as a symbol of the sunlight that dispels the darkness and the fears of the night – represented by the 'reputation' era in her life. Just as Apollo killed the Python, the ‘Lover’ era came to destroy the pains and sorrows of the ‘reputation’ era.

To finish the list of references for the Willow music video, let's go to the most majestic of all: I never thought I'd see a Sabbath celebration in a Taylor video, but again she surprised me! As she already explained, while 'folklore' represented spring and summer, 'evermore' came to complete the cycle and represents autumn and winter. The scene we'll talk about, in fact, takes place in the midst of winter snow. Although many of us today do not even pay attention to the passing of the seasons, it was a common and sacred practice for many ancient peoples – their survival depended on knowing the right time to sow, water, harvest and sacrifice.

Performing rituals that celebrated the passing of seasons was the way for ancient peoples to connect with the sacred of nature, and one of the most beautiful and important festivals was Yule, the winter solstice in the calendar of the Celtic peoples. In the northern hemisphere, this date occurs around December 21st and marks the shortest day and longest night of the year. It is the point on the calendar at which the hours of the day will begin to increase and the hours of the night will begin to decrease. It is the moment when, despite the typical winter darkness, the light triumphs and starts to grow, bringing warmth and life to the land.

The parallel between this Celtic celebration and the life of TayTay is undeniable. It was during the ‘reputation’ era, her most difficult, delicate and darkest moment, that she got to know with Joe Alwyn, her current boyfriend, whose beauty and personality are often referred to as 'gold' or 'sunshine' since the 'Lover' era . It was in her darkest moment that she saw the light rising the brightest.

"LIVING IN WINTER, I AM YOUR SUMMER" (lyric from Me!, Lover era's first single)

[rosereview]

Top 11 Albums of 2020

Much like my top EPs of 2020, this consists of all the albums that came out in 2020 that I really enjoyed. I just did a small description of my favourite things about these albums, and for all of them, I highly recommend them. 

11. Weird! by Yungblud

This one was a very big surprise for me because I generally don’t like the type of music Yungblud creates (a more punk/pop rock-ish sound), but many of the songs on this album made me fall in love with it. Yungblud knows how to use his voice to inflict raw emotion that gave me goosebumps particularly in his song “mars,” “teresa,” “love song,” “it’s quiet in beverly hills,” and “god save me, but don’t drown me out.” These are for sure my favourite songs on the album. He has such an interesting voice and even my least favourite songs, I can still listen to and enjoy because they evoke other types of emotions that really resonate with me. 

10. Rare by Selena Gomez

Next we have Selena Gomez’s new album after a five year hiatus, which now feels like it came out a million years ago, but it was just last January (a little more than a year ago). I also had quite a few songs that I liked on this album and the whole theme of mental health and finding yourself I really enjoyed. Not all of the songs were my favourite which is why it’s lower on my list, but many of the songs also grew on me more as time went on. Almost all of them are also really catchy so I found myself singing them in my head at random times, which also made me realize the genius of some of these songs.

9. Leave It Beautiful by Astrid S

Like Selena Gomez’s album, this new one by Astrid S had a lot of good singles that I fell in love with even before the album came out. But when the album came out, I wasn’t as impressed with the rest of the songs, even though some have really grown on me with time. I think I was just wishing for some more ballads and stripped down songs like from her Down Low EP. But besides that, this is Astrid S’ debut full length album, which in itself is really exciting since I’d been waiting for this forever. 

8. These Two Windows by Alec Benjamin

Next is Alec Benjamin’s new album, which definitely has some songs that make me pause and give me goosebumps. I really liked how on this new project, Alec Benjamin had some more interesting and different production styles in the songs, so they weren’t all the same, or very similar, styles like in his last album. By that I mean that he used his voice in different ways and there were cool sound effects in the background of the songs that added something extra to them. Although that being said, I think I have to say that the last album had superior storytelling skills than this one, and even though I really did like the lyrics in these songs, in the last album I felt like there was more of a variety of topics and stories that I missed in this album. 

7. Wonder by Shawn Mendes

And finally Shawn Mendes came out with a new album this year too, which was really exciting. I overall thought that this album was really good because it was so different from his older stuff. I know that some fans didn’t like this album for that reason, but for me I thought it just made it better. Shawn Mendes is still growing as an artist and I liked seeing him try out different styles of songs that he wouldn’t normally do in his other albums. When “Wonder,” the single, first came out I was sold on this album, and I liked how he did have a theme of wonderland and love and wonders about life throughout the album. It made it feel like a very complete project. (I also loved how there was a song called “Dreams” on this album and Camila Cabello also had a song called “Dream of You” on hers!)

6. Loves Goes by Sam Smith

Sam Smith’s new album was also long awaited, especially when I thought it was coming out in the first half of 2020 instead of the last half. But I can’t say that the wait wasn’t worth it. I was worried that Sam Smith was going to do a whole pop album, but instead I was very happy when they came out with many songs that are still slower ballad heart-wrenching pieces. Most of the songs I really loved, and I also kind of wished that they had an album with none of the bonus tracks from their original album since I felt that just the new songs made it feel more complete, if that makes sense. But even with the old songs that aren’t really my favourites still there, the new songs definitely make up for it.

5. Confetti by Little Mix

Little Mix’s new album is absolutely stellar. I loved so many of the songs on this album and I thought it was all done really well. They were all really fun and make you want to dance and sing along, while still being original and different from their older projects (although some songs take inspiration from older ones which I also liked). They did release a lot of the songs before the album even came out, and I got a little nervous because when that happens, I usually like the singles more than the other songs on the album, but that didn’t happen here. I loved the non-singles probably more than the singles, which I didn’t think possible. They also played around with different production sounds in this project, which I also thought was a very smart idea, and this album just makes me love Little Mix more and more.

4. Only Child by Sasha Sloan

Also a very anticipated release, I was almost in tears when Sasha Sloan said she was finally releasing his debut album this year. I have been obsessed with her EPs for a long time and now having a full length project is such a treat and she definitely did not disappoint. All of these songs on the album are amazing and so many of them are so relatable it almost scares me. I really don’t think there is a song on this album that I truly dislike, and every time I re-listen to the songs, I find a new love and appreciation for them. These songs just feel so personal like a diary entry, which also makes them feel so powerful, and even though Sasha Sloan is known for being a sad girl, this album also has a lot of happy songs when talking about love that made me smile. 

3. Heartbreak Weather by Niall Horan

I was very surprised with myself for putting this album in the top three, but I really have to say that I love it so much. I was not even expecting to have a Niall Horan album on this list, but this album took me by surprise in all of the best ways possible. This is the type of album you can just continuously listen to on repeat because all of the songs are different and so good that you just never get sick of them. I love singing along to all of them and I’m obsessed with almost every single song on the album (which usually doesn’t happen with long projects like this one). 

2. Folklore & Evermore by Taylor Swift

I put these two together because they do feel like one project and I needed to talk about them as one. First off, I’m just obsessed with the lyrics, the production, Taylor Swift’s voice… you name it, I love it. These albums are just perfection in every way, I can’t find any bad things to say about them. Also the fact that we were gifted with TWO albums instead of one is amazing, and the fact that they have different stories in them with literal characters is also superb. I don’t think there is anything negative or something I don’t like about these and I feel like you can just look at anything a Swifty says to know what I like about these albums. 

1. Manic by Halsey

And finally my favourite album of the year, and probably of all time, is Halsey’s Manic, which makes me smile just thinking about it. This was the exact project I dreamed of getting from Halsey and she delivered in every possible way. I loved all the different styles of music in here and every lyric that she wrote. Listening to the album all the way through on repeat makes me so happy that I can’t ever turn off the music until it’s run through all the way. And just having been on this journey with her for this long, makes it so much more special because you understand all of the little meanings in the lyrics and the story that she’s telling. This is definitely my favourite album from her and my favourite album ever!

And that concludes my top favourite albums of 2020, and I also have a top favourite list of EPs if anyone’s curious. 

Until next time!

~Rose Reviews

[aftgficrec]

Idk if y’all do this but I don’t know who to ask but your favorite aftg SPOTIFY playlists? I like the “Andrew in clubs” by rb and the “andriel/AFTG” by sunellix but so far my favorite has been “untitled 1” by palmettofoxden because they made a tumblr post that went with it and I loved how they included the reason to each song. So if you can find playlist AND post related like that one I’ll love y’all more !!! Thanks

Oh, friend, you have no idea what you just got yourself into here.  You want playlists?  We’ve got playlists (and a little personal commentary from us).  A number of fics have amazing playlists to go along with them, so we’ve included little bits of info and links to those fics; then there are playlists for characters, and some general ones for the books.  We didn’t really find Tumblr posts to explain song choices, but we hope you enjoy this collection anyway! -M

NB: Fic links go directly to AO3. You can click on ‘recced here’ to see the trigger warnings that we’ve previously listed.

Playlists Based on Fics 

Red Rabbits Universe series by bloodydamnit, Jeni182, SeaBear13, windeavesdrops [Rated M-E; 647408 words in 3 works; 2 Complete 2019/2020, 1 WIP] (recced here)

If you’re unfamiliar with Red Rabbits then you’ve probably been living under a rock. From the very beginning the team behind this true crime themed fic have been excellent at providing a playlist for the characters, for the story, and for the highly interactive blog that can also be found here. If you’re looking for explanations as to why some songs are on the lists, check out the Tumblr asks and read the fic - there are many layers to this one but you can discover a lot in both Seasons. 

TFN by The Foxhole (2019) - Short and sweet (just like our favourite characters) this is a great list and sits perfectly alongside Season 1. 

TFN Minyard by The Foxhole (2019) - Africa is really the only song you need to listen to on this playlist but this is the list designed to represent Andrew in Red Rabbits. Sit back, listen, appreciate how very very well done this list is: emo bangers sit against indie bops, Lykke Li and MISSIO clash against Explosions in the Sky and Pink Floyd.  

TFN Seth by The Foxhole (2019) - Oh Seth, our sweet baby DJ, whose journey is honestly one of the best in fanfic. Here you’ll find Childish Gambino, Jay Z and Kanye, City Girls and The Weeknd. 

TFN Dan by The Foxhole (2019) - What a queen, it’s Dan Wilds with a mix of Beyonce, Frank Ocean and many more r&b, hiphop and pop tunes. Upbeat and powerful.

Neil Josten’s Music + Mathematics / The Calculus of Nocturnes by fuzzballsheltiepants [Rated M; 7863 words; Complete 2020] (recced here)

Like everything by fuzzballsheltiepants, this playlist is as well thought out and perfectly rendered as the story itself. The fic centers around Neil Josten, a high school math teacher with a secret obsession: the classical piano he hears music teacher Andrew Minyard playing every afternoon. Eventually his secret is found out, and his world begins to open up. This playlist can be listened to along with the fic, giving you an immersive layer to the story. 

Slinging Mozart Sideways / Slinging Mozart Sideways  by justadreamfox [Rated T; 9962 words, Complete 2020]  (recced here)

Some fun facts about this one - firstly, the working title was “gay pianists need to eat” (which I love) and secondly it was part of the 2020 Gift Exchange for Willow_Bird. Excellent fic. Excellent prompt. In which Andrew is in the music business, Neil is a classical cellist (with a British accent) and they bond over Nils Fram. It’s super pretty and the classical music choices are sweet, subtle and sometimes heartwrenching. 

One writer in particular, scribbleb_red, has been prolific in creating playlists for all their longer fics, and some of their Twitter hc fics.  There’s overlap in themes and genres across most of them but here are some of my faves:

Playlist: L'amour parle en fleurs / l’amour parle en fleur by scribbleb_red [Rated M, 61919 words, Complete 2019] (recced here)

Also known as The Lavender AU, this fic is set in the lavender fields of Provence in Southern France and deals with loss and recovery, grief and hope - and that’s exactly what the playlist lays out as well. Intended to accompany the reader through the fic, this playlist is a journey just like the story itself. 

Playlist: (don’t fear) the reaper / (don’t fear) the reaper by scribbleb_red [Rated M, 73111 words, Complete 2019] (recced here) 

for the fic of the same name, in which Andrew and Neil don’t meet in life but in limbo. Andrew is a grim reaper and Neil is the soul he’s meant to be helping cross to the other side. There’s just one issue: Neil isn’t really dead.  

Playlist: monster (under my bed) / monster (under my bed) by scribbleb_red [Rated: M; 1262 Words; Complete; 2020] (recced here)

In which Neil is the monster hiding Andrew’s bed and this changes everything.

not your homeland anymore (2020) for the fic of the same name, inspired by Taylor Swift’s folklore, this angsty fic is still being written and asks the question: what if Andrew hadn’t been there after Baltimore? 

NB: We have not recced this one yet. Please refer to the fic for TWs.

Playlists Based on Characters 

Oh yes, there are some highly creative folks out there exploring their headcanons via the spotify playlist. Here are five of our favourites: 

THE FOXES DEADLIEST INVESTMENT by realpeachy (2019) - Their ain’t no rest for the wicked and this playlist is as relentless, beat-heavy and secretly instigative as Andrew Minyard himself. Some familiar themes with Billie Eilish, Ruelle, Halsey and the like, but some quirky additions like badflower and tedy as well. 

NEIL JOSTEN by Arizona Kestler (2019) - A curious collection of songs on this one, ranging from Kendrick Lamar to Radiohead, AJR to Jack’s Mannequin. It definitely leans into the new-wave emo that many associate with AFTG but it always comes back to the high octane energy we associate with our favourite starting striker. 

yes or no? by jmoriartty (2018) - Could there be a more iconic playlist for andreil? well ok, maybe that’s just this contributor’s taste but having been steadily built through 2018 to 2019, it’s one of the most followed playlists on spotify for AFTG. Two Feet, MISSIO, Twenty One Pilots and grandson are all big hits on this bluesy, gritty, alternative playlist. 

you can call me king by scribbleb_red (2019) - As if any list was complete without a villainous inclusion, like with most of scribble’s lists this one deliberately lays out a journey for Riko Moriyama, his rise and fall. Maybe you’ll also feel Sympathy for the Devil. 

Double Trouble by an.fouda (2019) - Yes, it’s a twinyards playlist and it’s full of absolutely exquisite artist choices and emo hits. Try listening to Night Knuckles by Cavetown or Plastic Joy by Raw Fabrics. It’s a whole new level to this most complex of sibling relationships. 

Playlists Based on the Books 

Some of these are classics - they’ve set the tone for AFTG playlists all over the internets - and it’s fascinating to see how even now people come back to similar tones: alternative rock, grunge, hiphop, the high energy songs that mix a sense of hope and fear and danger. Plug in your headphones and prepare for a ride. Others are more recent and you can very much see how the themes of the music line up over time. If you want a playlist to remind you of the original series, here are some great places to start:

The Foxhole Court (Nora Sakavic) by pjofangirl2  (2017) 

You Are A Pipedream by lokisarmyismydivision (2017)

This is the moment you stop being the rabbit by Warren Vipod (2020) 

[idontwanttospoiltheparty]

Ive never really understood the hype surrounding Taylor Swift - I mean, I like some of her songs, but im not big on modern pop music so generally she just doesn’t really click for me. But I find it interesting that theres quite a few of Beatles/Swift blogs - like, they should have very little in common given that they’re from completely different eras and all, but somehow people seem to find a lot of semblance between the two. << and thats not me shitting on any of these blogs btw! Hope I don’t come off as rude or condescending there <3

Anyway, I was just wondering what got you into Taylor Swift? (I think ive read your post on how you got into the Beatles)

Hi, anon! Don't worry, I don't think you're rude or condescending! I agree they don't have too much in common and I don't really like their music for the same reasons.* I do have a playlist of Paul songs that have similar vibes to Taylor songs but it's mostly lyric-based. (Also the Beatles For Sale songs actually have quite the Taylor-tinge because Paul and John were not immune to Country Music)

I saw @stewy say once that a possible reason there are a good handful of us Swiftie-Beatle People on here is the appeal of a vast discography, which I agree with. If you have an artist/group with 200ish songs, it's just really fun to really dive into their work and explore all the facets. I also think: we're talking about the most popular band of all time and one of the highest-selling artists of the 21st century. They have a lot of fans so there's bound to be overlap, regardless of musical differences.

Moving on to your question: Getting into Taylor was an extremely personal experience for me and so my explanation is probably going to be kind of long so I'll put it under a read more.

It was spring-summer 2014, I was 15. I had heard the more popular songs of hers starting with Love Story and enjoyed pretty much all of them (I always found her hopelessly romantic point of view fascinating) but before I got a Spotify account in 2013 it was difficult in general for me to really get into an artists' entire discography so most of her songs had flown under my radar.

At the time, I was in this very weird sort of codependent online friendship with this girl who was basically my first real best friend and my first more or less crush. She was very depressed and I was very much in an I Could Fix Her™ mood, except that I obviously couldn't fix her and it made me feel like I wasn't enough and she had begun pulling more and more away from me and not replying to my messages and it was simply driving me insane. I consider it the saddest period in my life.

at some point during this period, I started trying to connect with other people (all online, I didn't know how to talk seriously to anyone IRL) and explaining the issues I'd been having, and one of the people who brought me joy and whom I actually felt not drained talking to was a huge swiftie. And IDK the fact that she loved Taylor and the fact that talking to her made my life better (and also the fact that I liked all the Taylor songs I knew at that point) just made me decide to give her a listen. And I think that whole "large discography discovery" phenomenon really helped me at the time (funny, because her discography has doubled since then). It gave me something new to focus on; there were just so many songs to discover, all telling such rich stories. I also have always loved bridges, they are almost always my favourite part of a song. And Taylor, god-bless her, loves them too and always puts her ALL in them. Like pretty much every bridge of hers brings the song to the next level, and even a lot of her songs I don't adore tend to have great bridges (Stay Stay Stay and Paper Rings come to mind). I think one of her most underrated qualities is how good she is at song structure and really building up an entire musical journey with a song. She also almost always adds cool ad-libs in her second and third choruses to keep the songs interesting and dynamic (or at least since she's gone pop). Anyways, back to the story: Then Taylor announced 1989 as her next album and released Shake It Off, and it was just like this great happy thing for me to look forward to, when I had very little keeping me going. The era was promoting a lot of happiness which in hindsight was slightly fabricated and it was just a really great thing for me to latch onto.

At the same time I was coming to realize that I was gonna have to pull away completely from my friend and all those break-up songs just… Hit, y'know? Like, some people seem to think Taylor's a one-trick pony because she likes to write break-up songs but to me, break-ups are just like this moment where you as a human can potentially feel every single emotion, and Taylor's songs have covered every facet of the concept. Here are some songs I remember from that period, that all meant a lot to me at the time because they explained my own pain to me so well:

Haunted, for the absolute terror you feel in the first moments you realize someone is probably gonna leave you. Come on, come on / Don't leave me like this / I thought I had you figured out / Something's gone terribly wrong / You're all I wanted.

I Almost Do, for the inner turmoil you feel when you know you have to stay away from someone for your own good but you really, really have to resist just running back to that person. We've made quite a mess, Babe / It's probably better off this way / And I confess, Babe / In my dreams you're touching my face / And asking me if I wanna try again / With you / And I almost do.

Last Kiss, for that absolute sadness that comes simply with remembering everything that was good and not comprehending how it could've possibly ended. I still remember / The look on your face / Lit through the darkness / At 1:58 / Words that you whispered / For just us to know / You told me you loved me / So why did you go / Away?

Forever and Always, for that feeling of desperately wanting to hold on to what you still have but at the same time realizing it probably isn't going to last and having no idea how to fix it, plus feeling like the other person doesn't even care. So here's to everything / Coming down to nothing / Here's to silence / That cuts me to the core / Where is this going? / Thought I knew for a minute / But I don't anymore.

Dear John, my all-time favourite song, for that moment you find clarity and realize that you deserved better and that you were headed in an extremely dark direction because of this other person. [DISCLAIMER: my friend did NOT abuse me nor did we have some inappropriate age difference. But the way she would ignore me and her general moodiness really affected my own mental health and self-worth problems] You paint me a blue sky / And go back and turn it to rain / And I lived in your chess games / But you changed the rules every day / Wondering which version of you I might get on the phone / Tonight / Well I stopped picking up / And this song is to let you know why.

(She's covered more aspects of break-ups in other songs [cheating, divorce, feeling awkward around your ex amongst others], these are just the ones I remember being really important to me when I was first getting into her)

She really helped me feel a lot less alone during one of my loneliest periods and I really can't thank her enough for that. Soon after this, I started crushing on a girl in my class and Taylor's love songs started to take on a new meaning for me as well.

What's crazy to me is, when she went on hiatus for a few years, a part of me thought maybe I'd grown out of her and no longer had much in common with her, but when reputation came out I was pulled right back into my love for her as a person and musician and then when Lover came out I found that she was still explaining feelings to me better than I ever could (specifically with the songs The Archer and Cornelia Street). And now with folklore and evermore she's simply absolutely perfected her story-telling and I find myself deeply moved even by the songs I don't directly relate to. I feel like she has this amazing ability to find the absolute truth in the specific. I've never had a summer romance with someone who already had a girlfriend and mostly wanted to go back to her, and yet the bridge of august feels so real to me, y'know?

Back when we were still changin' for the better Wanting was enough For me, it was enough To live for the hope of it all Cancel plans just in case you'd call And say, "Meet me behind the mall" So much for summer love and saying "us" 'Cause you weren't mine to lose

It's hard to explain but looking at this, like it's so much more than the story it's telling. It's talking about how when you're young you really need so little to feel satisfied; how sometimes the idea of someone maybe spending time with you is better than actually doing things with other people; and how if someone using you without much thought can make you feel like you're not even entitled to grieve what you lost. Sorry. I'll stop. Don't want to go insane.

So, all of this is very personal and unique to me, but I think really the main thing that draws me to her is how vulnerable and honest she is about emotions, how eloquently she can explain the pain of being alive to me. Some people think she isn't the strongest singer, but I think, much like John actually, one of her greatest assets is how good she is at projecting emotion. The song happiness is a song I think has some lyrically weak moments but her vocal performance on it is so raw and devastating that every single line works even when, looking at it on paper, it feels like it shouldn't.

Hope this rambling made sense to you, lmao?? I love talking about Taylor though so thanks for the ask! Also very open to giving song recs if you do want to check her out more but I won't unless solicited to lmao *Sort of off-topic but I do think there's a relation between my fascination with the Beatles' history and my love for a great break-up song. I like pain I guess :)

[pollyjean]

so after the first listen i’d say evermore is like a 7/10 for me? i think that instrumentally it’s a lot more interesting than folklore and i think she’s a brilliant songwriter but there are a few parts of the album that didn’t work for me — parts where like the lyrics didn’t seem to fit with the instrumentation in terms of meter or just general vibes. also i think in some ways it didn’t stand out to me on the first listen the way folklore did bc folklore felt like entirely new ground for her and evermore sounds very similar to folklore and also felt like a continuation in terms of the themes in her lyrics. which isn’t a bad thing necessarily, it just took away from the element of surprise that made folklore so interesting for me. 

and then this is an issue i had with folklore also but evermore didn’t have that same capacity for catharsis that much of her earlier stuff, red in particular, have for me. like the emotions were a lot more subdued and so was her voice like... idk i miss the build in dynamics and energy to an overwhelming moment of release in “all too well” and “treacherous” and really a lot of her pre-folklore music where each song is like A Journey whereas most of folklore and evermore was a lot more subdued. there are little instrumental flourishes throughout, which i do really like a lot (and definitely more of them in this album than in folklore) but they don’t build to anything; there’s never that climactic moment where the emotions that are bubbling burst past the surface and that tension breaks. again, not a bad thing in general but i find taylor swift's songs that do have that build to a climax to be a lot stronger. “gold rush” was definitely the highlight for me though and immediately after i finished listening to it i wanted to listen to it again definitely one of the most interesting songs on the album and the only one to have that feeling of immediacy i love in a taylor swift song. anyway rolling stone hire me

[aboutthegirlwhogotfrozen]

𝙒𝙝𝙚𝙣 I read Taylor’s bonus track “𝑡ℎ𝑒 𝑙𝑎𝑘𝑒𝑠” and how it is a very poetic song and the fact that she mentioned William Wordsworth which sparked my curiosity because college days happened (haha) so I researched furthermore about him from basic information, William W. is an English romantic poet that concerned with the human relationship to nature and at the same time a romantic poet that revolves around imaginations, emotions and promotes subjectivity and freedom of speech and I think we can all agree that Taylor and William W. are both just the same and I found out that William W. lived in 𝗧𝗛𝗘 𝗟𝗔𝗞𝗘 𝗗𝗜𝗦𝗧𝗥𝗜𝗖𝗧 where he spent most of his life and wrote most of his poetry and formed his identity, growth, intellectual development, ideas and philosophies and how he would write on it with a purpose, seeking to affect his readers with the scenes and stories of the people he observed as well as sharing the philosophies that he developed during his time reflecting on his surroundings. (read this on https://www.english.cam.ac.uk/cambridgeauthors/wordsworth-and-the-lake-district/) 𝙎𝙤 𝙬𝙝𝙖𝙩’𝙨 𝙢𝙮 𝙥𝙤𝙞𝙣𝙩? I’ve read Taylor’s prologue in Folklore and she mentioned there that everything started from imagery/visuals and flashbacks of her childhood life and also wrote songs about what she observed from other people and their perspective, memories and history. I just kinda feel like it has some connections/reference or it’s just merely a coincidence or Taylor is inspired with William W. life and journey but who knows? and I do personally think they have similarities when it comes to writing and their purpose of it. I don’t think it really make sense but here’s my thoughts hahahaha AND the fact that William Wordsworth refers himself in his poetry as ‘nursling of the mountains’, 'a wanderer among the woods and fields” “a mountain Youth” and a “northern Villager’ screams 𝐹𝑜𝑙𝑘𝑙𝑜𝑟𝑒’𝑠 theme.