#writing of evermore timeline

[taylor-on-your-dash]

WRITING OF FOLKLORE & EVERMORE TIMELINE

“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.”

December 18, 2019: Taylor records my tears ricochet. On folklore: long pond sessions, she confirms that my tears ricochet was the first song written for TS8 and she knew right away that it would take the 5th spot on the track list.

“I found myself being very triggered by any stories, movies, or narratives revolving around divorce, which felt weird because I haven't experienced it directly. There's no reason it should cause me so much pain, but all of a sudden it felt like something I had been through. I think that happens any time you've been in a 15-year relationship and it ends in a messy, upsetting way. So I wrote "My Tears Ricochet" and I was using a lot of imagery that I had conjured up while comparing a relationship ending to when people end an actual marriage. All of a sudden this person that you trusted more than anyone in the world is the person that can hurt you the worst. Then all of a sudden the things that you have been through together, hurt. All of a sudden, the person who was your best friend is now your biggest nemesis, etc. etc. etc. I think I wrote some of the first lyrics to that song after watching Marriage Story and hearing about when marriages go wrong and end in such a catastrophic way. So these songs are in some ways imaginary, in some ways not, and in some ways both. It’s definitely one of the saddest songs on the album. Picking a ‘Track Five’ is sort of a pressurized decision but I knew from day one this was probably going to be it. It’s a song about karma, about greed, about how somebody could be your best friend and your companion and your most trusted person in your life and then they could go and become your worst enemy who knows how to hurt you because they were once your most trusted person. Writing this song, it kind of occurred to me that in all of the superhero stories the hero’s greatest nemesis is the villain that used to be his best friend. When you think about that, you think about how there’s this beautiful moment in the beginning of a friendship where these people have no idea that one day, they’ll hate each other and try to take each other out. I mean, that’s really sad and terrible.”

March 5-12, 2020: Band rehearsals for Lover Fest. The band rehearsed 32 songs and Taylor sings on a few.

March 11, 2020: Taylor lands in LA. She'll stay there for the whole lockdown until May 22nd.

March 19, 2020: The state of California issue a stay-at-home order. The lockdown starts. During the Eras Tour, Taylor says that she started writing songs with Jack soon after. It's possible that illicit affairs and august were two of the first songs, as Taylor confirmed that august was the first song she wrote for the Love Triangle. This first version of august doesn't include the bridge.

[Taylor about illicit affairs] This was the first album that I’ve ever let go of that need to be 100 percent autobiographical because I think I needed to do that. I felt like fans needed to hear a 'stripped from the headlines' account of my life and it actually ended up being a bit confining. Because there’s so much more to writing songs than just what you’re feeling and your singular storyline. And I think this was spurred on by the fact that I was watching movies every day, I was reading books every day, I was thinking about other people every day. I was kind of outside my own, personal stuff. I think that’s been my favorite thing about this album: that it’s allowed to exist on its own merit without it just being, ‘Oh, people are listening to this because it tells them something that they could read in a tabloid’. It feels like a completely different experience.

[Taylor about august] In my head, I’ve been calling the girl from ‘august’ either Augusta or Augustine. What happened in my head was: ‘cardigan’ is Betty’s perspective from 20 or 30 years later, looking back on this love that was this tumultuous thing. I think Betty and James ended up together. So in my head, she ends up with him but he really put her through it. ‘august’ was obviously about the girl that James had this summer with. She seems like she’s a bad girl, but really she’s not. She’s a really sensitive person who fell for him and she was trying to seem cool and like she didn’t care because that’s what girls have to do. And she was trying to let him think that she didn’t care, but she did and she thought they had something very real. And then he goes back to Betty. So the idea that there is some bad, villain girl in any type of situation who ‘takes your man’ is a total myth because that’s not usually the case at all. Everybody has feelings and wants to be seen and loved. And Augustine…that’s all she wanted.

[Taylor] I was really excited about "August slipped away into a moment of time/August sipped away like a bottle of wine." That was a song where Jack sent me the instrumental and I wrote the song pretty much on the spot; it just was an intuitive thing. And that was actually the first song that I wrote of the "Betty" triangle. So the Betty songs are "August," "Cardigan," and "Betty." "August" was actually the first one, which is strange because it's the song from the other girl's perspective. It would be safe to assume that "Cardigan" would be first, but it wasn't. It was very strange how it happened, but it kind of pieced together one song at a time, starting with "August," where I kind of wanted to explore the element of This is from the perspective of a girl who was having her first brush with love. And then all of a sudden she's treated like she's the other girl, because there was another situation that had already been in place, but "August" girl thought she was really falling in love. It kind of explores the idea of the undefined relationship. As humans, we're all encouraged to just be cool and just let it happen, and don't ask what the relationship is—Are we exclusive? But if you are chill about it, especially when you're young, you learn the very hard lesson that if you don't define something, oftentimes they can gaslight you into thinking it was nothing at all, and that it never happened. And how do you mourn the loss of something once it ends, if you're being made to believe that it never happened at all?

Taylor had previously written down the phrase ‘Meet me behind the mall’ in her phone years ago, wanting to write it into a song.

April 17, 2020: Lover Fest is cancelled. Taylor writes mirrorball and this is me trying shortly after.

MIRRORBALL

On folklore there are a lot of songs that reference each other or have lyrical parallels and one of the ones that I like is the entire song 'this is me trying' then being referenced again in ‘mirrorball,’ which is, ‘I’ve never been a natural, all I do is try’. Sometimes when I’m writing to an instrumental track I’ll push ‘Play’ and I’ll immediately see a scene set and this was one of those cases. I just saw a lonely disco ball, twinkly lights, neon signs, people drinking beer by the bar, a couple of stragglers on the dance floor. Sort of a sad, moonlit, lonely experience in the middle of a town you’ve never been. I was just thinking that we have mirrorballs in the middle of a dance floor because they reflect light, they are broken a million times and that’s what makes them so shiny. We have people like that in society, too. They hang there and every time they break it entertains us. And when you shine a light on them it’s this glittering, fantastic thing. But then, a lot of the time when the spotlight isn’t on them they’re just still there, up on that pedestal but no one is watching them. It was a metaphor for celebrity but it’s also a metaphor for so many people. Everybody has to feel like they have to be ‘on’ for certain people. You have to be different versions of yourself for different people. Different versions at work, different versions around friends. Different versions of yourself around different friends. A different version of yourself around family. Everybody feels that they have to be in some ways duplicitous and that’s part of the human experience. But it’s also exhausting. And you learn that every one of us has the ability to become a shapeshifter. But what does that do to us?

THIS IS ME TRYING

“I’ve been thinking about people who are either suffering through mental illness, addiction or who have an everyday struggle. No one pats them on the back every day but every day they are actively fighting something. There are so many days that nobody gives them credit for that and so, how often must somebody who’s in that sort of internal struggle wanna say to everyone in the room: ‘You have no idea how close I am to going back to a dark place.’ I had this idea that the first verse would be about someone who is in a life crisis and has just been trying and failing in their relationship, has been messing things up with people they love, has been letting everyone down and has driven to this overlook, this cliff, and is just in the car, going, ‘I could do whatever I want in this moment and it could affect everything forever.’ But this person backs up and drives home. The second verse is about someone who felt like they had a lot of potential in their life. I feel like there are a lot of mechanisms for us in our school days, in high school or college, to excel and to be patted on the back for something. And then a lot of people get out of school and there are less abilities for them to get gold stars. Then you have to make all these decisions and you have to pave your own way. There’s no set class course you can take. I think a lot of people feel really swept up in that. And so I was thinking about this person who is really lost in life and then starts drinking…and every second is trying not to.”

March/April 2020: the lakes was also done remotely, but written before Taylor started collaborating with Aaron, placing it between March and April 2020:

[Taylor] “We’d gone to the Lake District in England a couple years ago. In the 19th century you had a lot of poets like William Wordsworth and John Keats who’d spend a lot of time there. And there was a poet district, these artists that moved there. They were heckled for it and made fun of for being these eccentrics and kind of odd artists who decided that they just wanted to live there. I remember thinking, ‘I could see this.’ You live in a cottage and you got wisteria growing up the outside of it…of course they escaped like that. And they had their own community of other artists who’d done the same thing. I’ve always, in my career since I was probably about twenty, written about this cottage backup plan that I have. I have been writing about that forever. I went to William Wordsworth’s grave and just sat there and I was like, ‘Wow. He went and did it.’ And you kept writing but you didn’t subscribe to the things that were killing you. And that’s really the overarching thing that I felt when I was writing folklore: I may not be able to go to The Lakes right now – or to go anywhere – but I’m going there in my head. The escape plan is working.”

[Jack] On one of my favorite songs on folklore, “The Lakes,” there was this big orchestral version, and Taylor was like, “Eh, make it small.” I had gotten lost in the string arrangements and all this stuff, and I took everything out. I was just like, “Oh, my God!” We were not together because that record was made [remotely], but I remember being in the studio alone like, “Holy shit, this is so perfect.”

This version of the lakes was released on folklore's first anniversary.

April 24, 2020: For his birthday, Aaron Dessner goes on an Instagram Live where he plays a bunch of songs including “Gaite” aka “happiness” and “Stella”, like his daughter, aka “invisible string”

April 27-28, 2020: Taylor contacts Aaron Dessner and asks him to work with her. He sends her a folder of instrumental tracks he had recorded over the years. The first one that inspires Taylor is called “Maple” which will become cardigan. She sends back a voice memo, and right after, she posts a selfie on Instagram with the caption “Not a lot going on at the moment”. What a troll.

[Taylor] The song is about a long lost romance, and why young love is often fixed so permanently within our memories. When looking back on it, why it leaves such an incredible mark and how special it made you feel; all the good things it made you feel, all the pain that it made you feel... The line about feeling like you were an old cardigan under someone's bed, but someone put you on and made you feel like you were their favorite.

[Aaron] That’s the first song we wrote. After Taylor asked if I would be interested in writing with her remotely and working on songs, I said, “Are you interested in a certain kind of sound?” She said, “I’m just interested in what you do and what you’re up to. Just send anything, literally anything, it could be the weirdest thing you’ve ever done,” so I sent a folder of stuff I had done that I was really excited about recently. “cardigan” was one of those sketches; it was originally called “Maple.” It was basically exactly what it is on the record, except we added orchestration later that my brother wrote. I sent [the file] at 9 p.m., and around 2 a.m. or something, there was “cardigan,” fully written. That’s when I realized something crazy was happening. She just dialed directly into the heart of the music and wrote an incredible song and fully conceived of it and then kept going. It harkens back to lessons learned, or experiences in your youth, in a really beautiful way and this sense of longing and sadness, but ultimately, it’s cathartic. I thought it was a perfect match for the music, and how her voice feels. It was kind of a guide. It had these lower register parts, and I think we both realized that this was a bit of a lightning rod for a lot of the rest of the record.

[Taylor] “The quality that really confounded me about Aaron’s instrumental tracks is that to me, they were immediately, intensely visual,” Swift wrote in an email. “As soon as I heard the first one, I understood why he calls them ‘sketches.’ The first time I heard the track for ‘Cardigan,’ I saw high heels on cobblestones. I knew it had to be about teenage miscommunications and the loss of what could’ve been. I’ve always been so curious about people with synesthesia, who see colors or shapes when they hear music. The closest thing I’ve ever experienced is seeing an entire story or scene play out in my head when I hear Aaron Dessner’s instrumental tracks.”

Aaron Dessner shared a screenshot from when Taylor sent him back cardigan.

April 29-30, 2020: Taylor writes seven and peace. seven is the only song that was entirely recorded at Long Pond.

SEVEN

[Aaron] This is the second song we wrote. It’s kind of looking back at childhood and those childhood feelings, recounting memories and memorializing them. It’s this beautiful folk song. It has one of the most important lines on the record: “And just like a folk song, our love will be passed on.” That’s what this album is doing. It’s passing down. It’s memorializing love, childhood, and memories. It’s a folkloric way of processing.

PEACE

[Taylor] “I think this is a song that is extremely personal to me. There are times when I feel like with everything that’s in my control, I can make myself seem like someone who doesn’t have an abnormal life and I try that every day. It’s like, 'How do I make my friends, and family, and my loved ones not see this big elephant that’s in the room for our normal life?' Because I don’t want the elephant in the room. If you’re gonna be in my life I feel like there’s a certain amount that comes with it that I can’t stop from happening. I can’t stop from you getting a call in the morning that says, ‘The tabloids are writing this today.’ I can’t help it if there’s a guy with a camera two miles away with a telescope lense taking pictures of you. I can’t stop those things from happening. And so this song was basically like, ‘Is it enough? Is the stuff that I can control enough to block out the things that I can’t?' So it makes me really emotional to hear this song.

[Taylor] To know that a lot of people related to it who aren’t talking about the same things that I’m talking about. They’re talking about human complexity. It’s about someone who you wanna provide with peace, someone you love, so you want them to have as much peace in their life as possible and reconciling the fact that you might not be their best option for that. But is it still a deal they wanna take?

[Taylor to Paul McCartney] 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.

[Aaron] “I wrote this, and Justin provided the pulse. We trade ideas all the time and he made a folder, and there was a pulse in there that I wrote these bass lines to. In the other parts of the composition, I did it to Justin’s pulse. Taylor heard this sketch and she wrote the song. It reminds me of Joni Mitchell, in a way — there’s this really powerful and emotional love song, even the impressionistic, almost jazz-like bridge, and she weaves it perfectly together. This is one of my favorites, for sure. But the truth is that the music, that way of playing with harmonized bass lines, is something that probably comes a little bit from me being inspired by how Justin does that sometimes. There’s probably a connection there. We didn’t talk too much about it [laughs]. The song “peace” — when she wrote that, it was just a harmonized bass and a pulse. She wrote this incredible love song to it that’s one vocal take.”

May 2020: Taylor and Aaron spend the entire month writing all the songs on folklore.

EXILE (FT. BON IVER)

Taylor and William Bowery, the singer-songwriter, wrote that song initially together and sent it to me as a sort of a rough demo where Taylor was singing both the male and female parts. It’s supposed to be a dialogue between two lovers. I interpreted that and built the song, played the piano, and built around that template. We recorded Taylor’s vocals with her singing her parts but also the male parts. We talked a lot about who she thought would be perfect to sing, and we kept coming back to Justin [Vernon]. Obviously, he’s a dear friend of mine and collaborator. I said, “Well, if he’s inspired by the song, he’ll do it, and if not, he won’t.” I sent it to him and said, “No pressure at all, literally no pressure, but how do you feel about this?” He said, “Wow.” He wrote some parts into it also, and we went back and forth a little bit, but it felt like an incredibly natural and safe collaboration between friends. It didn’t feel like getting a guest star or whatever. It was just like, well, we’re working on something, and obviously he’s crazy talented, but it just felt right. I think they both put so much raw emotion into it. It’s like a surface bubbling. It’s believable, you know? You believe that they’re having this intense dialogue. With other people I had to be secretive, but with Justin, because he was going to sing, I actually did send him a version of the song with her vocals and told him what I was up to. He was like, “Whoa! Awesome!” But he’s been involved in so many big collaborative things that he wasn’t interested in it from that point of view. It’s more because he loved the song and he thought he could do something with it that would add something.

[Taylor on exile] “Exile was a song that was written about miscommunications in relationships, and in the case of this song I imagine that the miscommunications ended the relationship - that they led to sort of the demise of this love affair. And now these two people are seeing each other out for the first time and they keep miscommunicating with each other, they can’t quite get on the same page, they never were able to. So even in their end, even after they’ve broken up they’re still not hearing each other, so we imagined that the beginning of it would be his side of the story, second verse would be her side of the story, and then the end would be sort of them talking over each other and not listening to the other, sort of like an argument. Yeah, I’m really stoked about how it turned out because it really does seem like this sort of tragedy of two people, two ships passing in the night.”

[Joe Alwyn] Alwyn doesn’t consider himself a musician or songwriter and insists that he is, in fact, an awful singer. He was merely “messing around” on the piano when Swift heard and walked over, intrigued. He had been singing the fully formed first verse to the song that became “Exile.”. “It was completely off the cuff, an accident,” he says, shrugging. “She said, ‘Can we try and sit down and get to the end together?’ And so we did. It was as basic as some people made sourdough.” I’d probably had a drink and was just stumbling around the house. We couldn’t decide on a film to watch that night, and she was like, ‘Do you want to try and finish writing that song you were singing earlier?’ And so we got a guitar and did that. I press him on this point — he wrote an entire verse to a Taylor Swift song without trying? “Who doesn’t walk around the house singing?” he asks. I explain that it’s unusual for hit songs to spring forth like that from non-musicians’ heads. He says he wasn’t trying to write to Swift’s personal sound but had been listening to a lot of the National.

[Aaron] It was Taylor’s idea to approach [Justin Vernon]. I sent him Taylor’s voice memo of her singing both parts, and he got really excited and loved the song and then he wrote the extra part in the bridge.

INVISIBLE STRING

[Taylor] When I first heard the track that [Aaron] sent me I thought, ‘I have to write something that matches it’. And pretty quickly I came upon the idea of fate. ‘Cause sometimes I just go into a rabbit hole of thinking about how things happen and I love the romantic idea that every step you’re taking, you’re taking one step closer to what you’re supposed to be, guided by this little invisible string. I wrote it right after I sent an ex a baby gift and I just remember thinking, 'This is a full signifier that life is great!'

[Aaron] That was another one where it was music that I’d been playing for a couple of months and sort of humming along to her. It felt like one of the songs that pulls you along. Just playing it on one guitar, it has this emotional locomotion in it, a meditative finger-picking pattern that I really gravitate to. It’s played on this rubber bridge that my friend put on [the guitar] and it deadens the strings so that it sounds old. The core of it sounds like a folk song. It’s also kind of a sneaky pop song, because of the beat that comes in. She knew that there was something coming because she said, “You know, I love this and I’m hearing something already.” And then she said, “This will change the story,” this beautiful and direct kind of recounting of a relationship in its origin.

MAD WOMAN

[Taylor] [“mad woman” has] these ominous strings underneath it and I was like, ‘Oh, this is female rage.' And then I was thinking the most rage provoking element of being a female is the gaslighting that happens. For centuries, we were just expected to absorb male behavior silently. And oftentimes, when we – in our enlightened and emboldened state – now respond to bad male behavior or somebody just doing something that’s absolutely out of line and we respond, that response is treated like the offense itself. There’s been situations recently with someone who’s very guilty of this in my life and it’s a person who makes me feel (or tries to make me feel) like I’m the offender by having any kind of defense to his offenses. It’s like I have absolutely no right to respond or I’m crazy. I have no right to respond or I’m angry. I have no right to respond or I’m out of line. So [Aaron] provided the musical bed for me to make that point that I’ve been trying so hard to figure out how to make…How do I say why this feels so bad?

[Aaron] That might be the most scathing song on folklore. It has a darkness that I think is cathartic, sort of witch-hunting and gaslighting and maybe bullying. Sometimes you become the person people try to pin you into a corner to be, which is not really fair. But again, don’t quote me on that [laughs], I just have my own interpretation. It’s one of the biggest releases on the album to me. It has this very sharp tone to it, but sort of in gothic folklore. It’s this record’s goth song.

EPIPHANY

[Taylor] I remember thinking, ‘Maybe I wanna write a sports story.’ Because I had just watched The Last Dance and I was thinking all in terms of sports, and winners, and underdogs. But actually, what I had been doing really frequently up until that point was I had been doing a lot of research on my grandfather who fought in World War II at Guadalcanal, which was an extremely bloody battle. And he never talked about it. Not with his sons, not with his wife. Nobody got to hear about what happened there. So my dad and his brothers did a lot of digging and found out that my granddad was exposed to some of the worst situations you could ever imagine as a human being. So I kind of tried to imagine what would happen in order to make you just never be able to speak about something. And when I was thinking about that I realized that there are people right now taking a twenty minute break in between shifts at a hospital who are having this kind of trauma happen to them right now, that they probably will never wanna speak about. And so I thought that this is an opportunity to maybe tell that story. I often feel that there have been times in my life where things have fallen apart so methodically, and I couldn’t control how things were going wrong, and nothing I did stopped it. I just felt like I’d been pushed out a plane and I was scratching on the air on the way down. I just felt like the universe was doing its thing. It was just dismantling my life and there was nothing I could do. And this is a weird situation where – ever since I started making music with [Aaron] – I felt like that was the universe forcing things to fall into place perfectly and there’s nothing I could do. It’s one of those weird things that makes you think about life a lot. This lockdown could’ve been a time where I absolutely lost my mind and instead I think this album was a real floatation device for both of us.

[Aaron] For epiphany, she did have this idea of a beautiful drone, or a very cinematic sort of widescreen song, where it’s not a lot of accents but more like a sea to bathe in. A stillness, in a sense. I first made this crazy drone which starts the song, and it’s there the whole time. It’s lots of different instruments played and then slowed down and reversed. It created this giant stack of harmony, which is so giant that it was kind of hard to manage, sonically, but it was very beautiful to get lost in. And then I played the piano to it, and it almost felt classical or something, those suspended chords. I think she just heard it, and instantly, this song came to her, which is really an important one. It’s partially the story of her grandfather, who was a soldier, and partially then a story about a nurse in modern times. I don’t know if this is how she did it, but to me, it’s like a nurse, doctor, or medical professional, where med school doesn’t fully prepare you for seeing someone pass away or just the difficult emotional things that you’ll encounter in your job. In the past, heroes were just soldiers. Now they’re also medical professionals. To me, that’s the underlying mission of the song. There are some things that you see that are hard to talk about. You can’t talk about it. You just bear witness to them. But there’s something else incredibly soothing and comforting about this song. To me, it’s this Icelandic kind of feel, almost classical. My brother did really beautiful orchestration of it.

BETTY

[Aaron] This one Taylor and William wrote, and then both Jack and I worked on it. We all kind of passed it around. This is the one where Taylor wanted a reference. She wanted it to have an early Bob Dylan, sort of a Freewheelin’ Bob Dylan feel. We pushed it a little more towards John Wesley Harding, since it has some drums. It’s this epic narrative folk song where it tells us a long story and connects back to “cardigan.” It starts to connect dots and I think it’s a beautifully written folk song.

[Taylor] I just heard Joe singing the entire fully formed chorus of ‘betty’ from another room. And I was just like, ‘Hello.’ It was a step that we would never have taken, because why would we have ever written a song together? So this was the first time we had a conversation where I came in and I was like, 'Hey, this could be really weird, and we could hate this, so because we’re in quarantine and there’s nothing else going on, could we just try to see what it’s like if we write this song together?' So he was singing the chorus of it, and I thought it sounded really good from a man’s voice, from a masculine perspective. And I really liked that it seemed to be an apology. I’ve written so many songs from a female’s perspective of wanting a male apology that we decided to make it from a teenage boy’s perspective apologizing after he loses the love of his life because he’s been foolish.

[James] has lost the love of his life basically and doesn't understand how to get it back. I think we all have these situations in our lives where we learn to really, really give a heartfelt apology for the first time. Everybody makes mistakes, everybody really messes up sometimes and this is a song that I wrote from the perspective of a 17-year-old boy. I've always loved that in music you can kinda slip into different identities and you can sing from other people's perspectives. So that's what I did on this one," the superstar explained of the song's premise, before revealing, "I named all the characters in this story after my friends' kids... and I hope you like it!

[Joe Alwyn] I’d probably had a drink and was just stumbling around the house. We couldn’t decide on a film to watch that night, and she was like, ‘Do you want to try and finish writing that song you were singing earlier?’ And so we got a guitar and did that.” Initially, Alwyn didn’t want his name credited, anticipating that what he describes as the “clickbait conversation” would distract people from actually listening to the music. So he went by William Bowery as a nod to his music-composer great-grandfather and the Manhattan street.

[Taylor] With ‘betty,’ Jack Antonoff would text me these articles and think pieces and in-depth Tumblr posts on what this love triangle meant to the person who had listened to it. And that’s exactly what I was hoping would happen with this album. I wrote these stories for a specific reason and from a specific place about specific people that I imagined, but I wanted that to all change given who was listening to it. And I wanted it to start out as mine and become other people’s. It’s been really fun to watch.

THE LAST GREAT AMERICAN DYNASTY

[Taylor] When [Aaron] sent me the track to ‘the last great american dynasty’ I had been wanting to write a song about Rebekah Harkness since 2013, probably. I’d never figured out the right way to do it because there was never a track that felt like it could hold an entire story of somebody’s life and moving between generations. When I heard that [the track] I was like, ‘Oh my God, I think this is my opening. I think this is my moment. I think I can write the Rebekah Harkness story!' It has that country music narrative device.”

[Aaron] I wrote that after we’d been working for a while. It was an attempt to write something attractive, more uptempo and kind of pushing. I also was interested in this almost In Rainbows-style latticework of electric guitars. They come in and sort of pull you along, kind of reminiscent of Big Red Machine. It was very much in this sound world that I’ve been playing around with, and she immediately clicked with that. Initially I was imagining these dreamlike distant electric guitars and electronics but with an element of folk. There’s a lot going on in that sense. I sent it before I went on a run, and when I got back from the run, that song was there [laughs].She told me the story behind it, which sort of recounts the narrative of Rebekah Harkness, whom people actually called Betty. She was married to the heir of Standard Oil fortune, married into the Harkness family, and they bought this house in Rhode Island up on a cliff. It’s kind of the story of this woman and the outrageous parties she threw. She was infamous for not fitting in, entirely, in society; that story, at the end, becomes personal. Eventually, Taylor bought that house. I think that is symptomatic of folklore, this type of narrative song. We didn’t do very much to that either.

[Taylor] “Anyone who's been there before knows that I do 'The Tour,' where I show everyone through the house. And I tell them different anecdotes about each room, because I've done that much research on this house and this woman. So in every single room, there's a different anecdote about Rebekah Harkness. If you have a mixed group of people who've been there before and people who haven't, [the people who’ve been there] are like, "Oh, she's going to do the tour. She's got to tell you the story about how the ballerinas used to practice on the lawn.” And they'll go get a drink and skip it because it's the same every time. But for me, I'm telling the story with the same electric enthusiasm, because it's just endlessly entertaining to me that this fabulous woman lived there. She just did whatever she wanted.”

Dessner and Swift were working intensively and at high speed throughout 2020, so much so that on one occasion the producer sent the singer a track and went out for a run in the countryside around Long Pond. By the time he got back, Swift had already written ‘the last great american dynasty’ and it was waiting for him in his inbox.

Late May/Early June 2020: Taylor sends Aaron the last two folklore songs, the 1 and hoax.

[Aaron] “the 1” and “hoax,” the first song and the last song, were the last songs we did. The album was sort of finished before that. We thought it was complete, but Taylor then went back into the folder of ideas that I had shared. I think in a way, she didn’t realize she was writing for this album or a future something. She wrote “the 1,” and then she wrote “hoax” a couple of hours later and sent them in the middle of the night. When I woke up in the morning, I wrote her before she woke up in LA and said, “These have to be on the record.” She woke up and said, “I agree” [laughs]. These are the bookends, you know?It’s clear that “the 1” is not written from her perspective. It’s written from another friend’s perspective. There’s an emotional wryness and rawness, while also to this kind of wink in her eyes. There’s a little bit of her sense of humor in there, in addition to this kind of sadness that exists both underneath and on the surface. I enjoy that about her writing. The song [began from] the voice memo she sent me, and then I worked on the music some and we tracked her vocals, and then my brother added orchestration. There are a few other little bits, but basically that was one of the very last things we did. [Hoax] is a big departure. I think she said to me, “Don’t try to give it any other space other than what feels natural to you.” If you leave me in a room with a piano, I might play something like this. I take a lot of comfort in this. I think I imagined her playing this and singing it. After writing all these songs, this one felt the most emotional and, in a way, the rawest. It is one of my favorites. There’s sadness, but it’s a kind of hopeful sadness. It’s a recognition that you take on the burden of your partners, your loved ones, and their ups and downs. That’s both “peace” and “hoax” to me. That’s part of how I feel about those songs because I think that’s life. There’s a reality, the gravity or an understanding of the human condition.

[Taylor on the 1] I think, ‘I’m doing good, I’m on some new shit, been saying 'Yes' instead of 'No’ has a double meaning. Opening the album with that line applies to the situation that this song is written about where you’re updating a former lover on what your life is like now and trying to be positive about it. But it was also about where I am creatively. I’m just saying ‘Yes’, I’m just putting out an album in the worst time you could put one out, I’m just making stuff with someone who I’ve always wanted to make stuff with, as long as I’ve been a fan of The National. I’m just going to say 'Yes’ to stuff and it worked out.

[Taylor on hoax] The word ‘hoax’ is another one that I love. I love that is has an ‘x’ and the way it looks and sounds. I think with this song being the last one on the album it kind of embodied all the things that this album was thematically: confessions, incorporating nature, emotional volatility and ambiguity at the same time, love that isn’t just easy. And it’s the most symbolic and poetic thing, listing all these things that this person is to you. That line, ‘You know it still hurts underneath my scars from when they pulled me apart’ – anyone in my life knows what I’m singing about there but everybody has that situation in their life where you let someone in and they get to know you and they know exactly what buttons to push to hurt you the most. That thing where the scars healed over but there’s still phantom pain. I think the part that sounds like love to me is, ‘Don’t want no other shade of blue but you. No other sadness in the world would do.’ To me that sounds like what love really is. Who would you be sad with? And who would you deal with when they were sad? And like, gray skies every day for months, would you still stay?

[Aaron] We didn’t talk about [the meaning of the album] at first. It was only after writing six or seven songs, basically when I thought my writing was done, when we got on the phone and said, “OK, I think we’re making an album. I have these six other ideas that I love with Jack [Antonoff] that we’ve already done, and I think what we’ve done fits really well with them.” It’s sort of these narratives, these folkloric songs, with characters that interweave and are written from different perspectives. She had a vision, and it was connecting back in some way to the folk tradition, but obviously not entirely sonically. It’s more about the narrative aspect of it. I think it’s this sort of nostalgia and wistfulness that is in a lot of the songs. A lot of them have this kind of longing for looking back on things that have happened in your life, in your friend’s life, or another loved one’s life, and the kind of storytelling around that. That was clear to her. But then we kept going, and more and more songs happened. It was a very organic process where [meaning] wasn’t something that we really discussed. It just kind of would happen where she would dive back into the folder and find other things that were inspiring. Or she and William Bowery would write “exile,” and then that happened. There were different stages of the process.

May 21, 2020: As stated in the folklore: long pond sessions, Taylor started recording the vocals on this day. She also finishes august while in the vocal booth.

[Taylor] In my head, I’ve been calling the girl from ‘august’ either Augusta or Augustine. What happened in my head was: ‘cardigan’ is Betty’s perspective from 20 or 30 years later, looking back on this love that was this tumultuous thing. I think Betty and James ended up together. So in my head, she ends up with him but he really put her through it. ‘august’ was obviously about the girl that James had this summer with. She seems like she’s a bad girl, but really she’s not. She’s a really sensitive person who fell for him and she was trying to seem cool and like she didn’t care because that’s what girls have to do. And she was trying to let him think that she didn’t care, but she did and she thought they had something very real. And then he goes back to Betty. So the idea that there is some bad, villain girl in any type of situation who ‘takes your man’ is a total myth because that’s not usually the case at all. Everybody has feelings and wants to be seen and loved. And Augustine…that’s all she wanted.

She previously had written down the phrase ‘Meet me behind the mall’ in her phone years ago, wanting to write it into a song.

May 22-June 5, 2020: Taylor leaves LA and goes to Upstate New York to touch up some vocals (Betty), and shooting the photoshoot at Blake Lively and Ryan Reynolds' house. She also records Carolina at Long Pond. The song was recorded in one take using only instruments available before 1953.

[EW Interview] “I had this idea for the [Folklore album cover] that it would be this girl sleepwalking through the forest in a nightgown in 1830 [laughs]. Very specific. A pioneer woman sleepwalking at night. I made a mood board and sent it to Beth [Garrabrant], who I had never worked with before, who shoots only on film. We were just carrying bags across a field and putting the bags of film down, and then taking pictures. It was a blast. I'd done my hair and makeup and brought some nightgowns. These experiences I was used to having with 100 people on set, commanding alongside other people in a very committee fashion — all of a sudden it was me and a photographer, or me and my DP. It was a new challenge, because I love collaboration. But there's something really fun about knowing what you can do if it's just you doing it.”

[About Carolina] About a year & half ago I wrote a song about the story of a girl who always lived on the outside, looking in. Figuratively & literally. The juxtaposition of her loneliness & independence. Her curiosity & fear all tangled up. Her persisting gentleness & the world’s betrayal of it. I wrote this one alone in the middle of the night and then Aaron Dessner and I meticulously worked on a sound that we felt would be authentic to the moment when this story takes place. I made a wish that one day you would hear it. here The Crawdads Sing is a book I got absolutely lost in when I read it years ago. As soon as I heard there was a film in the works starring the incredible Daisy Edgar-Jones and produced by the brilliant Reese Witherspoon, I knew I wanted to be a part of it from the musical side. I wrote the song “Carolina” alone and asked my friend Aaron Dessner to produce it. I wanted to create something haunting and ethereal to match this mesmerizing story.

June 5, 2020: The Inner Circle posts the Oxford definition of the word folklore: “The traditional beliefs, customs, and stories of a community, passed through the generations by word of mouth.” adding “Taylor, your secret is safe with us.” later that day.

June 16, 2020: The Inner Circle posts the Oxford definition of the word cardigan: “A knitted sweater fastening down the front, typically with long sleeves. (Taylor, your secret remains safe with us. Here at the IC we are anxiously awaiting your big reveal)”

June-July 2020: During June and possibly early July, Aaron and Jon Low mix and master the album. It's a complicated process.

[Aaron] If there was trouble it started to be because of track counts. I probably only used 20 percent of what was actually recorded, ’cause we would try a lot of things, y’know. So, eventually the sessions got kinda crazy and you’d have to deactivate a lot of things and print things. But we got used to that. [...] I think the main thing was I wanted her vocals to have a more full range than maybe you typically hear, because I think a lot of the more pop oriented records are mixed a certain way and they take some of the warmth out of the vocal, so that it’s very bright and it kinda cuts really well on the radio. But she has this wonderful lower warmth frequency in her voice which is particularly important on a song like ‘seven’. If you carved out that mud, y’know, it wouldn’t hit you the same way. Or, like, ‘cardigan’, I think it needs that warmth, the kind of fuller feeling to it. It makes it darker, but to me that’s where a lot of emotion is.

[Aaron on the mixing process] In some instances, the final mix ended up being the never bettered rough mix, while other songs took far more work. “‘cardigan’ is basically the rough, as is ‘seven’. So, like the early, early mixes, when we didn’t even know we were mixing, we never were able to make it better. Like if you make it sound ‘good’, it might not be as good ’cause it loses some of its weird magic, y’know. But songs like ‘the last great american dynasty’ or ‘mad woman’, those songs were a little harder to create the dynamics the way you want them, and the pay off without going too far, and with also just keeping in the kind of aesthetic that we were in. Those were harder, I would say.

[Mixer Jon Low] In the beginning it did not feel real,” recalls Low. “There was this brand new collaboration, and it was amazing how quickly Aaron made these instrumental sketches and Taylor wrote lyrics and melodies to them, which she initially sent to us as iPhone voice memos. During our nightly family dinners in lockdown, Aaron would regularly pull up his phone and say, ‘Listen to this!’ and there would be another voice memo from Taylor with this beautiful song that she had written over a sketch of Aaron’s in a matter of hours. The rate at which it was happening was mind blowing. There was constant elevation, inspiration and just wanting to continue the momentum. “We put her voice memos straight into Pro Tools. They had tons of character, because of the weird phone compression and cutting midrange quality you just would not get when you put someone in front of a pristine recording chain. Plus there was all this bleed. It’s interesting how that dictates the attitude of the vocal and of the song. Even though none of the original voice memos ended up on the albums, they often gave us unexpected hints. These voice memos were such on a whim things, they were really telling. Taylor had certain phrasings and inflections that we often returned to later on. They became our reference points. “Taylor’s voice memos often came with suggestions for how to edit the sketches: maybe throw in a bridge somewhere, shorten a section, change the chords or arrangement somewhere, and so on. Aaron would have similar ideas, and he then developed the arrangements, often with his brother Bryce, adding or replacing instruments. This happened fast, and became very interactive between us and Taylor, even though we were working remotely. When we added instruments, we were reacting to the way my rough mixes felt at the very beginning. Of course, it was also dictated by how Taylor wrote and sang to the tracks.”

[Jon Low on the mixing process] Throughout the entire process we were trying to maintain the original feel. Sometimes this was hard, because that initial rawness would get lost in large arrangements and additional layering. With revisions of folklore in particular we sometimes were losing the emotional weight from earlier more casual mixes. Because I was always mixing, there was also always the danger of over mixing. “We were trying to get the best of each mix version, and sometimes that meant stepping backwards, and grabbing a piano chain from an earlier mix, or going three versions back to before we added orchestration. There were definitely moments of thinking, ‘Is this going to compete sonically? Is this loud enough?’ We knew we loved the way the songs sounded as we were building them, so we stuck with what we knew. There were times where I tried to keep pushing a mix forward but it didn’t improve the song — ‘cardigan’ is an example of a song where we ended up choosing a very early mix.

Fun fact, the released version of exile is the 41st mix. I can't link you a source, you just have to trust me on this one.

July 2020: While folklore is being finished, Taylor continues to write songs. The first two songs, that at first seem like Big Red Machine songs, are dorothea and closure.

[Aaron] A lot more of [evermore] was made from scratch. After Folklore came out, I think Taylor had written two songs early on that we both thought were for Big Red Machine, “Closure” and “Dorothea.” But the more I listened to them, not that they couldn’t be Big Red Machine songs, but they felt like interesting, exciting Taylor songs. “Closure” is very experimental and in this weird time signature, but still lyrically felt like some evolution of Folklore, and “Dorothea” definitely felt like it was reflecting on some character.

[Aaron on closure] Vernon provided the grainy beat that kicks off ‘closure’, one of two tracks on evermore that started life as a sketch for the second Big Red Machine album. “It was this little loop that Justin had given me in this folder of ‘Starters’, he calls them. I had heard that and been playing the piano to it. But I was hearing it in 5/4, although it’s not in 5/4. ‘Closure’ really opened everything up further. There were no real limits to where we were gonna try to write songs.”

In the Billboard interview above, Aaron says he thinks that Taylor wrote them after folklore was released, while in the Rolling Stone one he says they were written while finishing up the folklore mixes.

“I think I’d written around 30 of those songs in total,” Dessner recalls. “So when I started sharing them with Taylor over the months that we were working on Folklore, she got really into it, and she wrote two songs to some of that music.” One was “Closure,” an experimental electronic track in 5/4 time signature that was built over a staccato drum kit. The other song was “Dorothea,” a rollicking, Americana piano tune. The more Dessner listened to them, the more he realized that they were continuations of Folklore‘s characters and stories. But the real turning point came soon after Folklore‘s surprise release in late July, when Dessner wrote a musical sketch and named it “Westerly,” after the town in Rhode Island where Swift owns the house previously owned by Rebekah Harkness.

Dorothea is the only evermore song to have been recorded at Taylor's home studio in LA, she left LA 3 days after the release of folklore so Occam's razor, I'm guessing that the RS interview is the correct one and dorothea and closure were written in late June/early July, while the Folklorians were finishing up the album.

July 24, 2020: folklore is released, after being announced the day before.

August 6-18, 2020: To celebrate how well folklore was received, Aaron composes an instrumental track called Westerly, named after the town in Rhode Island where Taylor owns Holiday House. Taylor writes willow on it, then sends a voice memo to Aaron.

[Voice Memo] “Here's the Westerly one, written in Westerly!”

[Aaron] And I, sort of in celebration of Folklore, had written a piece of music that I titled “Westerly,” that’s where she has the house that she wrote “Last Great American Dynasty” about. I’ll do that sometimes, just make things for friends or write music just to write it, but I didn’t at all think it would become a song. And she, like an hour later, sent back “Willow” written to that song, and that sort of set [things in motion] and we just started filling this Dropbox again. It was kind of like, “What’s happening?”

There are so many stories I could share. When I sent Taylor the music for our song 'willow' — I think she wrote the entire song from start to finish in less than 10 minutes and sent it back to me. It was like an earthquake. Then Taylor said, 'I guess we are making another album.'

I liked opening the album with ['willow'] because I loved the feeling that I got, immediately upon hearing the instrumental that Aaron created for it. It felt strangely witchy, like somebody making a love potion, dreaming up the person that they want and desire, and trying to figure out how to get that person in their life. And all the misdirection, and bait and switch, and complexity that goes into seeing someone, feeling a connection, wanting them, and trying to make them a part of your life. It’s tactical at times, it’s confusing at times, it’s up to fate, it’s magical. It felt a bit magical and mysterious, which is what I want people to feel going into an album that was a collection of these stories that were going to take them in all kinds of directions. I just wanted to start them off with a setting of the vibe.

August/September 2020: Taylor writes no body, no crime, possibly while in London.

[Taylor] Working with the HAIM sisters on 'no body, no crime' was pretty hilarious because it came about after I wrote a pretty dark murder mystery song and had named the character Este, because she’s the friend I have who would be stoked to be in a song like that. I had finished the song and was nailing down some lyric details and texted her, 'You’re not going to understand this text for a few days but... which chain restaurant do you like best?' and I named a few. She chose Olive Garden and a few days later I sent her the song and asked if they would sing on it. It was an immediate 'YES.'

[Aaron] Taylor wrote that one alone and sent me a voice memo of her playing guitar — she wrote it on this rubber-bridge guitar that I got for her. It’s the same kind I play on “Invisible String.” So she wrote “No Body, No Crime” and sent me a voice memo of it, and then I started building on that. It’s funny, because the music I’ve listened to the most in my life are things that are more like that — roots music, folk music, country music, old-school rock & roll, the Grateful Dead. It’s not really the sound of the National or other things I’ve done, but it feels like a warm blanket. Taylor had specific ideas from the beginning about references and how she wanted it to feel, and that she wanted the Haim sisters to sing on it. We had them record the song with Ariel Reichshaid, they sent that from L.A., and then we put it together when Taylor was here [at Long Pond]. They’re an incredible band, and it was another situation where we were like, “Well, this happened.” It felt like this weird little rock & roll history anecdote.

[Aaron] [We realized evermore was going to end up being another album] after we’d written several songs, seven or eight or nine. Each one would happen, and we would both be in this sort of disbelief of this weird alchemy that we had unleashed. The ideas were coming fast and furiously and were just as compelling as anything on Folklore, and it felt like the most natural thing in the world. At some point, Taylor wrote evermore with William Bowery, and then we sent it to Justin, who wrote the bridge, and all of a sudden, that’s when it started to become clear that there was a sister record.

September 16- 23, 2020: Taylor and Jack go to Upstate New York to record the Long Pond Studio Session. She writes 'tis the damn season there on the 17th. Afterwards Taylor stays a few more days to record the bulk of the evermore vocals: willow, champagne problems, gold rush, 'tis the damn season, tolerate it, no body no crime, coney island, ivy, long story short, marjorie, closure, evermore, and it’s time to go.

After the Folklore: The Long Pond Studio Sessions, [Taylor] stayed for quite a while and we recorded a lot. She actually wrote 'tis the damn season when she arrived for the first day of rehearsal. We played all night and drank a lot of wine after the fireside chat — and we were all pretty drunk, to be honest — and then I thought she went to bed. But the next morning, at 9:00 a.m. or something, she showed up and was like, “I have to sing you this song,” and she had written it in the middle of the night. That was definitely another moment [where] my brain exploded, because she sang it to me in my kitchen, and it was just surreal. That music is actually older — it’s something I wrote many years ago, and hid away because I loved it so much. It meant something to me, and it felt like the perfect song finally found it. There was a feeling in it, and she identified that feeling: That feeling of... “The ache in you, put there by the ache in me.” I think everyone can relate to that. It’s one of my favorites.

[Aaron] She stayed after we were done filming and then we recorded a lot. It was crazy because we were getting ready to make that film, but at the same time, these songs were accumulating. And so we thought, “Hmm, I guess we should just stay and work.”

CHAMPAGNE PROBLEMS

[Taylor] Joe and I really love sad songs. He started that one and came up with the melodic structure of it. I say it was a surprise that we started writing together, but in a way it wasn’t cause we had always bonded over music and had the same musical tastes. He’s always the person who’s showing me songs by artists and then they become my favorite songs. ‘champagne problems’ was one of my favorite bridges to write. I really love a bridge where you tell the full story in the bridge. You really shift gears in that bridge. I’m so excited to one day be in front of a crowd, when they all sing, ‘She would’ve made such a lovely bride, what a shame she’s fucked in the head’. Cause I know it’s so sad, but it’s those songs like ‘All Too Well’. Performing that song is one of the most joyful experiences I ever go through when I perform live, so when there’s a song like ‘champagne problems’ where you know it’s so sad… I love a sad song, you know?

GOLD RUSH

During the willow live stream premiere, Taylor revealed that “gold rush” is Jack's favourite song and that it takes place inside a single daydream where you get lost in thought for a minute and then snap out of it.

[Jack] gold rush was a pretty different sound than what was on folklore. Even the movement in the chorus and some of the chord changes, they're very outside of the realm for what we've done together. We have different processes. Sometimes we sit in a room, sometimes she'll send me a song, sometimes I'll send her a track. That was one where I had the track going. And she did the classic thing where you send it to her, and a very short time later, she sent back a voice note with all of these brilliant ideas of what the song is.

'TIS THE DAMN SEASON

[Aaron] '‘tis the damn season' is a really special song to me for a number of reasons. When I wrote the music to it, which was a long time ago, I remember thinking that this is one of my favorite things I’ve ever made, even though it’s an incredibly simple musical sketch. But it has this arc to it, and there’s this simplicity in the minimalism of it, and the kind of drum programming in there, and I always loved the tone of that guitar. When Taylor played the track and sang it to me in my kitchen, that was a highlight of this whole time. That track felt like something I have always loved and could have just stayed music, but instead, someone of her incredible storytelling ability and musical ability took it and made something much greater. And it’s something that we can all relate to. [Note: The instrumental Aaron is talking about is called Ingrid and was written in 2013 when his daughter Ingrid Stella was born. It was released in 2018 on the album Songs Without Words.]

TOLERATE IT

[Taylor] When you watch a film or you read a book and there’s a character that you identify with, most of the time you identify with them because they’re targeting something in you that feels that you’ve been there. That’s why we relate to characters. When I was reading Rebecca by Daphne du Maurier I was thinking, ‘Her husband just tolerates her. She’s doing all these things, trying so hard to impress him and he’s just tolerating her the whole time.’ There was a part of me that could relate to that because at some point in my life I felt that way. So I ended up writing this song ‘tolerate it’ that’s all about trying to love someone who’s ambivalent.

[Aaron] When I wrote the piano track to 'tolerate it,' right before I sent it to her, I thought, 'This song is intense.' It’s in 10/8, which is an odd time signature. And I did think for a second, 'Maybe I shouldn’t send it to her, she won’t be into it.' But I sent it to her, and it conjured a scene in her mind, and she wrote this crushingly beautiful song to it and sent it back. I think I cried when I first heard it. It just felt like the most natural thing, you know? There weren’t limitations to the process. And in these places where we were pushing into more experimental sounds or odd time signatures, that just felt like part of the work.

CONEY ISLAND

[Taylor on coney island] “The story behind writing Coney Island - Aaron Dessner had sent me this track that he had created with his brother Bryce and I wrote the lyrics and the melody with William Bowery. I think I might have been coming from a place of somebody who’s been in a relationship for decades and wakes up one day and realizes that they have taken their partner completely for granted. So whether you wanna look at it from the perspective of somebody who’s in a new relationship or very long-standing relationship, I think it just really speaks to if people are trying to communicate but they’re two ships passing in the night, they’re trying to love each other but their signals are somehow missing each other - I just found that really interesting... and yeah, we’re really proud of this one. There were elements of it that immediately reminded me of Matt Berninger‘s vocal stylings and his writing, and I kind of targeted some of the lyrics of the second verse to sound sort of like what he might do - cause I hoped that he might sing on it. Because, you know, we already had two members of The National on the song, with Aaron and Bryce. So we got our wish and Matt sang on this song. I think he did an amazing job, I’m such a huge fan of the band and I’m really honored this was able to come together with The National.”

[Aaron on coney island] One key track on evermore, ‘coney island’, features all of the members of the National and sees Swift duetting with their singer Matt Berninger. “My brother [Bryce] actually originated that song,” says Aaron Dessner. “I sent him a reference at one point — I can’t remember what it was — and then he was sort of inspired to write that chord progression. Then we worked together to sort of develop it and I wrote a bunch of parts and we structured it. Taylor and William Bowery [the songwriting pseudonym of Swift’s boyfriend, actor Joe Alwyn] wrote ‘coney island’ and she sang a beautiful version. It felt kind of done, actually. But then I think we all collectively thought — Taylor and myself and Bryce — like this was the closest to a National song. Dessner then asked the brothers who make up the National’s rhythm section, drummer Bryan and bassist Scott Devendorf, to play on ‘coney island’. Matt Berninger, as he often does with the band’s own tracks, recorded his vocal at home in Los Angeles. “It was never in the same place, it was done remotely,” says Dessner, “except Bryan was here at Long Pond when he played. It was great to collaborate as a band with Taylor.”

MARJORIE

[Aaron] “Taylor’s family gave us a bunch of recordings of her grandmother,” Dessner explains. “But they were from old, very scratchy, noisy vinyl. So, we had to denoise it all using [iZotope’s] RX and then I went in and I found some parts that I thought might work. I pitch shifted them into the key and then placed them. It took a while to find the right ones, but it’s really beautiful to be able to hear her. It’s just an incredibly special thing, I think.”

EVERMORE

[Taylor] When Joe wrote the piano, I based the vocal melody on the piano, and we sent it to Justin, who then added that bridge. And Joe had written the piano part so that the tempo speeds up, and it changes. The music completely changes to a different tempo in the bridge. And Justin really latched onto that, and just 100% embraced it and wrote this beautiful sort of... The clutter of all your anxieties in your head, and they're all speaking at once. And we got the bridge back, and then I wrote this narrative of, 'When I was shipwrecked, I thought of you.' That sort of thing, where there was this beacon of hope, and then in the end, you realize the pain wouldn't be forever.

IT'S TIME TO GO

[Taylor] it’s time to go is about listening to your gut when it tells you to leave. How you always know before you know, you know?

Aaron Dessner, Jon Low, Stine Dessner and Taylor at Long Pond in September 2020.

October 6, 2020: Taylor and Paul McCartney get to chat for Rolling Stone. Taylor softly references tolerate it, ivy and willow.

Swift: 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?”

October 14, 2020: Jason Treuting records the glockenspiel on willow. (I got this date form the original willow stems)

October 28, 2020: Bryce Devendorf records the percussions on willow. (I got this date form the original willow stems)

October/November 2020: Aaron goes to see Justin Vernon in his home studio in Wisconsin, where they work on the album. Aaron writes the instrumental sketch to right where you left me before going on this trip.

[Aaron] I went to see Justin at one point — that’s the one trip I’ve made — and we worked together at his place on stuff. He plays the drums on “Cowboy Like Me” and “Closure,” and he plays guitar and banjo and sings on “Ivy,” and sings on “Marjorie” and “Evermore.” And then we processed Taylor’s vocals through his Messina chain together. He was really deeply involved in this record, even more so than the last record. He’s always been such a huge help to me, and not just by getting him to play stuff or sing stuff — I can also send him things and get his feedback. We’ve done a ton of work together, but we have different perspectives and different harmonic brains. He obviously has his own studio set up at home, but it was nice to be able to see him and work on this stuff.

November 4, 2020: Taylor shoots the evermore cover, the Red TV cover, and the EW photos.

November 7, 2020: Taylor films the willow music video.

November 20, 2020: Aaron records the bass on willow. (I got this date form the original willow stems)

November 25, 2020: Taylor is at Marcus Mumford's studio called Scarlet Pimpernel to finish evermore. They record vocals for two new songs, happiness and right where you left me, they touch up the vocals for coney island, they record Joe's piano on evermore the song, and Marcus records backing vocals on cowboy like me. She possibly stays more than one day.

Taylor has mentioned that you recorded “Happiness” just a week before the album was released. Was that something you guys wrote, recorded, and produced all at the last minute, or was it something you’d been sitting on for a while before you finally cracked the code? There were two songs like that. One is a bonus track called “Right Where You Left Me,” and the other one was “Happiness,” which she wrote literally days before we were supposed to master. That’s similar to what happened with Folklore, with “The 1” and “Hoax,” which she wrote days before. We mixed all the tracks here, and it’s a lot to mix 17 songs, it’s like a Herculean task. And it was funny, because I walked into the studio and Jon Low, our engineer here, was mixing and had been working the whole time toward this. And I came in and he’s in the middle of mixing and I was like, “There are two more songs.” And he looked at me like, “…We’re not gonna make it.” Because it does take a lot of time to work out how to finish them. But she sang those remotely. And the music for “Happiness” is something that I had been working on since last year. I had sang a little bit on it, too — I thought it was a Big Red Machine song, but then she loved the instrumental and ended up writing to it. Same with the other one, “Right Where You Left Me” — it was something I had written right before I went to visit Justin, because I thought, “Maybe we’ll make something when we’re together there.” And Taylor had heard that and wrote this amazing song to it. That is a little bit how she works — she writes a lot of songs, and then at the very end she sometimes writes one or two more, and they often are important ones.

[Taylor on cowboy like me] Take yourselves back to 2020, and I put out folklore, and I just kept writing. I thought, 'Let me make a sister album to folklore and call it evermore.' And so I started immediately. Aaron, Jack, and I were just writing remotely. And the challenge at the time was trying to figure out how to record things. Most studios were completely shut down due to Covid, understandably. I could not find a studio, essentially. So Aaron is like, 'Let me call around to see if there is anyone who is cool, and nice, and generous, and might be willing to offer up their home studio, if we do the right amount of testing, we're totally locked down, and quarantined.' And I was like, 'Okay, please, I really hope someone comes through.' And so he calls me ,'I have really really good news. Marcus Mumford said that you could record at his home studio.' So I first of all, I am so excited that he's saving us, because without this trip, we wouldn't have recorded five or six of the songs on evermore, which came from me getting in a car, driving six hours out into the country past thousands of beautiful sheep, to Marcus Mumford's beautiful house where he has a studio. So I got to do this, we get there, and the whole time I'm thinking, 'Okay, wouldn't it be so cool if he would sing on something?' Because I'm such a Mumford & Sons fan. I just think he's brilliant and has one of the most gorgeous voices in the world. So I'm like, 'Will he sing something, please?' But I didn't want to be weird about it, so I'm like, 'I wonder if fate will have him wander into the studio at the right time.' So sure enough, we're recording a song, and he wanders in at the perfect time and just kind of started humming a harmony. And I turned to him as if I hadn't been thinking of it the whole time, and I was like, 'Oh! You sound really good on that harmony! I wonder if you might sing on this song?' And he said, 'Yep, I would love to!' So essentially, because of Marcus Mumford we have a lot of the songs that probably we wouldn't have been able to put out evermore as quickly as we did. And we also have a gorgeous harmony on a song called 'cowboy like me.'

[Aaron] The music for happiness is something that I had been working on since last year. I had sang a little bit on it, too — I thought it was a Big Red Machine song, but then she loved the instrumental and ended up writing to it.

[Taylor] right where you left me is a song about a girl who stayed forever in the exact spot where her heart was broken, completely frozen in time.

Taylor at Scarlet Pimpernel Studios, and a signed sheet with cowboy like me lyrics which Taylor gave to Marcus Mumford.

December 3 & 4, 2020: Aaron works on willow for the final time, recording some synthesizers. (I got this date form the original willow stems)

[Aaron] On evermore, I would say willow was probably the hardest one to finish just because there were so many ways it could’ve gone. Eventually we settled back almost to the point where it began. So, there’s a lot of stuff that was left out of willow, just because the simplicity of the idea I think was in a way the strongest. It almost felt like a dare or something. We were writing, recording and mixing all in one kind of work stream and we went from one record to the other almost immediately. We were just sort off to the races. We didn’t really ever stop since April.

[Low] The final mix stage for evermore was “very short. There was a moment in the final week or so leading up to the release where the songs were developed far enough for me to sit down and try to make something very cohesive and final, finalising vocal volume, overall volume, and the vibe. There’s a point in every mix where the moves get really small. When a volume ride of 0.1dB makes a difference, you’re really close to being done. Earlier on, those little adjustments don’t really matter.

December 11, 2020: evermore is released.

With folklore, one of the main themes throughout that album was ‘conflict resolution’, trying to figure out how to get through something with someone, or making confessions, or trying to tell them something, trying to communicate with them. evermore deals a lot in endings of all sorts, shapes and sizes. All the kinds of ways we can end a relationship, a friendship, something toxic and the pain that goes along with that.

I have no idea what will come next. I have no idea about a lot of things these days and so I've clung to the one thing that keeps me connected to you all. That thing always has and always will be music. And may it continue, evermore.

[taylor-on-your-dash]

I have stuff to add! evermore is my fave album and ivy is my fave song so I'm overtly invested in this lol.

willow was written between August 6th and August 18th bc in the voice memo she says that she wrote it in Westerly and that's the time span when she was on Rhode Island. Aaron made the instrumental track called Westerly to celebrate how well folklore was received and Taylor says "here's the Westerly one, written in Westerly!"

the vocals for Coney island were actually also recorded at Long Pond. I guess they went back and added stuff at the Scarlet Pimpernel, maybe backing vocals or stuff like that.

also fun fact, Dorothea is the only song recorded in LA at the Kitty Committee

do we know the writing order for the songs off evermore?? i feel like taylor hasn’t ever really discussed the bts of that album a lot :(

taylor hasn’t (i mean she has a little, but kinda skattered all over), but aaron has! so we know some things (this is all mostly taken from these three interviews, if you want sourcing on something specific lmk)

dorothea was the first song, with closure following soon after. both of them were written “around folklore” but “after [it] came out”, so i’d guess sometime in mid july

in “late july” aaron sends the instrumental for willow over to taylor, and it kicks of another round of writing between the two of them (here's a full interview about the making of willow, but fair warning, it is extremely inside baseball)

no body no crime was confirmed to have been written remotely, sometime after aaron visited her in rhode island in early august and gave her a rubber guitar, but before she goes to lpss in mid september.

tis the damn season was explicitly written at long pond, on the second day of filming for folklore lpss (september 17)

champagne problems, gold rush, tolerate it, no body no crime, ivy, long story short, marjorie, evermore, and it’s time to go where all recorded at long pond studios, meaning taylor recorded them sometime between september 16-26, when she was there filming for the folklore lpss

sometime in early october, taylor leaves easter eggs for tolerate it and ivy in her interview with paul mccartney for rolling stone, confirming they were written by this time

coney island and cowboy like me were likely written in october/november, because they were recorded at marcus mumfords home studio in england (they also added joe playing the piano on evermore here). she does an interview from the studio for gma on november 25

right where you left me and happiness were the last two songs (happiness being The last), written one week before the album came out (this is extremely abnormal and insane of everyone involved)

[kaynineacademy]

in another life you need me. i am begging you to need me, hold me, want me. sit and do nothing with me and need the warmth of my hands in yours, lay in bed and need the shape of my body against yours. my god how hard it is to understand that i want you to need me just as much as i need you?

[evermorethecrow]

Gang I will say cause I do need to explain my actions always another reason I am taking so long to put out any proper au content of my main ones is that like

There's so much content to plan and storyboard

[9w1ft]

I'm a gaylor myself so this isn't coming from a place of hate but I really don't think karlie and taylor are still together, I think taylor still references her in her art and probably will for quite some time because that relationship -- whatever the nature of it was -- left such a deep impact on her. but I really can't see them still being together, I think she's forced herself to move on from karlie and has since dated a lot of other women. that doesn't mean her feelings for karlie have faded, just that they will probably always be there but they broke up for sure before 2019, I think. folklore and evermore, midnights even, are all breakup albums, I just can't see how they could still be together. especially all her anger and sadness in those songs that are thought of to be for karlie (like my tears ricochet or exile or mad woman) also the cover art being shoot in bedfords, new york, the exact same place where karlie got married feels more like taylor revisiting this place to really say goodbye and mourn her for one last final time so she can move on

sorry, this got a bit long, I just don't understand the appeal or the reasoning for lsk's because taylor has indicated so many times that they are over, she's been mourning her relationship with karlie quite publicly since 2019 (wearing all black during the lover era) so yeah

hi! i don’t usually respond to these but i’m not sensing any ill will so i’ve decided to give a reply a go.

first off, for me, i kinda just interpret her wearing black in the back end of lover era because her masters had gotten bought by scooter. and maybe the fact that she decided to not come out. there can be other reasons, but i really do not think that her breaking up with karlie has to be one of them.

another thing i can’t shake is the fact that it was a very notorious troll/manipulative person on tumblr who spread the first rumor that they broke up in 2019, a fact that is well understood by a lot of OG’s, and this troll got in the head of a few popular kaylor and gaylor swift accounts at the time and in doing so she got a lot of people to fold. she then went on to write all this progressively unhinged fanfiction about taylor and karlie trying to make one another jealous and sleeping with all these women, presented with the same level of seriousness with which she pushed the breakup agenda. even to this day, i see present day gaylors talk about stuff that stems from narratives this account and a few other power hungry accounts spread around many years ago and it honestly just goes to show how a lot of well known gaylors may be platformmed up but that don’t really know what they’re talking about.. i only write this because the troll deactivated about a year ago (maybe they’re lurking on platforms with more malleable minds—once a troll always a troll—but at least they’ve left here), they were a really dangerous person.. and several have wild receipts to prove it.

anyways sorry i recognize that’s a tangent, i guess what i mean to say by it is, a lot of the sentiment surrounding the idea of a 2019 breakup and the reinforcement of the narrative by a gaylor community none the wiser stems from the work of someone with disingenuous intentions. a lot of “masterposts” or “realistic timelines” draw from what this person made up and it’s gone through enough filters for it to seem like credible sentiment but like, if you were there and you read all of what she wrote you know how silly it all sounded and how incoherently it was all written.

okay so to circle back to more of a content-centric angle, in my interpretation of the events that gave us folklore, evermore, and midnights, taylor had so much to be sad about. her mom had been very sick, the pandemic arrived and she had to cancel lover fest, she had to come to terms with scott b having sold her work to her sworn enemy… songs on midnights and folklore, and on her lover era apple music playlist allude to certain other things that may have had her in a mournful mood. things were bad! and i don’t doubt that her and karlie have been through a lot. but for me, when you’ve got a ride or die love, you don’t just break up. this has been something frustrating for me and others, i think, to see so many people treat a relationship as either being all systems go or broken up, as if long term partners can’t experience sadness together, difficulty together, even heartbreak together.

i don’t like getting in to touchy subjects so much but there’s just been too much pointing towards what i consider to be a rather simple narrative that is a natural progression for people committed and in love. how did the lover music video begin and end? whats a randomly specific word in a song she performed at the grammys minutes after someone was announced to the world? what about taylor’s envisioned future stands out about the anti hero music video? i think i’ll stop here but idk man 😆 poke around my archive if you feel like wasting a few days of your life… there’s just been a consistent flow of the same kind of hijinks that we’ve seen from them for years, and i’d say that there are many songs that back up everything i’d want in order to stay invested in seeing if what i believe is true.

now, i know i just wrote what reads like a bunch of mumbo jumbo to people not following kaylor. but im okay with that. i’ve accepted that. and i know that the whole patterns and koincidences and twinning and symbolism beat isn’t for everyone and so i respect people’s decisions to believe they aren’t together, but in closing i’ll just say im sometimes at a loss to see time and time again people suggest that kaylors believe in kaylor because they find it appealing or because they want to ship it. when it’s literally not that— it just makes the most sense to a lot of us!

also, does this look like the face of someone mourning?

[agua-cat]

RELIC HOLDERS - APHMAU

Please note this is a rewritten version of Minecraft Diaries, what is here is not completely canon to the universe and I have taken various creative liberties to create what I think is a satisfactory story. Some of these choices for the relic holders are NOT forever, as some relics get passed onto other people. This list, however, is pretty definitive.

I asked my friends if I should write starting from Aphmau or Laurence. They all chose Aphmau and I probably have the least amount of lore for her so let's see what we can crack out.

Let us Begin

There are many words to describe the lady of Phoenix Drop, though I thing a perfect one is ''Enigma''. From the very beginning, Aphmau was never normal. She was self-aware of the world she resided in to a unique degree, she could make different choices and unravel a story with her at its core.

Who she was had never truly been queried. She knew her name was Aphmau and she knew she had a village to look after. Shortly after the confrontation in the Irene Dimension with Zane, Aphmau found herself back in her old house. Her sons grown and her flame of motivation threatening to flicker out.

It was lucky then that day, Hyria came to visit. Lucinda's mother had gotten worried since some news about Laurence had broken out, and for some reason her daughter always seemed enamoured with him. During her visit, however, guilt burdened her every time she set her eyes on Aphmau's house. She had to tell Aphmau.

So, Aphmau knows that she is Irene. To what extent she believes it, she's not sure. Goddesses are supposed to be all powerful, all knowing. Even when Hyria comforts her that she was supposed to forget- the answer seems too easy. Too convenient. Aphmau wants to strive for answers beyond the blanket layer of information she was given.

Beginning the start of Season 2 for our rewrite is when markings begin to decorate Aphmau's skin. Beautiful glowing marks that define her easily; this woman is not human. She is not even mortal. Despite this, her closest friends are not put off by her change of appearance and keep her close.

Garroth brings her with him when the threat of Zane becomes evermore present once more. Zane, who now has gotten Laurence on his side. Laurence; with Shad's relic.

Every time Aphmau thinks of Shad- or Laurence- her heart pulses. She swears she can feel an echoing voice in her head. Something which tries to guide her, something with a lot more bloodlust than she could ever dream to have. Something Divine.

Travis offers her to recreate the Divine Warriors- to right the wrongs the 6 legends had before them in communication and to make something bigger and better than the burden that had been set upon their shoulders. Since she agreed, her divinity stopped hiding itself so much.

Piercing white pupils glow within her Irises. Perhaps one day they will be a pure white like the Matrons.

Becoming Irene is something that scares Aphmau. She doesn't want to be someone she seemed so keen to run away from the past. Aphmau wants to try again- this time, correctly.

~~~

HEYY SO. I HOPE THIS WAS GOOD. I'll probably post some more stuff about Aphmau as I go- I know right now as it goes this is all very ominous and a lot of information though!

I'm really sorry if the timeline doesn't 100% add up! A lot of my information is from nostalgia, memory and wiki's. I wish I had the time to rewatch MCD ;;

Consider this rewrite as of current from past the Irene Dimension fight. There will be information and rewrites from before that period that I'm working for but you know me! I like to start in the ocean and work my way back to the creek.

Thank you for reading. Your reblogs have made my day and give me so much more confidence in sharing something I've been passionate and yet nervous about. <3 Let me know if you need any clarification.

P.S. Whilst I am happy to take criticism or discuss this in further detail, that may be best for DMs! My DMs are ALWAYS open, and I promise I'm friendly :)

[torturedpoetsdepartmentemployee]

I have an alternate universe Buggy that's been ratallng around in my head. A female Buggy that's like Taylor Swift, so she got into music and wants to be a singer. She spent most of her time on the Oro building up her guitar and piano skills. She stole the guitar from the musician(was aware but let it happen) and begged Roger to get a piano. She didn't inherently have the greatest vocals and got teased, specifically by Shanks. Dreams of being in front of a crowd cheering her on and singing her songs. Those dreams are what drive her. It goes hand in hand with canon Buggy’s inferiority complex and constantly seeking attention to be a star.

The reason I can imagine it is because Buggy would be the kind to right the most unhinged lyrics that TS is known for. Also a lot of her lyrics reflect Buggy.

Mirrorball - And they called off the circus Burned the disco down When they sent home the horses And the rodeo clowns I'm still on that tightrope I'm still trying everything to get you laughing at me I'm still a believer but I don't know why I've never been a natural All I do is try, try, try I'm still on that trapeze I'm still trying everything To keep you looking at me

Me! - I know that I'm a handful, baby, uh I know I never think before I jump And you're the kind of guy the ladies want (And there's a lot of cool chicks out there) I know that I went psycho on the phone I never leave well enough alone And trouble's gonna follow where I go (And there's a lot of cool chicks out there)

Karma - ‘Cause karma is my boyfriend Karma is a god Karma is the breeze in my hair on the weekend Karma's a relaxing thought Aren't you envious that for you it's not? Sweet like honey, karma is a cat Purring in my lap 'cause it loves me Flexing like a goddamn acrobat Me and karma vibe like that Ask me what I learned from all those years Ask me what I earned from all those tears Ask me why so many fade, but I'm still here (I'm still, I'm still here)

peace - Our coming-of-age has come and gone Suddenly the summer, it's clear I never had the courage of my convictions As long as danger is near And it's just around the corner, darling ‘Cause it lives in me No, I could never give you peace

long story short - Fatefully I tried to pick my battles 'til the battle picked me Misery Like the war of words I shouted in my sleep And you passed right by I was in the alley, surrounded on all sides The knife cuts both ways If the shoe fits, walk in it 'til your high heels break

Never Grow Up - And no one's ever burned you Nothing's ever left you scarred And even though you want to Just try to never grow up

So here I am in my new apartment In a big city, they just dropped me off It's so much colder than I thought it would be So I tuck myself in and turn my nightlight on Wish I'd never grown up I wish I'd never grown up

Endgame - I hit you like, "Bang" We tried to forget it, but we just couldn't And I bury hatchets but I keep maps of where I put 'em Reputation precedes me, they told you I'm crazy I swear I don't love the drama, it loves me

The whole of Dear Reader and most of Anti Hero. New Romantics just sounds like a pirate anthem. So definitely something Buggy would write.

Here are the albums that would be about different exes. The exes that had a lasting impact on her.

Red Hair Shanks - Debut, Fearless, and Red

Donquixate Doflamongo - Speak Now, a little of Fearless and Red.

Charlotte Katakuri - Speak Now

Sir Crocodile - 1989

Sakazuki/Akainu -folklore, evermore

Dracula Mihawk - reputation, Lover, folklore, evermore

Midnights is a mix of them. Also she falls back in love with Mihawk and Crocodile after they form the Cross Guild.

Her exes have a hard time forgetting her and its made even worse by their enemies using the songs about them to torment them. It also doesn't help that their subordinates and families listen to her songs too. I'm still figuring out the timeline. Akainu happens before Mihawk but she is so hurt by him that she wasn't able to write any songs about him until much later.

None of this is a commentary on Taylor Swift or her personal life. Just my interpretations and how they'd fit.



[ansbobcar]

“I’ll be frank.” “Either you have me act as your girlfriend or you’re gonna meet that teenager in a week and pray that she cheats on you down the line so the engagement gets cancelled.”

SYNOPSIS. Orter Madl's month has been nothing but blind dates inhibiting his work at the Magical Power Administration. All set up by his parents. He's suggested into a relationship of convenience by the woman who occupied his position previously, Rinka Ontarin, in order to solve his problem. Reluctantly accepting the proposal, they must now convince the whole kingdom of their romance whilst fulfilling their duties as Divine Visionaries. More questions arise than answers though as the strings are slowly unraveled.

NOTES. Inspired by business proposal the kdrama, title taken from dreamcatcher's starlight, lots of world-building headcanons, we're following the plot of mashle but it's more obvious later on, also in the same universe as my LOSER=LOVER fic with my other mashle oc, no love triangle, nvm i added a love 'triangle' but that's if you really squint your eyes, NVM IT'S GONNA BECOME CANON ADJACENT???

WARNINGS. Cringe rom-com (let's have fun shall we?), they're kinda ooc sometimes, possible descriptions of death and blood, off screen character deaths with lots of plot importance :>, slow burn in terms of plot and romance, planned bittersweet/sad ending, OH and random swearing?, I'm still writing it so please don't ask me about an update schedule.

_ _ _

EPISODES.

VOL 1 COMPLETED!

EP 1. Drink your problems away!

EP 2. Hangover and find out

EP 3. Day One

EP 4. A small problem

EP 5. The words of a "pacifist"

EP 6. Bloody Dress

EP 7. Resonance

EP 8. Business as Usual

EP 9. Run along

EP 10. Fleeting moments

EP 11. What a lovely night

EP 12. A Mother's Wish

EP 13. Was it really "love at first sight"?

EP 14. Can't it just be a fight?

EP 15. Remember your brother

EP 16. A letter of concern

EP 17. The letter from Miley

EP 18. The Researcher, the Rulemaker, and the Tamer

EP 19. A trip and a chat away

EP 20. The Madl Estate

EP 21. From hell with pettiness

EP 22. Evermore like snow

EP 23. What is there to smile for?

EP 24. We're already...

_ _ _

VOL 2 will be published after I finish my other mashle fic's VOL 1 (they're both set in the same universe, that's why and are kinda interconnected yet separate. It's so I don't mess up the timeline really bad.)

Let's have fun! and pray I don't ghost this fic. I wanna change the fic title so hard but I dunno what to name it. So currently it stays because I want to share.

UPDATE I'm rewriting it slowly on AO3 as ALL OR NOTHING instead

[emry-stars-art]

Hello! I just wanted to say your art is gorgeous and I love the attention to detail you give to your work! This royal au is scrumptious and I'm so grateful you shared it with us! Second, for Jean's role, I was wondering what you thought about making him a blacksmith? It would make him useful for Riko without having any power (not a guard, etc.)but also give a reason for Jeremy to seek him out (and get swept off his feet), perhaps once he's escaped and is in Palmetto. Feel free to ignore tho!😊

IGNORE THE MENTAL IMAGE OF BIG POWERFUL BLACKSMITH JEAN MOREAU? SAFE IN THE UNNAMED TROJAN KINGDOM, BULKING UP AND FEELING ACCOMPLISHED WITH THE WORK OF HIS HANDS??? I WILL NOT

I’ve been really invested in the idea of the “perfect court” now that we’re in a royal au, and since Kevin and Riko were both technically royalty, Nathaniel was/had the potential to be a noble, I think Jean should also be high end?? Like while at Evermore they all have different duties right, maybe Jean was an attendant to Riko or something. Whatever he was there, we know he wasn’t treated well. Probably not allowed to pursue his own interests, just like everyone else.

But Kevin and Nathaniel both escape, and they find new jobs that fulfill them. So Jean should as well!! He gets to the Trojan kingdom, probably with the help of Renee still (which is. A whole thing about politics and family lines in this au strangely enough) and he doesn’t have to be a noble anymore if he doesn’t want to. He’s probably already renounced his nobility in the way he left Evermore. I don’t doubt Jeremy, who I’m imagining as another prince because that’s the image my brain gave me, would hesitate to reinstate him as Trojan nobility if Jean asked (as long as it’s far enough down the timeline obviously). Instead, Jean kind of slides under the radar, and once he’s all settled he finds work in the smithy. And he really enjoys it! He feels stronger and healthier and he gets to make such amazing things, he doesn’t even have to make weapons if he doesn’t want to. The workers all choose their own specialties and jobs, filling in gaps as needed

Then one day the royal family or the prince is making rounds, coming to see how things are running, and Jeremy is kind of wondering if he’s seen this blacksmith before? Like he’s pretty sure that’s a familiar face, but he definitely would have remembered seeing someone like him around the kingdom before now, so he brushes it off.

(Really he’s seen Jean Moreau at summits and other large gatherings, only once or twice. Back when Jean was much less healthy and when he still tried to make himself smaller to fit into Riko’s shadow. So yes he recognizes the face; but this is a much different man than the person he saw across grand halls.)

And for my lovely jerejean enjoyers: if Jean ends up talking to or in close proximity of the prince, for whatever reason? Jeremy can definitely blame his red cheeks on the heat of the forges 💫

Sliding a couple process pics under the cut

(Find the royal au writing masterpost here 💕)

[taylor-on-your-dash]

Will you ver put out a timeline for folklore, evermore, and midnights? I know that for ttpd is basically impossible

yeah, ttpd is impossible, i am SHOCKED AND APPALLED that aaron hasn't said a SINGLE thing, when he literally carries the folkmore and partially the midnights timeline on his back. i have already written a folkmore timeline, but there is a problem, i'm writing a post about it. it's a loaded, trauma-dumpy post so it's taking a while for me to write what i want to say the way i want to say it. it's more about the problems that the folklore timeline opens and how i'm trying to resolve them i guess.

for midnights my best friend suggested we do a chronological timeline based on the key events of the album, so kinda different from the usual timeline, we were working on it a few months ago, we did LHaze, midnight rain, bejeweled, sweet nothing, the great war, high infidelety and dear reader and then we got sidetracked. we'll probably resume that in mid-september, but we agreed to analyse chloe et al first. maybe for midnight's birthday if i manage. i haven't even translated anything yet 💀 BUT! there's a midnights timeline by @likeadevils!

the timeline i'm more excited about is the debut one, i went to unhinged lengths to make it as accurate as possible (i even wrote to Bob Orrall... and he answered... 🥲❤️) and i'm SUPER proud of it, i truly cannot wait to put it out

[likeadevils]

Midnights Timeline

This is a very long post that puts all the songs on Midnights in order of Taylor creating them. I’ve also included a few other songs she worked on while writing Midnights and quotes from Taylor and her collaborators talking about her process.

If you don't want to read all that, check out this playlist of the album in order, or this playlist of her entire discography. WARNING: there is a very large chunk on the playlists that I have no information on (Maroon-Dear Reader).

I’ve also added this color coded scale of how sure I am of the date: 

Confirmed: There is some type of official source for the date

Inferring: Nobody has officially said “This is when we wrote it,” but all available evidence points to that date

Speculation: This date is based off pure vibes and guesswork and is highly likely to change.

Unknown: All that is known is the year (from the US Copyright Offices

Renegade: March 7-15, 2021 (Confirmed)

Aaron: “I wrote the music [for Renegade] at some point after we finished [evermore], and sent it to her, because she was inspired by a llot of the Big Red Machine stuff we were working on. And she had already sung on Birch, a song that hasn't come out yet but is one of the major ones on the record. And I think she wanted to write a song for Big Red Machine. She very much feels like part of this community to me. So I wrote Renegade, the music, and sent it to her. And not unlike a lot of the things we've done together, one day I woke up to a voice memo from her and she had written this incredible song about how anxiety and fear get in the way of loving or being loved. And she was clearly thinking about Big Red Machine. And then we recorded her vocals and everything the week of the Grammys, when I was there in LA, and it was really nice to have something to think about that wasn't related to the Grammys - just to make music because you feel like making it." (transcript from jaimie)

High Infidelity and Would've Could've Should've: March 7-15, 2021 (Confirmed)

Aaron: [Would've Could've Should've], we wrote that song together, and recorded it while we were together in LA for the folklore Grammys. It goes back that far. And the same with High Infidelity. Those songs, we actually recorded in her house, the vocals, we recorded them then. And I just kept making music, and it was kind, after we had made folklore and evermore, I started to have ideas which I would share. And eventually, she obviously made most of Midnights with Jack, and it became something different. But High Infidelity, and Would’ve, Could’ve, Should’ve, and The Great War, and we made Hits Different with Jack and Taylor and I also, and it was great to be part of that record in that way. (transcript from @cages-boxes-hunters-foxes)

The Great War and Hits Different: between April-October 2021 (Speculation)

In the above quote talking about his songs on Midnights, Aaron says "Eventually, she obviously made most of Midnights with Jack, and it became something different," implying his stuff was written before the bulk of midnights in fall. He also says High Infidelity and Would've Could've Should've "[go] back that far," which implies they were some of the earliest stuff on Midnights, so it's safe to assume TGW and Hits Different come sometime afterwards.

Summer 2021: Jack has a session with Sounwave, Sam Dew, and Zoe Kravitz, where the instrumentals for Lavender Haze and likely Glitch are written

Rolling Stone interview with Sounwave: Before Antonoff began to work on Swift’s tenth album, he was cooking up tracks with Spears, Dew, and Zoë Kravitz [...] During a brainstorming session, the quartet put together a track that would eventually become “Lavender Haze.”

November 3 2021: It was announced that Joe has been cast in Stars at Noon, alongside Margaret Qualley, Jack Antonoff's then girlfriend now wife. Since Joe was parachuted into the film last minute, filming had already started, making it likely he left as soon as possible.

Taylor: We’d been toying with ideas and had written a few things we loved, but Midnights actually really coalesced and flowed out of us when our partners (both actors) did a film together in Panama. Jack and I found ourselves back in New York, alone, recording every night, staying up late and exploring old memories and midnights past.

November 8: Jack gets back from touring with Bleachers. Let the games begin.

Vigilante Shit: November 2021 (Speculation)

Vigilante Shit is the sole solo writing credit on the album, which implies it was written before her and Jack were holed up together 24/7. Also Scooter and his wife divorced in July. Beyond that there's no evidence this is early in the process, besides it making sense that Taylor wrote this alone, brought it to Jack, and then fell into a creative inferno.

Maroon, Anti-Hero, You're on Your Own Kid, Midnight Rain, Bejeweled, Labyrinth, Mastermind, Paris, and Dear Reader: November/December 2021 (Inferring)

I don't have enough info on the making of any of these songs to give them each their own little blurb, but if anything pops up I will update this post and reblog it letting y’all know.

Question..?: After November 21, 2021 (Inferring)

We know Rachel Antonoff, Dylan O'Brien, and Austin Swift were there the day they recorded it thanks to this behind the scenes footage of them recording the cheering vocals. Dylan was filming The Vanishings at Caddo Lake in Louisiana sometime between October 5 and November 20. I don't know exactly which dates he was filming-- he was in New York for All Too Well filming in late October and to attend the premiere on November 12, but since we know for sure he was in Louisiana on the 20th, I'm just gonna Occam's Razor it and say Question was written sometime after he got back from that.

You're Losing Me: December 5, 2021 (Confirmed)

December 17, 2021: Filming wraps on Stars at Noon, and with it the bulk of recording for Midnights.

Lavender Haze: Early 2022 (Speculation)

Lavender Haze, Snow on the Beach, and Karma are the only songs to have Henson Recording Studios credited (I can't find studio credits for the 3am tracks so there is possibly more on there). This could point to them all being recorded around the same time time, or it could be in reference to Jack and Sounwave's original recording sessions taking place at Hensen. I lean towards the former, since 1) it seems like the Winter 2021 sessions were mostly between Taylor and Jack, and the spring sessions have other collaborators, and 2) the tabloid rumors about Taylor and Joe getting engaged really started heating up in February 2022. On the other hand, Sounwave implies that there was a notable stretch of time between Lavender Haze and Karma, so I totally understand if you want to put it with the rest of the Winter 2021 sessions. Rolling Stone interview with Sounwave: A few months [after Jack and Sounwave wrote the instrumentals], Antonoff reached out to Spears, Dew, and Kravitz to see if he could pitch [Lavender Haze] to Swift, who loved it immediately. She wrote lyrics inspired by a Mad Men scene, numerous tabloid rumors and online gossip about her relationship status, and “1950s expectations.” “When Jack brought us in the hear for the first time, all our mouths dropped. She took it to a whole new world and made it her own. She created different pockets we did not hear.”

Glitch: Early 2022 (Speculation)

Rolling Stone interview with Sounwave: "Glitch,” one of the bonus songs on the Midnights (3am) edition, was born from the same studio session as “Lavender Haze.” I don't know if this means the instrumentals to Lavender Haze and Glitch were done in the same session, Taylor wrote the lyrics in the same session, or both. For the same reason as Lavender Haze, I lean towards this coming later in the process, as well as Glitch mentioning being together for six years, and in November 2021 Taylor and Joe had been together for a little over 5 years. That being said, Taylor could've assume the album was going to come out in 2022, and that she would stay with Joe until then, and bump up that date a bit. It's still very up in the air.

February 5, 2022: Taylor is photographed leaving Jack's house holding a keyboard.

Sweet Nothing: Spring 2022 (Inferring)

Joe is a co-write on this, meaning they likely wrote it after he got back from filming. It also mentions their trip to Ireland in 2021 and refers to it as "last July", implying it was written in 2022. While I was writing this timeline Taylor liked this post on twitter, implying that at least the second verse is in reference to Paul and Linda McCartney. The quote is from his poem Blessed, which you can read in this interview (TWs for death and cancer)

Bigger Than The Whole Sky: March 2022 (Inferring)

Claire Winter, a close friend of Taylor's, posts on Instagram that she miscarried. (I toyed with whether or not to add this, but seeing as Claire Winter made the information public herself, I decided to put it in. If she ever takes that Instagram post down, let me know and I'll delete this part.)

Snow on the Beach: April 1, 2022 (Inferring)

On April 1, Lana Del Rey posts a video on Instagram of Jack in the studio with an unidentified female voice in the background. Two days later she posts this photo, which Taylor and Jack both include in posts about Midnights/Snow on the Beach. Lana: Well, first of all, I had no idea I was the only feature [on that song]. Had I known, I would have sung the entire second verse like she wanted. My job as a feature on a big artist’s album is to make sure I help add to the production of the song, so I was more focused on the production. She was very adamant that she wanted me to be on the album, and I really liked that song. I thought it was nice to be able to bridge that world, since Jack [Antonoff] and I work together and so do Jack and Taylor. Taylor: And with Snow On The Beach, which features the genius Lana Del Rey, very lucky to have collaborated with her on that. And Dylan [O’Brien] was actually in the studio with me and Jack, because a lot of the time we record at his place, and Dylan was just hanging out, drinking wine with us, and listening to stuff, and he was just trying out the drum kit there. He wasn't serious. But we were drinking wine, and we were sort of like, 'We haven't recorded the drums for this one yet! See if you want to...' and he played the drums on the song. Sometimes it just happens like that. (transcript once again from jaimie)

Karma: Spring 2022 (Speculation)

Rolling Stone interview with Sounwave: The bubbly “Karma” came later [than Lavender Haze and Glitch], when Antonoff reached out to Spears for any other ideas he may have to contribute to the album and its synth-pop vision. “‘Karma’ was just a last-minute Hail Mary,” Spears says. “I remembered I was working with my guy Keanu [Beats] and had something that was too perfect not to send to her. As soon as I sent it, Jack was instantly like ‘This is the one. Playing it for Taylor now. We’re going in on it.’ The next day, I heard the final product with her vocals on it.”

April 19, 2022: Elle's interview with the Conversations with Friends cast is released, and when Joe is "asked if he hopes to continue writing songs, Alwyn simply says, “It’s not a plan of mine, no.”" It's possible this means Sweet Nothing was yet to be written, but I think it's more likely Joe was just denying in order to not create hype around a song that wasn't officially announced yet.

May 2022: Taylor teases Labyrinth lyrics in her NYU Commencement Speech and says m i d n i g h t very prominently on this instagram post, meaning by early summer she was likely confident in the album's name and which songs would make the tracklist.

And that's all for this timeline! Check out my others:

TIMELINES: debut • fearless • speak now • red • 1989 • rep • lover • folklore • evermore • midnights PLAYLISTS: debut • fearless • speak now • red • 1989 • rep • lover • folklore • evermore • midnights • entire discography GENERAL: tag

[jessicanjpa]

Hey bestie… can you give us some good twilight fic recs… asking for a friend🧍‍♀️

Always! First, you can check out my #fic recs tag. My personal favorites are canon prequels, so I have a detailed list here.

And here are some fics I'm currently enjoying:

-@staringatthesky11 just posted her new Rosalie/Eleanor fic here!

-Blinding Light by @edwardsvirtue is Edward's POV of New Moon

-Evermore by @stardustandtwilight is Carlisle changing Esme and their story

-Hasta La Vista, Baby by @denalilily is a funny, fast-paced adventure set after canon. Kidnapping Alice might be the last thing the Volturi ever do...

-Cien Años de Compañerismo by @gisellelx is a collection of Carlisle/Esme one-shots, started in honor of their recent 100-year anniversary

-Perdition of the Witch by @volturialice is an AH Jalice fic set in the middle ages. Excellent writing and historical details!

-Shadow to Light by @goldeneyedgirl is a canon-divergent Jalice AU where Alice is changed for Maria's army. She stays when Jasper leaves and doesn't appear again until Eclipse.

-Roots by @flowerslut is set post-canon: new enemy, unexpected alliances. Jalice, obviously, but lots of great characterization for others too.

-Stregoni Benefici by @gisellelx is Carlisle's story. So much historical fiction goodness!

-Hope Springs Eternal by Haemophilus Leona is Edward's POV of Breaking Dawn. Leona and I have been Edward-POV writing buddies for years, prequel years for me and saga timeline for her :)

-Montage by @gisellelx is a new collection: the Cullens' daydreams about the human lives they imagine for themselves

------------

You can also dig around in my Favorites folder on FFN (here) to find some older treasures. Happy reading!

[pop-punklouis]

i don’t get how taylor can write about things like this and them not be real? that’s the hard part for me bc you can tell there’s pain there and so much pint up emotions with harry

babe, she’s a natural-born story teller. she’s a great lyricist. she’s able to take very public parts of her relationships/narratives and wrap them up into these stories of love and heartbreak and betrayal. yes, she writes from the heart and draws from her experiences like all great lyricists do, but she also knows what to emphasize or what throwaway comments to use when necessary. all the songs and even the vault songs angled towards harry feature nothing but very public references that were tied to the timeline of haylor or harry’s public image. the yacht. her blue dress. the vehicular manslaughter. the slew of models he was always seen with. him growing his hair long. the airplane necklace. his “womanizer” ways as an 18 yr old boy lmfao etc. it all tells a very specific story and leads you to it like treats for a rabbit because the references are so easy to lead back to that time period.

you can write a good song about love or heartache but adding very superficial details that everyone can instantly pin to someone you’ve been seen with is easy tabloid and fan fodder. like a song could be about anything or anyone, but the moment you add “green eyes” or “the ship tattoo on your arm” or anything very significant to another person, it can easily be about them now. it’s storytelling. many artists do it. taylor is just a master at it. both with her real and PR relationships.

and if anything, folklore and evermore proved how easy and successful she is and has been at speaking through voices and experiences that are from others or are fabricated altogether. it’s fascinating when you jump down the rabbit hole of her lyricism.

but in sum: haylor was a 2 month PR stunt babe that did it’s job bc it still creates chaos and headlines over 10 years later. even when it seems they’re both at least friendly with each other now (me specifically thinking back to the grammys this year when harry’s entire AIW performance was messed up due to the wheel malfunction and yet taylor was one of the only ones standing and dancing and clapping for him and genuinely seemed happy when he won his awards and stayed standing as he made his speeches)

[rainbowdaisy13]

Good morning, Rainbow! Here I am again with another question about lore and history. LOL I've noticed that anti-kaylors use "it's time to go" as almost a kind of mic drop in their arguments. I'm not trying to counter argue (that's a fool's errand, in my mind), but I'm wondering what this kaylor corner thinks about "it's time to go" and what the talking points about it are. What do you think?

As always, Taylor mixes in her own truth along with fantasy, things she’s read, media she’s viewed, her friends and family’s experiences, etc. Especially anything from folklore and evermore! This is intentional IMO so that she always has plausible deniability—things are confusing because bait and switches make it harder to trace a coherent timeline of anything

As far as ITTG—it’s funny to me how they can use one or two lines to confirm their beliefs and ignore the rest. To me, this song showcases many different instances in a persons life when they know they need to be done with a relationship—professional, familial, or intimate

IMO the sister/twin from your dreams line seems more applicable to DA than Karlie just based on appearance and the fact that we know for sure DA fucked with Taylors head a lot

The biggest verse for me that show Taylor is mixing folklore with her own truth are the following

“… Fifteen years, fifteen million tears

Begging 'til my knees bled

I gave it my all, he gave me nothin' at all

Then wondered why I left

… Now he sits on his throne in his palace of bones

Praying to his greed

He's got my past frozen behind glass

But I've got me”

This is so obviously a Scott B diss verse—also ties into my tears richochet to make it hit home even more for the people in the back. How can any of that be about Karlie? It can’t but if they want to stick to two sentences in one song that’s full of references to different kinds of endings when Taylor’s still writing KissGate anthems in the year of our lord 2023, I don’t know what to tell them besides good luck with that 🫡

[foxes-that-run]

Love of My Life

LOML closes out Harry's House, it's a sad song about realising someone is the love of his life after he had lost them. Harry has spoken about an albums start and end, Harry's House starts with Sushi, imploring his muse to let love in and asking himself if just a taste of love is enough. LOML is about loss of that person and realisation that they were the love of his life. To Zane Lowe Harry said:

"Love of my life, I’ve always wanted to write a song about like home and loving England and all that kind of stuff. And it’s always kinda hard to do without being like ‘went to the chippy and I did this thing’ and to me Love of My Life was the most terrifying song for a long time because it is so bare, it's so sparse." He went on to say: "And in the spirit of what Harry's House is about, I think it started as an idea that was very literal, on the nose, [...] As I started making the album it wasn't about the geographical location it was much more of an internal thing."

So, what he said was that it is about his home and England is a metaphor. Home is common theme in Harry's work, most notably in Sweet Creature but even in 1D it has meant more than a place to him. The notebook also has a quote 'your mother is my home'. Taylor has also used home or homeland to refer to Harry, WomanExile has a great post on their usage of home as a metaphor for each other.

The Lyric Video has roses, which Harry and Taylor Swift also use to refer to each other:

Since 1989, all rose and thorn lyrics are about Harry

Harry 's rose Tattoo is from 11 September 2013, when they started dating again after the VMAs.

Roses have been in videos, outfits, social media posts about each other, a list is here.

Timeline

In the NY ONO show Harry said he wrote it in Rob Stringers' (Sony CEO) house and that the phone ringing in it is his. As it Was was recorded in the same session, and in part, has a similar meaning. This places it in the first half of 2021. After the rest of the album, California. Also after Folk/evermore which are about communicating and endings respectively. Harry had seen Taylor in March at the 2021 Grammy's. At the time it was written Taylor was still dating Joe. Harry had been dating Olivia for a few months.

California in particular refers to 'summers death left to breathe' indicating that there may have been an ending of sorts in 2020 before he returned to England and drove to Italy over the time Folklore was released.

Though not lyrically addressed, to me LOML is a 'yes' to Question..?'s "Did you realize out of time, she was on your mind?" Question was written in the same time period, after the Grammy's interaction but was released 6 months later.

Tracklisting, release and length

Love of My Life is Harry's only track 13, Taylor's number. It was released on her birthday. It is 3:12 long, or March, 31 2012 - the date they met.

Live shows

Harry said to Zane Lowe he thought he would close the show with it. And he did up until March 25 2023 when it was replaced by Fine Line in the last leg. Later that same week Taylor Swift replaced Invisible String with The 1 and announced her split from Joe Alwyn. It only returned for the 3 Wembley shows.

It was missing for 30 shows and is one of the least played Harry’s House songs, only above Boyfriends and Grapejuice which was added for the last leg.

Lyrics

Baby, you were the love of my life, woah Maybe you don't know what's lost 'til you find it

The first verse is a turn on the phrase “you don’t know what you’ve got till it’s gone” he reconnected with his love and found she is the 1 but it is past tense, he still lost her. This is similar to the Clean secret message, which also appeared in the OOTW video “She lost him but she found herself and somehow that was everything.” And the cyclical nature of this relationship.

Take a walk on Sunday through the afternoon We can always find somethin' for us to do We don't really like what's on the news, but it's on all the time

The second verse to me is remembering good times with this person, when he felt at home, with shared experiences and comfort. The Central Park walk with Taylor was on a Sunday.

I take you with me every time I go away In a hotel, usin' someone else's name I remember back at Jonny's place, it's not the same anymore

To me, I take you with me everytime I go away refers to what Harry said about an internal feeling, no matter where he is in the world his love is ever-present even when they are not.

In the Dublin show on the 22nd June 2023 Harry confirmed this refers to his childhood friend is Jonathan Harvey. This speaks to Harry’s concept of home as the feeling that you are loved and belong. To me this reference is to when Harry took Taylor on a tour of his home in England, to the lakes, where he grew up and she may have met Jonny in 2012. She said that was her best birthday, sharing his home with her was important to him. To me, this line means their relationship is different now to it was then. As it was is also similar with with an external view of how others would see them and their place in life.

It's unfortunate, ooh Just coordinates, ooh

It’s unfortunate, just coordinates sounds to me like he’s reflecting on how they got from the Lakes trip to their current state. This applies to his feelings about love and home. The impact touring has had on his life, what is home and his relationships.

I don't know you half as well as all my friends I won't pretend that I've been doin' everything I can To get to know your creases and your ends Are they the same?

Knowing his love is a theme, in Sunflower Harry sang “Let me inside, I wanna get to know you” and in Fine Line “Spreading you open Is the only way of knowing you” to explore the idea of intimacy co-existing with distance with the same person.

He also sings about not knowing his love in Trouble “And I don’t even know you / But I feel like I do sometimes”. Interestingly in If I could fly he feels like she knows him “Now you know me / for you eyes only”.

The “are they the same” speaks to once knowing all the creases and ends but not now. “Super Pretty” has a similar theme of distant intimacy and vulnerability “do you still feel the same about me”.

Baby, you were the love of my life, woah Maybe you don't know what's lost 'til you find it It's not what I wanted, to leave you behind Don't know where you'll land when you fly But, baby, you were the love of my life

The final chorus adds “don’t know where you’ll land when you fly” which confirms he is singing to a person not a country. Specifically a person with a private jet who can fly without the destination known. For that person every mystery take off is relentlessly tracked by an instagram account. How alienating it must be to someone who loves and wants her to see that and not know.

[midnightlie]

The long story of why you became Taylor Swift's fan?

i was 12 years old when saw her performing tim mcgraw at the cmas on tv and i begged and begged and begged my mom for her cd for christmas and i GOT it i was so happy i played that album everyday for like a year.

when fearless came out, i used my own christmas money to buy it. i spent all christmas day playing it on my new ipod nano

for speak now, i preordered one of the album bundles and i still remember how excited i was the day it arrived. i wore that chunky plastic speak now bracelet for months. (i saw speak now in milwaukee the summer i was 17. i cried so much though the whole concert haha)

when red dropped i skipped my college class to walk to the local walgreens so i could buy it. i had no money, but i even shelled out for a red shirt while i was there.

when 1989 came out i spent hours in the car in the driveway of my house after work just to listen to it. i remember driving laps around my small home town with blank space on repeat.

when reputation came out, i begged my coworker to cover for me so i could run to the target at our mall so i could buy it on release day; that night me and my cousin drank wine and blasted it through our whole apartment.

when lover dropped, i was in a hotel room, listening to it with my best friend who lives 1000 miles away and stayed up just to listen to it with me because she knows how much i love taylor swift.

for folklore and evermore i was alone in my single room apartment crying over so many of the lyrics. im a flight attendant; i was working on the front lines during the pandemic. those albums brought such comfort.

and finally, midnights. stayed up again all night streaming it with my best friend. we texted lyrics back and forth all night long.

with every album taylor has released, its only made me love her more. im 29 now. im a writer; i would say her lyrics have influenced so much of the way i approach writing and how i channel emotions into it. and, shes just always been a part of my life. i feel so lucky to live in a timeline where she not only exists but is finally thriving and getting the love and recognition she deserves.