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taylor-on-your-dash · 1 year ago

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Writing of 1989 Timeline

1989 changed Taylor's career forever. If Red had just sprinkles of pop sounds, 1989 was marketed as a pure pop album from the get-go.

While many fans and critics kind of expected that, it seems like:

Taylor didn't have a clear direction from the start (except for the cohesiveness): “I wanted it to be a sonically cohesive album, and it ended up really being the first I’ve done since Fearless. I also wanted the songs to sound exactly how the emotions felt. I know that’s pretty vague, so I really didn’t know where it was going to go, but I knew that I wanted to work with the collaborators I had such crazy electricity with on Red, like Max Martin. I wanted to do some things that sounded nothing like what we had done before.”

She knew that she didn't want another Red: “When people say that they like one of my albums, like when people told me that Red was their favorite album I'd done, I didn't take that as, 'So, I should make that again'. I took that as, 'Great, awsome, now I wanna make them like this new album just as much if not more than the last album.' But I want them to like it for different reasons.”

She was worried about the change of direction of her music: “I worry about everything. Some days I wake up in a mind-set of, like, ‘Okay, it’s been a good run.’ By afternoon, I could have a change of mood and feel like anything is possible and I can’t wait to make this kind of music I’ve never made before. And then by evening, I could be terrified of the whole thing again. And then at night, I’ll write a song before bed.”

October 17, 2012: [From a Lover Journal] Taylor writes This Love in LA. This will be the last song produced by Nathan Chapman and the only one recorded in Nashville.

“The last time I wrote a poem that ended up being a song, I was writing in my journal and I was writing about something that had happened in my life – it was about a year ago – and I just wrote this really really short poem. It said, 'This love is good /this love is bad / this love is alive back from the dead / these hands had to let it go free / and this love came back to me.' And I just wrote it down, closed the book and put it back on my night stand […] All of a sudden in my head I just started hearing this melody happen, and then I realized that it was going to be a song.”

Handwritten lyrics:

November 18, 2012: Taylor meets Jack Antonoff and his band, fun., for the first time in Frankfurt, Germany, while at the MTV Europe Music Awards. They bond over 80s music.

January 4, 2013: Taylor is seen in a boat without Harry Styles, ready to return to LA from the Virgin Islands.

She will wear the same dress in the Out Of The Woods music video (and also in Look What You Made Me Do)

January 10, 2013: Taylor tweets "Back in the studio. Uh oh...". She will confirm that the song was All You Had To Do Was Stay on October 27, 2014 on Tumblr.

Candids here;

“There’s a song on my album called 'All You Had To Do Was Stay.' I was having this dream, that was actually one of those embarrassing dreams, where you’re mortified in the dream, you’re like humiliated. In the dream, my ex had come to the door to beg for me to talk to him or whatever, and I opened up the door and I went to go say, 'Hi,' or 'What are you doing here?' or something — something normal — but all that came out was this high-pitched singing that said, 'Stay!' It was almost operatic. So I wrote this song, and I used that sound in the song. Weird, right? I woke up from the dream, saying the weird part into my phone, figuring I had to include it in something because it was just too strange not to. In pop, it’s fun to play around with little weird noises like that.”

January 11, 2013: Taylor is seen again at Conway Studios, likely to continue working on All You Had To Do Was Stay.

January 15, 2013: Taylor posts a picture of herself in the studio, with the caption "Somewhere in LA". She'll later reveal that she was writing How You Get The Girl.

“The song ‘How You Get The Girl’ is a song that I wrote about how you get the girl back if you ruined the relationship somehow and she won’t talk to you anymore. Like, if you broke up with her and left her on her own for six months and then you realize you miss her. All the steps you have to do to edge your way back into her life, because she’s probably pretty mad at you. So it’s kind of a tutorial. If you follow the directions in the song, chances are things will work out. Or you may get a restraining order.”

March 6, 2013: Taylor is seen going to a studio in LA.

March 23, 2013: Taylor posts a picture of herself playing guitar, which might mean that she was working on a new song: "Pre show. Columbia, South Carolina". This could be either Wonderland, New Romantics or a vault song.

May 27, 2013: While in Rhode Island for the Memorial Day weekend, Jack plays Taylor an instrumental track that will later become I Wish You Would.

“'I Wish You Would’ is a song that I wrote with Jack Antonoff and it was the first song we ever worked on together. I think, for this song, we wanted to create a sort of John Hughes movie visual with pining and, you know, one person’s over here and misses the other person but is too prideful and won’t say it. Meanwhile this other person is here and missing the same person; they’re missing each other but not saying it. And I had this happen in my life and so I wanted to kind of narrate it in a very cinematic way where it’s like you’re seeing two scenes play out and then in the bridge you’re seeing the final scene, where it resolves itself. So it says, 'It’s a crooked love in a straight line down, makes you wanna run and hide but it makes you turn right back around.’ It kind of is like that dramatic love that’s never really quite where it needs to be and that tension it creates.”

[Voice Memo Intro Transcript] “This is another way I’ve written songs recently. This is a song I did with Jack Antonoff, and Jack is one of my friends and so were hanging out and he pulled out his phone and goes ‘I made this amazing track the other day. It’s so cool, I love these guitar sounds.’ And he played it for me and immediately I could hear this finished song in my head, and I just said ‘Please, please let me have that. Let me play with it, send it to me.’ And so he sent it to me and I was on tour and this was me playing the track on my laptop recording me singing the vocal into my phone and it ended up being a song called 'I Wish You Would', because Jack wrote back and said ‘I love that’. So this is another way of writing, it’s writing to track.”

[Secret Sessions] “Taylor said that she wrote ‘I Wish You Would’ a couple of months after her and Harry Styles broke up, and they decided to become friends again and she said this was the first time she had become friends with an ex, to the point where they were comfortable enough to talk about why the relationship didn’t work out. She said he told her about how, after they broke up, he bought a house literally one road adjacent to hers. Every day he would drive home, and accidentally turn into her street, and he told her how he just wanted to stop at her house and see her, but he never did. She said this song is about while he was in the car making the decision to get out the car and see her, she was sitting in her bedroom, wishing he would make the move and go back to her and just pitch up at her house. She compared it to a classic John Hughes movie where both parties want the same thing but neither has the guts to say anything. Honestly, she spoke so fondly of that relationship.” [this is from a secret sessioner and therefore it should be taken with a grain of salt]

Between May 28 and June 2, 2013: Taylor writes I Wish You Would. She settled in Rhode Island basically all summer, so it's possible that she went to Jack's studio in New York by car without being seen and especially photographed, cause I couldn't find any pictures with the same outfit. Conway Studios are also credited but it's possible that she recorded background vocals there. Taylor was in LA in late August.

June 7, 2013: During an interview at the CMA Music Festival, Taylor confirms that she has started writing her next album.

[Transcript by me] “[The new album] is starting, all the anxiety is starting and when the anxiety starts, then the writing happens right afterward usually. I like to write for about two years before I'm finished with an album because at this point I kind of know that whenever I read in the first year is going to get away, because I'm going to like it but it's going to sound a little bit like the last project I had, and the second year usually ends up sounding like the next project. So I think at this point I feel like staying the same is the easy way to go but it's not the way that I want to go creatively. I think you need to challenge yourself, I think you need to change up your influences, I think you need to be inspired by different things that you've been inspired by before. It's harder to call people you don't know, it's harder to think of topics you haven't covered and think of new ways to say old emotions that everyone feels. I think one of the things that I'm happiest with in the last year is the acceptance level in country music for me experimenting and for me trying to evolve and challenge myself musically because I think it's never felt better to be on that stadium stage performing knowing that and so welcoming of change.”

July 13, 2013: After a show in New Jersey, Taylor has an interview with Rolling Stone, where she says that she has been writing a lot.

“The floodgates just opened the last couple weeks,” she says of the songwriting process. “I’m getting to that point where I’m irritating to be around because I’ll be with you for half the conversation and then the second half of the conversation I’m clearly editing the second verse of whatever I’m writing in my head. I really loved collaborating: you work with a lot of different people and you find the people you have this dream connection with in the studio. I know those people and I know the ones I want to go back to. But I also have a really long list of the people I admire and I would really love to go and contact. So that’s kind of where that is. I think that the idea of having a different approach to every single one of my albums is so exciting to me. I never want to make the same record twice. Why do it? What’s the point? It’s so overwhelming that when you’re starting a project there are such endless possibilities if you’re willing to evolve and experiment. If you’re willing to become a different version of yourself, you can really go anywhere with it. And that’s kind of where I am. The kind of the laboratory experimental stage of really catching onto a new thing that I’m liking.”

Somewhere around June and early September 2013: Taylor and Jack write Sweeter Than Fiction. No credits are available but we know that it's the second song on which Taylor and Jack worked, so that places it before I Wish You Would and Out Of The Woods.

In 2014, Lena Dunham (Jack's girlfriend at the time) posted this photo of Jack and Taylor working on the song at Jack's house.

September 15, 2013: Jack completes the instrumental track that will later become Out Of The Woods, after his show was cancelled.

[Jack Antonoff] “When I did the track for Out of the Woods, which is a Taylor song that I'm really proud of, there was some issue at a venue and our show was canceled that night and I didn't have my stuff, I had left it on the bus, so I only had these old samples on what was on my laptop, and caught up that 'oh oh'' thing, and I only had one drum kit on there, and these dumb little things sometimes turn into a great song.”

Somewhere around September and October 2013: Taylor writes Out Of The Woods.

Voice memo here;

[Jack Antonoff] Although Antonoff and Swift shared studio time for some of their other 1989 songs while working throughout 2014, “Out of the Woods” was completed as a long-distance collaboration. “She’s very natural -— when she gets an idea, it just happens very quickly. I would send her these tracks, and when an idea would happen, we’d be 5,000 miles apart or whatever, but she would start emailing me these voice notes like crazy and it would just be happening so quickly that there’d be this excitement. There’s a frantic feeling in the song,” he says. “What’s interesting about ‘Out of the Woods’ is that it doesn’t really let up. It starts with a pretty big anthemic vocal sample that’s me, and then there’s a drum sample that kicks in that’s kind of huge, and then you don’t really know how you’re going to get any bigger, but then the chorus hits and it just explodes even larger. And then the bridge hits, and it gets even more huge.“When I was working on the track, I was thinking a lot about My Morning Jacket,” Antonoff continues, “and how everything they do, every sound is louder than the last, and somehow it feels like everything is just f—ing massive. And that’s the feeling that I went for. It started out big, and then I think the obvious move would have been to do a down chorus, but the idea was to keep pushing.” Antonoff is excited to share the rest of his work with Swift on 1989, but he views “Out of the Woods” as a highlight on the project. “This song means a great deal to me. On a production level, on a writing level, Taylor’s lyrics and her melodies — there’s something very important about this song.”

[Jack Antonoff] “After 'I Wish You Would' and 'Sweeter Than Fiction', we did 'Out Of The Woods'. So it was the third thing we worked on together, and probably the easiest. I sent her the track for it, and she sent back a voice note with the verse and chorus in what felt like five seconds. And it was just perfect. It's eerie how similar it is to what the final product is.”

“It kind of conjured up all these feelings of anxiety I had in a relationship where everybody was watching, everybody was commenting on it. You’re constantly just feeling like, ‘Are we out of the woods yet? What’s the next thing gonna be? What’s the next hurdle we’re gonna have to jump over?’ It was interesting to write about a relationship where you’re just honestly like, ‘This is probably not gonna last, but how long is it gonna last?’ Those fragile relationships... It doesn’t mean they’re not supposed to happen. The whole time we were having happy memories, or crazy memories, or ridiculously anxious times, in my head it was just like, ‘Are we okay yet? Are we there yet? Are we out of this yet?’”

“That line is in there because it's not only the actual, literal narration of what happened in a particular relationship I was in, it's also a metaphor. 'Hit the brakes too soon' could mean the literal sense of, we got in an accident and we had to deal with the aftermath. But also, the relationship ended sooner than it should've because there was a lot of fear involved. And that song touches on a huge sense of anxiety that was, kind of, coursing through that particular relationship, because we really felt the heat of every single person in the media thinking they could draw up the narrative of what we were going through and debate and speculate. I don't think it's ever going to be easy for me to find love and block out all those screaming voices.”

October 21, 2013: Sweeter Than Fiction is released. Big Machine was originally not on board with the release since they wanted a dormant period between album releases.

Late 2013: Taylor writes Bad Blood, after Katy Perry announces her Prismatic World Tour.

“For years, I was never sure if we were friends or not. She would come up to me at awards shows and say something and walk away, and I would think, ‘Are we friends,or did she just give me the harshest insult of my life?’ Then last year, the other star crossed a line. She did something so horrible. I was like, ‘Oh, we’re just straight-up enemies.’ And it wasn’t even about a guy! It had to do with business. She basically tried to sabotage an entire arena tour. She tried to hire a bunch of people out from under me. And I’m surprisingly non-confrontational – you would not believe how much I hate conflict. So now I have to avoid her. It’s awkward, and I don’t like it.”

“That was about losing a friend... But then people cryptically tweet about what you meant. I never said anything that would point a finger in the specific direction of one specific person, and I can sleep at night knowing that. I knew the song would be assigned to a person, and the easiest mark was someone who I didn’t want to be labeled with this song. It was not a song about heartbreak. It was about the loss of friendship.”

October 20 to 22, 2013: Taylor is in Cape Town (South Africa) shooting The Giver. One of the members of the cast is Alexsander Skarsgård. He is said to have inspired Wildest Dreams (or at least he's the most popular theory, as far as I know), because the music video is set in Africa and it features Clint Eastwood's son Scott as love interest, just like Alexsander is actor Stellan Skarsgård's son, but we don't actually know more about the song.

“I think the way I used to approach relationships was very idealistic. I used to go into them thinking, ‘Maybe this is the one – we’ll get married and have a family, this could be forever’. Whereas now I go in thinking, ‘How long do we have on the clock – before something comes along and puts a wrench in it, or your publicist calls and says this isn’t a good idea?’”

Note: Selena Gomez was present when Taylor wrote this song.

Handwritten lyrics:

November 19, 2013: Taylor records Blank Space. This is based on the wall behind her on an Instagram post from this day, the credits, and the behind the scenes clip.

Voice memo here;

Behind the Scenes here;

“Every few years, the media finds something they unanimously agree is annoying about me. 2012-2013 they thought I was dating too much, because I dated two people in a year and a half. ‘Oh, a serial dater. She only writes songs to get emotional revenge on guys. She’s a man-hater, don’t let her near your boyfriend.’ It was kind of excessive and at first it was hurtful, but then I found a little bit of comedy in it. This character is so interesting, though. If you read these gossip sites, they describe how I am so opposite to my actual life: I’m clingy, and I’m awful, and I throw fits, and there’s drama. An emotionally fragile, unpredictable mess. I painted a whole picture of this character. She lives in a mansion with marble floors, she wears Dolce & Gabbana around the house, and she wears animal print unironically. So I created this whole character and I had fun doing it.”

November 21, 2013: While at the American Music Awards, Taylor tells Billboard that she has around seven or eight songs ready.

[Transcript] “We got a lot already,” says Swift. “There are probably seven or eight songs that I know I want on the record. It’s really ahead of schedule for me. I’m just stoked because it’s already evolved into a new sound, and that’s all I wanted. And I would have taken two years to make that happen, but it just kind of happened naturally, so that’s all I could really ask for.”

December 2013: Taylor meets Diane Warren and they write Say, Don't Go.

[Diane Warren to Rolling Stone] Warren, who typically writes on her own, says the two of them “sat down and wrote the song,” which was released Friday as one of 1989 (Taylor’s Version)‘s vault tracks, “from scratch” during the last few days of 2013. She remembers being impressed with how specific Swift was with her lyricism and how considerate she was about how her fans might receive it. “She was very particular about how she said certain things. It was a really interesting experience. She gets her audience,” Warren says. “She’s deeply aware of how her fans want to hear something. I can’t explain it, but that’s probably why she’s the biggest fucking star in the world.”

2013: Taylor writes New Romantics and Wonderland. Not much is known about these songs, except that they were both written in 2013.

[About New Romantics] “People will say, 'Let me set you up with someone', and I’m just sitting there saying, ‘That’s not what I’m doing. I’m not lonely. I’m not looking.’ They just don’t get it. I’ve learned that just because someone is cute and wants to date you, that’s not a reason to sacrifice your independence and allow everyone to say whatever they want about you. I’m not doing that anymore. It’d take someone really special for me to undergo the circumstances I have to go through to experience a date. I don’t know how I would ever have another person in my world trying to have a relationship with me, or a family.”

New Romantics handwritten lyrics:

Wonderland Handwritten lyrics:

January 1, 2014: Taylor records Say, Don't Go.

[Diane Warren to Rolling Stone] Several days after writing the song together, they got into Warren’s office to record a demo, where Swift played it on her acoustic guitar. “We demoed it on New Year’s Day. And I’m a workaholic, and that’s fine for me,” she says. “But I remember being impressed that she did, too. Everybody’s on vacation, but she showed up.”

January 6, 2014: Taylor decides to look for a house in New York.

[Lover Journal] LA. So I've decided I want to look at places in New York. I know I went through this phase months ago, but it has to mean something that i've circled back to it, right? You know what they say, if you love something let it go and if it comes back... blah blah blah. so I'm leaving the day after tomorrow. Dating is awful. Love is fiction/ a myth. I'm over it all.

January 21, 2014: Taylor sends Ryan Tedder the I Know Places Voice Memo.

January 22, 2014: [From the 1989 Booklet] Taylor and Ryan finish and record I Know Places.

“I had this idea of like, when you’re in love, along the lines of 'Out of the Woods’, it’s very precious, it’s fragile. As soon as the world gets ahold of it, whether it’s your friends or people around town hear about it... it’s kind of like the first thing people want to do when they hear that people are in love is just kind of try to ruin it. I kind of was in a place where I was like, ‘No one is gonna sign up for this. There are just too many cameras pointed at me. There are too many ridiculous elaborations on my life. It’s just not ever gonna work.‘ But I decided to write a love song, just kind of like, ‘What would I say if I met someone really awesome and they were like, hey, I’m worried about all this attention you get?’ So I wrote this song called ‘I Know Places’ about, ‘Hey, I know places we can hide. We could outrun them.’ I’m so happy that it sounds like the urgency that it sings.”

January 23, 2014: Taylor and Ryan Tedder write Welcome To New York. Ryan produces a demo in three hours. This demo is the one included in the album.

“I wanted to start 1989 with this song because New York has been an important landscape and location for the story of my life in the last couple of years. I dreamt and obsessed over moving to New York, and then I did it. The inspiration that I found in that city is hard to describe and to compare to any other force of inspiration I’ve ever experienced in my life. It’s an electric city.”

[Ryan Tedder] “I thought we were going to walk in and start something from scratch because that's what I was used to. Then she calls me and says, 'Is it cool if I already have an idea?' I said, 'Sure.' She said, 'I have this song, I'm obsessed with New York and I just moved there, I want to write an ode to New York because no one's done it in a long time.' And then she sent me a voice memo. She's like, 'I want it to sound like the 1980s.' So the next day I brought in a Juno-106, which is a very 1980s keyboard, and I literally programmed that entire song right in front of her. It was very much on the fly, and that song was done in about three hours. And I did the rest of the production I think later that week.”

Handwritten lyrics:

January 26, 2014: Night of the 56th Grammy Awards. Taylor delivers a legendary performance of All Too Well, but loses the Album Of The Year Award to Random Access Memory by Daft Punk. This will prompt Taylor to make a "sonically cohesive" pop album.

[Lover Journal] January 25th. LA. It's the middle of the night and I was at the Clive Davis Party tonight which means... the Grammys are tomorrow. Never have I felt so good about our chances. Never have I wanted something as badly as I want to hear them say 'Red' is the Album of the Year.

“It was the night of the Grammys this year. I remember going home and playing a lot of the new music I had recorded for some of my backup singers and one of my best friends. We were all sitting in the kitchen and I was playing them all this music, and they were just saying, ‘You know, this is very eighties. It’s very clear to us that this is so eighties.’ We were just talking and talking about how it’s kind of a rebirth in a new genre, how that’s a big, bold step. Kind of starting a part of your career over. When they left that night, I just had this very clear moment of, ‘It’s gotta be called 1989.’”

“I woke up one morning at 4 a.m. and I decided the album is called 1989. I’ve been making ‘80s synth pop, I’m just gonna do that. I’m calling it a pop record. I’m not listening to anyone at my label. I’m starting tomorrow. I liked the idea of collaborating. But with 1989 I decided to narrow down the list. It wasn’t going to be 10 producers, it was going to be a very small team of four or five people I always wanted to work with, or loved working with. And Max Martin and I were going to oversee it, and we were going to make a sonically cohesive record again.”

January 2014: Taylor writes You Are In Love. This is actually speculation but it's based on (1) Taylor going to NY in early January and (2) Jack Antonoff confirming that it was the fourth song they did and (3) it's the only Antonoff-produced song that is copyrighted in 2014. Based on the credits, I'm pretty sure that Taylor and Jack worked on the song separately, with Jack recording the instrumental at the Jungle City Studios in NY (which is a studio that Jack used in 2014 to record Bleachers' first album Strange Desire) and Taylor recording the vocals at Conway Studio in LA.

“I wrote it with my friend Jack Antonoff who’s dating my friend Lena. Jack sent me this song, it was just an instrumental track he was working on and immediately I knew the song it needed to be. And I wrote it as a kind of commentary on what their relationship has been like. So it’s actually me looking and going, ‘This happened and that happened, then that happened and that’s how you knew you are in love.’”

“I’ve never had that, so I wrote that song about things that Lena Dunham has told me about her and Jack Antonoff. That’s just basically stuff she’s told me. And I think that that kind of relationship — God, it sounds like it would just be so beautiful — would also be hard. It would also be mundane at times.”

“We first worked on that song together and realized we kind of have a good thing, and the next thing we did was ‘Sweeter Than Fiction,’ which was on the [One Chance] soundtrack, and after that we did ‘Out of the Woods’ and another song called ‘You Are in Love.’

January 26, 2014: At the Grammy's, Diane Warren reveals that she and Taylor wrote a song together (aka Say, Don't Go).

[Transcript] “I worked with Taylor Swift on a great song. I don't even know what she's done [for her next album], I'm excited about the one that we did, it's pretty cool.”

[Billboard 2016 Interview] “I know [Swift] likes it, so hopefully it will see the light of day. I know she really likes the song. She didn’t want me to give it away, so hopefully that means she wants it.”

February 9, 2014: [From the 1989 Booklet] While in London, during the European leg of the Red Tour, Taylor and Imogen Heap write Clean in just 9 hours at Imogen's home studio. Taylor will sing the song just two times.

Voice memo here;

“'Clean' I wrote as I was walking out of Liberty in London. Someone I used to date – it hit me that I’d been in the same city as him for two weeks and I hadn’t thought about it. When it did hit me, it was like, ‘Oh, I hope he’s doing well’. And nothing else. And you know how it is when you’re going through heartbreak. A heartbroken person is unlike any other person. Their time moves at a completely different pace than ours. It’s this mental, physical, emotional ache and feeling so conflicted. Nothing distracts you from it. Then time passes, and the more you live your life and create new habits, you get used to not having a text message every morning saying, ‘Hello, beautiful. Good morning.’ You get used to not calling someone at night to tell them how your day was. You replace these old habits with new habits, like texting your friends in a group chat all day, and planning fun dinner parties, and going out on adventures with your girlfriends, and then all of a sudden one day you’re in London and you realize you’ve been in the same place as your ex for two weeks and you’re fine. And you hope he’s fine. The first thought that came to my mind was – I’m finally clean.”

“'Clean' is the last song on the album for a lot of reasons, but mostly because it felt like the complication of this emotional process I’ve been going through for the last couple of years. You know, I feel like my personal life was really, really discussed, and criticized, and debated, and talked about to a point where it made me feel almost kind of tarnished, in a way. And the discussion wasn’t about music. It broke my heart that I had made an album that I was proud of, and I was touring the world, and playing sold-out stadiums, and still they managed to only want to talk about my personal life. At a certain point I felt a switch and it was at the end of recording this album that I began to feel like my life was mine again and my music was at the forefront again. I was living my life on my own terms and I really no longer cared what people were saying about me. That was when I started so see people talk less about the things that didn’t matter.”

“I had this metaphor in my head about being in this house, there’s been a drought but you feel like there’s a storm coming. Instead of trying to block out the storm you punch a hole in the roof and just let all the rain come in, and when you wake up in the morning, it’s washed away.”

[Imogen Heap] “We met at my studio in London. She had the bare bones of “Clean.” She had the lyric, the chorus and the chords. I thought it was brilliant.I was really writing the tiniest amount just to help her do what she does. I put some noises, played various instruments on it, including drums, and anytime she expressed she liked something I was doing, I did it more. It was a really fun day. She recorded all her vocals during that one session. She did two takes, and the second take was it. We always thought she would probably re-record it, because we thought it can’t possibly be that easy. But after we lived with it for a few months, we felt it was great. I knew she loved it. She said she loved it and her mum loved it. But I wasn’t sure it would be included on the album. But everyone felt it had something special. It came together really magically.”

Imogen's detailed blog entry about this songwriting session.

[Taylor about Imogen Heap] “The coolest thing about Imogen for me was that there was no one else in the studio. There was no assistant; there was no engineer. It was her doing everything.”

February 11, 2014: Taylor gets a haircut. (I'm including this for funsies)

February 15, 2014: Taylor, Max Martin and Shellback write Shake It Off.

Voice memo here;

[Lover Journal] LA. This week I've been in the studio with Max and Johan every day and it has been the most creatively successful and fulfilling time. The first day, Johan just made a really up tempo drum beat because we decided we needed something up and light. We worked at it for a few hours before i just started singing "shake it off, shake it off, shake it off" And then the best way i know how to describe it is that the chorus just fell out of the sky. It ended up being this song about doing your own thing even though haters are gonna hate, and you just have to dance to your own beat. We all went home and I wrote the first and second verses and brought them in the next day. We wrote this chanty cheer leader bridge that I absolutely LOVE. We spent all day doing vocals and the next day recording the background vocals. I think it'll end up being the first single and Max said it's his favorite song he's ever been a part of.

[Max Martin during the lawsuit] “Shellback started out with a drumbeat. Shellback, Taylor, and I then collaboratively developed the melody and other lines of ‘Shake It Off’ to Shellback’s drumbeat. I did not write or provide any input into any lyrics in ‘Shake It Off,’ which were written entirely by Taylor.”

“I've had every part of my life dissected – my choices, my actions, my words, my body, my style, my music. When you live your life under that kind of scrutiny, you can either let it break you, or you can get really good at dodging punches. And when one lands, you know how to deal with it. And I guess the way that I deal with it is to shake it off.”

“The message in the song is a problem I think we all deal with and an issue we deal with on a daily basis. We don’t live just in a celebrity takedown culture, we live in a takedown culture. People will find anything about you and twist it to where it’s weird or wrong or annoying or strange or bad. You have to not only live your life in spite of people who don’t understand you, you have to have more fun than they do.”

February 19, 2014: Taylor, Max Martin, Shellback and Ali Payami write Style. This is the last song made for the album.

“I loved comparing these timeless visuals with a feeling that never goes out of style. It's basically one of those relationships that's always a bit off. The two people are trying to forget each other. So, it's like, 'All right, I heard you went off with her, and well, I've done that, too.' My previous albums have also been sort of like, 'I was right, you were wrong, you did this, it made me feel like this' – a righteous sense of right and wrong in a relationship. What happens when you grow up is you realize the rules in a relationship are very blurred and that it gets very complicated very quickly, and there's not a case of who was right or who was wrong.”

“This song is about those relationships that are never really done. You always kind of have that person, that one person who you feel might interrupt your wedding and be like, ‘Don’t do it cause we’re not over yet.'”

[Guitarist Niklas Ljungfelt] “I played on “Style,” a song I started with Ali Payami for ourselves. He was playing it for Max Martin at his studio; Taylor overheard it and loved it. She and Max wrote new lyrics. But I recorded the guitar on it before it was a Taylor song. It was an instrumental. I didn’t have a clue that Taylor would sing on it. The inspiration came from Daft Punk and funky electronic music.”

1989 is officially done!

[Taylor On Ryan Seacrest] “I'm pretty sure after we finished this one I knew the record was done. Shake It Off and Style were the last two songs to be written for 1989.”

February 19, 2014: While on tour, Ryan Tedder produces another three versions of Welcome To New York.

[Ryan Tedder interview] “I was in Switzerland on a tour bus, and I did four versions of 'Welcome to New York,' one of which I liked personally more, but the thing about artists is they become very obsessed with the demo. She was in love with the demo so no matter how hard I fought, she brought it back to the demo, so really what you hear is what I did on the first day.”

March 22, 2014: Billboard reports that Taylor and Ryan Tedder have worked together in LA in January

March 24, 2014: [From a Lover Journal] Taylor moves to New York.

[Lover Journal] So in the last few weeks, I've completely moved into my apartment in Tribeca. That's right, I'm writing this from my new bed in my new place, watching Law and Order with Meredith. Strangely, I've never felt more busy.

May 1, 2014: 1989 Photoshoot.

Behind the scenes photo shared by the photographers Sarah Barlow and her husband Stephen Schofield.

May 29, 2014: [From a Lover Journal] Taylor chooses another photo for the cover, after having a nightmare of the previous one being not enough.

May 30, 2014: Taylor chooses the album cover.

[Lover Journal] Shanghai. So we got to China at around 2pm and I knew it would completely ruin me if I slept when i got to the hotel, so I decided to work out. WHY IS THIS PEN RUNNING OUT?! Just went to my purse and got my pen. So a crazy story unfolded in the last 24 hours. Last night, I had this vivid dream where the photo I'd chosen for the album cover wasn't good enough, intriguing enough, artful enough. it woke me up. I couldn't shake it and it stayed with me all day. Because that nagging feeling I'd been pushing back for weeks was now confirmed in my gut... it wasn't good enough. I went to the venue, mind racing, wandering if I'd have to do an entirely new photo shoot... I got to my dressing room with newer versions of the "cover" I looked at it and felt nothing. The team pulled up this new scanned file of the polaroids we had taken during the shoot. I saw it within 10 seconds. The shot. The cover. It's a polaroid of me sitting against a beige wall with a blue seagull sweatshirt on. You can see my red lips but the photo cuts off my eyes. For some reason unknown to me it's the most intriguing photo i've seen. I think it's the mystery of not seeing my eyes. Maybe it just looks effortlessly cool. The craziest moment came when something caught my eye. The cover photo is photo 13. I kid you not. I played a sold out show in Shanghai tonight and the crowd was amazing. Tomorrow we go to Tokyo, where they'll have the whole ticker tape parade at the airport. Smile and wave...

Mid To Late 2014: Taylor and Jack write Now That We Don't Talk.

[Tumblr Music] "Now That We Don't Talk is one of my favorite songs that was left behind. It was so hard to leave it behind, but I think we wrote it a little bit towards the end of the process, and we couldn't get the production right at the time. But we had tons of time to perfect the production this time, and figure out what we wanted the song to sound like, and I just think it's, I think it's the shortest song I've ever had. I think it packs a punch. I think it really goes in for the short amount of time we have, I think it makes its point."

Conclusive notes

What 1989 represented for Taylor:

“The 1980s was a very experimental time in pop music. People realized songs didn't have to be this standard drums-guitar-bass-whatever. We can make a song with synths and a drum pad. We can do group vocals for the entire song. We can do so many different things. And I think what you saw happening with music was also happening in our culture, where people were just wearing whatever crazy colors they wanted to, because why not? There just seemed to be this energy about endless opportunities, endless possibilities, endless ways you could live your life. And so with this record, I thought, 'There are no rules to this. I don't need to use the same musicians I've used, or the same band, or the same producers, or the same formula. I can make whatever record I want.'”

“In the past, I've written mostly about heartbreak or pain that was caused by someone else and felt by me. On this album, I'm writing about more complex relationships, where the blame is kind of split 50–50 ... even if you find the right situation relationship-wise, it's always going to be a daily struggle to make it work.”

Bonus: Secret Messages

Author's note: I wrote this timeline around 2 years ago. While I found some dates later on, this is 100% my research. If you use this timeline for your posts, research or whatever, PLEASE, credit me! I'd be very thankful. This is 2 years of work.

Links to my other Timelines:

Writing of Fearless Timeline

Writing of Speak Now Timeline

Writing of Red Timeline

My Spreadsheet with a timeline overview

Credits:

Most of the quotes have been copy-pasted from Taylor Swift Switzerland.

Taylor Swift Pictures for the candids.

Heather from Nerdy by Nature for the WTNY handwritten lyrics picture.

#taylor swift #1989 #1989 taylor's version #1989 era #red era #taylor swift timelines #1989 tv #blank space #shake it off #harry styles #out of the woods #wildest dreams #style #imogen heap #1989 tour #taylor swift unreleased songs #vault songs #1989 vault

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