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ourstaturestouchtheskies · 9 days

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The Tortured Poets Department (Art History Version) – The Complete Collection

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arttaylorsversion · 2 years

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Jeanne d’Arc au sacre du roi Charles VII dans la catédrale de Reims by Ingres Jean-Auguste-Dominique + Nothing New by Taylor Swift ft. Phoebe Bridgers

#happy 10 years of red!!!#taylor swift #art history #tsedit #tswiftedit #taylorswiftedit #tswiftart #tslyrics #red era #red tv #red (taylor’s version)#nothing new #joan of arc #10 years of red

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baby-girl-aaron-dessner · 8 months

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On a Stormy Sea by Nils Blommér + This Love by Taylor Swift

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earlymodernbarbie · 10 months

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Castles Crumbling (Taylor’s Version) [From the Vault] by Taylor Swift ft. Hayley Williams///Queen Mary I

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sadtaho · 1 year

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The Art of Grief : A Reflection from the Author’s point of view on the Anthology (Lockdown Litanies: Countless Untold Stories) An Essay by Eliaj Phoebe Fernando

As we all know, losing something or someone is painful and melancholic. Loss is breakups, cutting friends off, losing something, or death. But with grief, there is beauty and pain and it's what makes us humane. In this essay, the author will simply put their perspective on the different experiences of Filipinos during these trying times.

Dear Diary

Reading up on this persona and their experience, I would say I highly resonate with what they went through and especially with the line that goes “Until then, I’ll forgo myself, move away and discover a world on my own. I know I won’t be the same again. ” It means as you go down any road, you can find different versions of yourself. Just like Taylor Swift’s song Mirrorball lyric “I want you to know, I'm a mirrorball. I can change everything about me to fit in.” Because being a mirrorball has its beauty of seeing different reflections of yourself and shining out when you're at your best. Knowing you won't ever be the same person from your past.

The Tale of a Modern Sisyphus

We all know how the 2022 elections went. And by now, we are all still grieving from losing one of the greatest hopes the Filipinos can ask for. This poem is a metaphor for the elections and yes, this will get political. Metaphorically I’d say we are the modern Sisyphus. “A burden is less felt when carried together” said from the poem, because we will carry this burden and it will be passed down through generations and the regrets we’ve done we would probably wonder “was it all worth it?”. I would like to associate this poem with the song The Man by Taylor Swift as the lyric goes “I'd be a fearless leader. I'd be an alpha type. When everyone believes ya, what's that like?” in this generation and era people have become so disinformed by what they see on the media or whatever sources that wasn’t liable at all, with that they believe that the history of Marcoses, the lies, the deaths, and the extra judicial killings , etc. They think it was a better time and era and they believe Marcoses for or BBM today that he’d do better now. Ever since Leni joined the elections the misogyny was worse and she was put down just because she was a woman. And this is why i associate that lyric to the situation because maybe if she was a man maybe people would’ve believed her more and had more faith on her.

O’ Yayi

Okay, reading this poem was quite heartbreaking. Not only does it discusses grief but the pain of not being chosen is just really painful. With all the efforts you’ve done for someone but yet they can’t even remember you or think of your existence at all, because theyre thoughts are set on somebody else. I remembered Mitski’s Washing Machine Heart and i quote “Baby, though I've closed my eyes,I know who you pretend I am” i chose this lyric because of what the persona said in the poem. I quote “If ever I run out of time here and reach the other side, whose arms would you run back again, mine or Dante’s?” Only because the song discusses that this person you love will choose someone that they admire more than you, really painful.

Two Red Laces on the Wonderwall

With this poem, it’s really sad that secrets have been kept and its a lie that’s hard to accept. There was this line in the poem “I fell in your words. You, secretive. “Maybe you should get yourself tested.” and it reminds me of Circle by Mitski and this specific lyric that goes “There's a lie that I told to you. That now I can't tell the truth. And it ate me inside, so one soft drunken night” Because even if you ask them to “Get Tested” they’re not able to tell the whole truth that they might’ve given it to them. The grief of having a disease that is with you till your death bed and you can’t even do anything for it to be curable, its heavy for the mind and heart.

Umbilical

Here we will discuss about motherhood, the pain and the beauty of being a mother. There is so much effort and love when it comes to being a mother, one of that is being birthed into this world. In this poem the new born is pleading from the darkness to save their mother from death. It is heartbreaking for a mother to be gone when their new born was just birthed in this world. I can only associate this poem with the song Fourth of July by Sufjan Stevens, I quote “And I'm sorry I left, but it was for the best. Though it never felt right” this lyric hits close to home with this line from the poem “You have made your purpose, I guarantee. Hush, sleep tight. Everything will be alright.” It just means that she had made her purpose of giving birth and her time has come.

RE: Paper (I’m Red, IMRaD)*

Our country is one of the known ones struggling when it comes to education. This country have not overcome the educational crisis mostly because the government do not prioritize education nor health either. “Ironically, in areas we expect for leadership, Communication, media, and socio-emotional management. We are not that high.” I quote from the poem. Its sad that the government doesn’t notices how much they are failing the education system in our country because they focus more on buildings and infarstractures. What we need is a leader, a hope for our troubles. Yet, it’s been a 100 days and our so called “Leader” has not done anything to the country yet. “Now everybody, do the propaganda and sing along to the age of paranoia” I quote from the lyrics of American Idiot by Green Day Because nowadays there is so much propaganda happening and they turn the attention onto the propaganda instead of focusing on the crisis we have in the system.

3 A.M. Awakening

This has got to be one of my favorite poems in this compilation. Not only is it because im quite a pessimist but its so beautifully written. What really struck me was this line from the poem “And so, breathe gently ten times and let go. Count seconds and feel the world down below.” this really reminded me of one of my favorite songs by Aurora, Half the World Away. This song just speaks to me so much and so does this poem. “You can't give me the dreams that are mine anyway. You're half the world away” as the lyrics goes. This song is perfect to associate with this poem mainly because the lyrics and the poem kin each other. As the persona jumps down they are now half the world away or down below now, they have ended their hopes and dreams. And it ends with a loud thud. Misery and troubles are gone.

My Frail Lady

This is also a favorite poem of mine in the compilation. It’s like the words dance with each other gracefully. As it has been said that this poem is inspired by “The Most Beautiful Suicide” and that is why i want to kin this poem with the song The Last Words of a Shooting Star by Mitski If I would’ve died this song would’ve been my last letter to the people i have left. The lyric “And while my dreams made music in the night . Carefully

I was going to live.” would be best associated with this line from the poem “Freedom at long last Upon her long, quiet pause. Hers is but a dream.” I just think that their dreams wouldn’t last anymore as they’ve ended their lives and alas, like the lyric said they were going to live but really that was the only freedom they have left which was death.

Major Arcana

This poem is more of a fortune or luck kind of

story-telling. Which is really unique I'd say because it’s in the form of tarot readings. I’ve also used to do tarot readings from the past year, it was really fun puzzling your fortune and future. With this poem i want to relate it to the song called Happiness by Taylor Swift and the lyric goes “There'll be happiness after me.But there was happiness because of me. Both of these things, I believe there is happiness” I'm going to connect that lyric with this line from the poem “And the likelihood after this storm is the Sun beaming upon you. Finally receiving its warmth and vitality, you will also bloom. A heraldic time to celebrate soon, Mister. Just hold on.” Because well, the card that was last pulled was the Sun, and the reason I want to kin the line and lyrics because what is said in the lyric was that ‘there is happiness because of me’ and when you think of happiness you think of the sun and it’s warmth as well was it’s vitality. All these Positive lines or lyrics leads to you and only you can make your happiness or the good things happen because of you.

In summation, the deaths, lost memories, dreams and hope. We grieve because we have lost these things throughout the pandemic even if it sounds depressing you can always still see the beauty of grieving. The pain, emotion, and the stages that we go through. Painful yes, but the beauty or the art of grieving is what makes us live still. It's what makes us humans in the first place. Grieving is beautiful, it is poetic in a way. I think us humans experiencing grief is so powerful than any other living terrestrials in the universe. Having such powerful emotions is amazing. Even if we go thru grief, like the last stage of grief is acceptance. Eventually it gets better and everything we went through was worth every emotion we felt.

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crowdvscritic · 9 months

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round up // JULY 23

Spies! Josh Hartnett! Perfect 10s! They all made multiple appearances in July. This summer has churned out one of the best crop of blockbusters in years, and even though this Round Up is a bit shorter than usual, it’s a stacked lineup. Whether you’re looking for big thrills, big emotion, or big art, July had it all.

July Crowd-Pleasers

1. Mission: Impossible - Dead Reckoning Part One (2023)

A redux of the 1996 original Mission: Impossible in all the best ways. Whatever you think of Tom Cruise, you can’t deny his commitment to the audience experience. Crowd: 10/10 // Critic: 9/10

2. Operation Fortune: Ruse de Guerre (2023)

This is the kind of movie that you can tell within in three minutes isn’t totally working but it’s hard to tell why. It looks pretty good! There’s loads of style! Jason Statham is one of the best action leads in the biz! Every actor is doing something fun! (Especially Josh Hartnett, validating my major crush in his Pearl Harbor days.) But not a single character has an arc, and we should’ve opened on an action sequence introducing our heroes and villains so we don’t need so much dialogue to explain our characters or the inciting incident. But you know what? Call the butcher because I love a good ham! I had a great time with this cast doing the Guy Ritchie thing, which means I am gonna watch this so hard again on cable.

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3. Speak Now (Taylor’s Version) by Taylor Swift (2023)

My attempt to swing last-minute tickets to the Eras Tour in Denver for less than $1000 was a no-go, but the treats that are “When Emma Falls in Love,” “Timeless,” and a Taylor Lautner music video cameo softened that blow. The article “The Unprecedented Weirdness of Taylor Swift” in The Washington Post captures some of the unique joys of her re-recordings.

4. Barbie (2023)

Is Barbie an instant classic? Perhaps it’s too of-this-moment for that kind of longevity, but it’s a comedy that made me laugh so hard I cried and also just that made me cry, which I don’t remember ever happening to me within a single movie before. Read my full review for ZekeFilm, and then be sure to listen to the soundtrack after seeing the movie. Dua Lipa, Charli XCX, Tame Impala, Haim, Billie Eilish, and Ryan Gosling(!!) made some bangers! Crowd: 10/10 // Critic: 9/10

5. Do You Like Apples Podcast

I’ve recommended the Do You Like Apples newsletter, and now I’m recommending Billy Rock and Drew Wendt’s new accompanying podcast. I may be biased since they invited me to join their Barbie discussion, but because I like filling my earbuds with thoughts on Wes Anderson’s oeuvre and the best of Harrison Ford’s career, I’m a regular listener beyond our collab. Listen to our discussion of Barbie and then browse through their rapidly growing feed about the world of movies.

More July Crowd-Pleasers: Airport (1970), Book Club: The Next Chapter (2023), Zoey 102 (2023)

July Critic Picks

1. The China Syndrome (1979)

Another ‘70s conspiracy thriller FTW! Jane Fonda, Michael Douglas, and Jack Lemmon are getting suspicious at a nuclear power plant, and their investigation lands on my lists of favorite journalism films and movies that have made me cry. Crowd: 8.5/10 // Critic: 9/10

2. BlackBerry (2023)

Product-inspired films are still rocking and rolling in 2023, and BlackBerry is one of the best. It owes a lot to The Social Network, but it learned all the right lessons. I would love to see this cast in conversation for Oscars this winter, but until then, the rage-at-the-corporate-machine soundtrack is keeping me going. Crowd: 8/9 // Critic: 9/10

3. Oppenheimer (2023)

On average, me every 7 minutes in this movie: "Oh hey, I love that guy!” This cameo-packed historical epic/biopic is a clearer-eyed version of A Beautiful Mind, and perhaps most impressively doesn’t feel three hours long. The review in The Federalist and Vox’s analysis of the history of nuclear cinema are excellent companion pieces. Crowd: 8/10 // Critic: 9.5/10

4. Suddenly by BØRNS (2023)

Like the rest of us, it sounds like BØRNS has been going through some stuff in the last few years. After a five year hiatus, he’s back with his lachrymose synth-pop in a six-track EP. My only complaint? I’m ready for a full album!

5. The French Dispatch by Wes Anderson (2021)

Haven’t I already recommended The French Dispatch as the best film of 2021? Yes, but because I’m a woman of limited interests, I’m now recommending the published screenplay. If you’ve ever wondered just how Anderson and his collaborators create their idiosyncratic stories, reading the complex script gives a new insight into their overlapping minutiae, much of which I missed just by watching.

More July Critic Picks: The Merry Widow (1934), Christmas in July (1940), Some Came Running (1958)

Also in July…

At the start of July, nine writers for ZekeFilm picked our top five movies of the year so far. You can read our individual lists as well as our aggregate top five in our “Best of 2023 (So Far)” piece.

I checked out Haunted Mansion, which was…at least better than the Eddie Murphy version? Read my review for ZekeFilm, which turned into a long list of theme park-inspired films for Disney, and watch more on KMOV to see me correctly predict that Barbie would dominate the box office yet again.

Thanks to a holiday break, I had a little time to finally add a few Best Picture Project pieces. Keep scrolling on the home page to read reviews of The Apartment (1960), One Flew Over the Cuckoo’s Nest (1975), Rain Man (1988), Dances With Wolves (1990), Million Dollar Baby (2004), and 12 Years a Slave (2013)

Until August wraps, you can follow what I’m watching on Letterboxd and the site formerly known as Twitter

Photo credits: BØRNS, DYLA, The French Dispatch. All others IMDb.com.

#Round Up #Mission: Impossible - Dead Reckoning Part One #Operation Fortune: Ruse de Guerre #Barbie #Taylor Swift #Speak Now #Speak Now (Taylor's Version)#Do You Like Apples #The China Syndrome #The French Dispatch #BlackBerry #BØRNS #Suddenly by BØRNS #Oppenheimer

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allamericansbitch · 2 years

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Hey everyone! Here’s this weeks addition to my Creator Shoutout Series (april 3 - april 10) ! For info about the series, I explained it in the first post here, but generally, it’s to show appreciate to editors and their creations that i love from the past week. To track this series or look at previous shoutouts, please check out the tag on my blog *creatorshoutouts. Have a great week everyone!

phone booths in movies gifset by @selinakyle

olivia rodrigo: awards at the 2022 grammys gifset by @jakegyllenhals

phoebe bridgers gifset by @heythatsmyman

taylor swift: cardigan gifset by @paleblueskyreflectedinyoureyes

turning red + wordle gifset by @ne8ula

euphoria: lexi and fez + romantic tropes gifset by @kiekiecarrera

paramore discography gifset by @paramorefold

taylor swift: gold rush gifset by @cametotheshowinsd

succession: children of grief gifset by @sdktrs12

olivia rodrigo: wins at the 2022 grammy awards gifset by @melodramas

turning red gifset by @keepyourlife

taylor swift graphic by @jonismitchell

f.r.i.e.n.d.s: monica and chandler gifset by @gregory-peck

jack antonoff: grammy awards history gifset by @jakeperalta

succession: global stock indices gifset by @kendalsroys

olivia rodrigo: driving home 2 u gifset by @sashafierce

atonement gifset by @tarth

lorde: secrets from a girl (who’s seen it all) graphic by @cruellesummer

taylor swift: i wish you would gifset by @thatwasthenightthingschanged

olivia rodrigo: 2022 grammy awards gifset by @newrcmantlcs

brooklyn nine nine: jake peralta + memes gifset by @peraltaroy

pembroke welsh corgis in tv shows gifset by @kendalsroys

taylor swift: one year of fearless (taylor’s version) gifset by @usereste

f.r.i.e.n.d.s: chandler bing gifset by @stydixa

halsey: the making of if i can’t have love, i want power gifset by @demonzplay

taylor swift: red songs as random albums edit by @startreatment

yellowjackets: jackie taylor gifset by @amandaseyfried

‘kitten kisses’ art by @lefkki

olivia rodrigo: 2022 grammys gifset by @yasmin-finney

taylor swift: purple and green gifset by @treachreous

schitt’s creek: alexis rose gifset by @fionagallaqher

abbott elementary: janine and gregory gifset by @nessa007

taylor swift: so it goes... gifset by @thatwasthenightthingschanged

euphoria: lexie howard gifset by @trueloveistreacherous

pride & prejudice gifset by @nikolatexla

mitski: laurel hell era music videos gifset by @sharpay

stranger things: steve harrington gifset by @steveharringttons

olivia rodrigo: 2022 grammy awards gifset by @choledecker

taylor swift: you belong with me performance gifset by @sadbeautifutragic

gracie abrams: i miss you, i’m sorry graphic by @halfdrunkhappy

taylor swift: fearless (taylor’s version) graphic by @glorious-sunrise

succession: tom and shiv gifset by @sdktrs12

bleachers art by @izzytdoodles

taylor swift: fearless (taylor’s version) vault tracks gifset by @antoniosvivaldi

abbott elementary: character tropes gifset by @lizmitches

olivia rodrigo: best pop vocal album 2022 grammy awards gifset by @antoniosvivaldi

taylor swift: mirrorball graphic by @cruel-style

#*creatorshoutouts

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bananaofswifts · 3 years

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ince about 2018, Taylor Swift has been at the centre of arguably the most riveting contract dispute in music business history since Prince wrote “slave” on his cheek. It has been a conflict fought in public, in detail. No precis does the nuances justice, but the crux of Swift’s unhappiness is that the rights to her first six albums were sold out from under her nose when her former label, Big Machine, was acquired by a man she regards as an enemy: Scooter Braun.

Braun is Justin Bieber’s manager; more pertinently, he also managed the rapper Kanye West at a time when West was tormenting Swift – another vexed tale wrapped around this one in a double helix. The antagonism between Swift and West began when he interrupted her acceptance speech for best female video at the VMAs in 2009. The video in question was You Belong With Me – a hit from Swift’s hugely successful 2008 album Fearless. That album has now been totally re-recorded by Swift and was released on Friday.

Why? In November 2020, after months of hostilities exchanged via social media and the legal profession, Braun sold Swift’s catalogue on to a private equity firm, Shamrock Holdings. As part of the deal, Braun would continue to profit from the use of Swift’s early work on streaming platforms, radio, TV and adverts.

If you were trying to sell this as an art forgery, someone would eventually twig

Swift particularly objects to the fruits of her youthful labours going to a man she has accused of “incessant, manipulative bullying”, on whose watch West made a video creepily sexually objectifying her (other celebrities were also depicted).

Swift’s radical solution is to make her first six albums worth significantly less by re-recording them, so that future uses favour her, not Shamrock or Braun. Hence Fearless (Taylor’s Version) – less an album and more a breathtaking chess move, the aural equivalent of pulling the rug out from under her antagonists.

First released in 2008 – 13 years ago, a favourite number of Swift’s – Fearless was Swift’s second studio outing and first massive hit. By the time the album’s cycle had concluded, she had the bestselling album in the US and a slew of awards, including the Grammy for album of the year– she was the award’s youngest-ever recipient until Billie Eilish.

It was a different world: when the album was released, Swift, just 18, had recently broken up with a Jonas Brother. Her songs were rooted in country, but the foundations of her pop auteurism were plain. The album’s overemphasis on romance was mitigated by Swift’s insightfulness, which only grew more acute with time.

“When you’re 15, and somebody tells you they love you, you’re gonna believe them,” she sang ruefully on the autobiographical Fifteen, from the lofty vantage point of someone not yet of legal drinking age in the US. Swift’s signature ad libs were there too – the laugh on Hey Stephen – as were the killer bridges that hallmark so many of her best songs, riding on the thermal of a key change.

All this is still present, and there’s more: six unreleased songs that date from the Fearless album sessions plus a re-recording of Today Was A Fairytale, a song she contributed to the soundtrack to the 2010 film Valentine’s Day. On Fearless (Taylor’s Version), Swift has radically recreated the 2008 cover shot. Its sepia tint, and the loose peasant blouse she is wearing, very much suggest the contemporary Swift of her soft-focus albums of 2020, Folklore and Evermore.

But she has been at pains to reproduce her original country-pop as precisely as possible, the better to gazunder Shamrock Holdings. It’s a labour of revenge, but also of love: Swift has re-employed key contributors from the period and mixed them with members of her live band who played many of these songs live for years. Guests such as Keith Urban, who she toured with at the time, crop up on bonus tracks like That’s When.

These unreleased vault tracks are something of a mixed bag. They’re intended as a sweetener – choice pickings from Swift’s rich vault of unreleased material – but she has carte blanche to present them as she pleases. They’ve ended up as sedate iterations, pairing the brighter, more direct songcraft of the younger Swift with the watercolour production of the Folklore era. There are exceptions: Mr Perfectly Fine can handle the pastels, it’s such a stone cold classic Swift song; You All Over Me is similarly rewarding, not least because it is an obvious precursor to 1989’s Clean.

The core reproductions, however – of the 19 re-recorded tracks that formed the platinum version of Fearless – are a roaring success. The verisimilitude of the music is as near-as-dammit, although if you were trying to sell this as an art forgery, someone would eventually twig. The production can’t help but sound smoother, the quality of the playing more nuanced – witness the interplay between the guitar and banjo that opens the new version of the title track, or on one of the album’s biggest hits, You Belong With Me.

What really stands out, though, are Swift’s vocals. She can’t reproduce her reedier, less skilful teenage self. She parcels out her tones more cannily now, an anachronism that is no criticism. But spending time with all this juvenilia only points up the quality of Swift’s songwriting. Fearless (Taylor’s Version) is both an art project executed serendipitously and a strategic move the industry will be poring over for some time.

#taylor swift #review #fearless

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chriswiftie · 7 years

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Reputation Theories + 1989 differences.

I’ve been thinking a lot about 1989 lately, as the differences between Rep and that album are striking. It even led me to a few interesting theories about 15 Taylor’s, 10-minute All Too Well and how LWYMMD works as the lead single of this album in comparison to, like, Shake It Off.

Yeah, I’m sorta obsessed with theories. I added some takeaways at the bottom, but please re-blog so I can get other people’s thoughts!

Anyways, without further ado:

1. Sonic cohesion

We first started thinking this when the LWYMMD music video was released and there were 15 Taylor’s and, coincidentally, 15 tracks on the album. Due to the wide variety of Taylor’s in the music video, this idea seemed reasonable.

Then Ed Sheeran, you know, basically confirmed that sonic cohesion is probably not the focus here.

"It’s a very diverse album, very diverse. So I think if people have it all worked out now, they’re wrong.”

My guess? There will be plenty of the edgier stuff like LWYMMD and RFI. Not only because of the album artwork, but if you take the “15 Taylors” theory, at least 7 or 8 of them look pretty intense.

2. Shake It Off and Out of The Woods

So this I just noticed:

It didn’t strike me before, but did anyone else notice Shake it Off Taylor and OOTW Taylor are right next to each other?

If you’re doing the right-to-left “15 Taylor’s” theory and assuming orange-suited Taylor is the 1st track, isn’t it telling that Shake it Off Taylor is first (which signaled the start of the 1989 era), while Out of The Woods Taylor (which effectively ended the era from a music video perspective) is right after her...dead?

And taking it a step further, people keep saying “what if she never got out of the woods?” in which I think: remember when the narrator of that AT&T Now commercial said “and now..we’re out of time?”. Well.

Out of Time. You’re dead if you’re out of time.

(Granted, you’ve got bigger problems. Like, you know, eating people.)

From there, I don’t know what the heck to think of a possible narrative here. I just find it a little too coincidental.

3. Title track

This is very, very important:

Despite everyone in the comments saying “we been knew”, I think few are commenting on the shift here from 1989, her only album to not have the album title as a track.

I don’t count her self-titled album because *ahem* that’s her name.

What does this say about Rep? It’s a bit of a return to form for Taylor’s narrative-focused records.

And that’s where things get more interesting.

4. Concept

From the first time I saw the reputation cover art, it hit me that she’s going for something more high-concept than on 1989. While 1989, of course, worked around the idea that she was born in 1989 and was exploring the sound of that time, there wasn’t much of a central theme or story.

On Rep, it’s already pretty clear that there is a narrative-focus here with the album artwork. Many have pointed out how Taylor may be saying nothing is “black and white”. The half of her face being obscured also gives the impression that she is not who the media (or general public) says she is.

Personally, it feels like a concept album to me. LWYMMD, in particular.

“All I think about is Karma”?

Please, nobody got time for that. Especially Taylor.

5. Deep Cuts

I don’t know about you, but I became a Taylor Swift fan because of her tracks like Enchanted, Forever and Always, All Too Well, Dear John, The Moment I Knew, etc. It’s easy to see why these tracks are universally beloved by Swifties because, well, they’re exceptionally deep and relatable.

As I said before, 1989 is easily her least personal album.

Although Taylor at her least personal is more personal than anyone else.

Of course, we all know of that leak with an 8-minute track, speculated to be All Too Well. Keep in mind that “leak” also said the 4th track was supposed to be the first single. If we’re going by the “15 Taylor’s” theory left-to-right, it’s WANEGT, which isn’t even the right song. And right-to-left, it’s literally a ZOMBIE.

So I think it’s safe to say it’s probably not All Too Well.

Regardless, it’s the ATT spot that really heated up speculation:

youtube

It’s been long rumored that there are acoustic and country tracks on the album, which seems in-step with the “15 Taylors” theory. Meaning we could very well see a much deeper album than 1989. Maybe even more so than Red.

Let’s say the song Taylor’s about to sing is that 8 minute “All Too Well”. How would that make sense with all her old guitars? It wouldn’t.

The Rolling Stone’s “source” said Rep was “lyrically sharper and more emotionally complex than 1989″. I’m almost convinced the source is someone from Rolling Stone, as not even her friend Kelsea Ballerini seems to have heard the album.

The only problem with that theory is that we’re far out from the album’s release, which seems like a strange time to invite a reviewer from Rolling Stone to listen to the record.

Whatever. Moving on.

6. Rock/Hip-Hop vs. Pop

Okay, this is more of an opinion, but hear me out.

For all that’s been said about LWYMMD being a “radical departure”, I don’t think Rep is going to be going in that direction. Mostly because Taylor already gave us a glimpse of her rock chops during the 1989 tour.

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For all the talk of her taking a “3-year break”, that clip is only from 2 years ago, which is pretty reasonable for an artist to start thinking about the next steps in their career.

Whether or not that’s true, it’s interesting, isn’t it, that during the tour for the ultra-poppy 1989 she debuted rock versions of her old songs? Something tells me her interest was moving in that direction.

7. Shake It Off vs. LWYMMD.

Look, I’ve had a long complicated history with SIO. To this day, I just feel weird about it. It’s probably the biggest song of her career. I’m not planning to look it up the numbers, but we all know it was huge.

It’s never been my cup of tea, but it’s also been a point of late to say “LWYMMD is probably like SIO...nothing like the album”

And that’s true. Kinda.

The thing is, the LWYMMD video seems like a backbone to a concept.

Quite brilliantly, Taylor manages to include her old personas with a bunch of new ones. These essentially set us up for new characters while also recognizing some of our favorites who are meaningful to this new era.

LWYMMD seems more like a character piece (Jack literally said critics missed the “camp” in it). Camp, for those who don’t know, means something is sort of silly or ridiculous.

And if you think about it, all of the criminal imagery (once again, I’m thinking the “15 Taylor’s are in right to left order but I’m open to ideas) in Ready For It alludes to more of a character.

But, more on Ready For It another day. I’ve gone on for a while already.

So here are the takeaways:

1. An edgier sound with components of her old work.

2. “15 Taylor’s” theory, if true, is probably right to left.

3. Probably no All Too Well. But new, deeper songs. (I ain’t mad)

4. LWYMMD is a manifesto, setting up characters.

5. Buh-bye sonic cohesion.

6. A concept-focused album, more in the vein of Red.

7. “Out of Time”. If you’re dead, like Zombie Taylor, you’ve got no time.

8. Get ready for the return of narratives!

All to which I say: Hell yes.

#taylor swift #reputation #1989 #red

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misswiftandtheheartbreakprince · 5 years

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a queen is never late, everyone else is simply early

so 13 years of ‘taylor swift’ the album... what can i say about it?

13 years. 7 eras. 4 opening acts. 5 tours. +40 millions albums sold. thousands of fans. a whole history.

first of all, i love writing, so this post can become a little too long... i apologize about it

umm, im going to start with the first time i saw something related to taylor. i think i was 8 or 9 yo, i was watching nickelodeon (probably some latin tv show) and during the commercials some taylor music video showed up. i cant remember if it was you belong with me or love story BUT it was one of these.

at that time i didn’t speak english at all (i still not fluent) and i didn’t understood anything from the lyrics but i felt in love with the visuals and i liked it.

after that, i remained obsessed about my latin tv shows and latin music for a couple years and in 2012 i was watching tv with my mom and my nonna and while watching the news we saw that paula fernandes (a brazilian singer who was extremely successful at that time) collaborated with the famous american singer taylor swift (https://www.youtube.com/watch?v=I8-DYobdel4). i just got very happy because this version had a portuguese part which i could sing :)

then, in the end that same year i went to a school trip and we sang i knew you were trouble chorus all the way cause it was the big hit of the moment

i also remember i saw in that same year the we are never getting back together music video on nickelodeon (again!!!) and i loved it. i used to sing this song pretending i had a ex but i was like 11 and obviously no boyfriend

idk how but even when i wasn’t a swiftie (lets remember that i was entirely obsessed about latin stuff so far) i thought taylor was really inspiring and a started to share things like that in my facebook in 2012

I REMAINED OBSESSED ABOUT LATIN MUSICAL TV SHOWS for a couple more years BUT at the same time i started to enjoy english pop music (perhabs because i was learning english and then i could understand what they are singing about).

it may be a coincidence but at the same thime i started to listen to pop music, taylor announced that she was going to release a POP ALBUM

then she released shake it off and it was a bop!!! in the sequence blank space and I WAS ALREADY IN LOVE BY THAT TIME

all i could thought was: that woman is a genius, she is pure art and everything she touches become magical and perfect. idk i just loved the way she turned feelings into music

when she released the album i couldn’t wait to buy it (cause im a cd collector lol) but i didnt found it in brasil and a that time her songs weren’t avaible on streaming services so i only could listen to the singles who had a music video on youtube. yeah it was difficult times...

but then FINALLY in february 18 of 2015 I FOUND IT AT A BOOKSTORE and it was the most expensive CD i’d ever bought BUT IT WORTH IT. in that day, i send +70 snapchats videos to my bff unpacking the cd and showing her every detail of that album and i listened to it in replay all day long.

since that, i became a swiftie and taylor has been more than a idol, she is my role model and one of my favorite artists

FUN FACT: i wanted so bad to attended at 1989 world tour (but i couldnt cause she didnt came to brazil and i didnt have money to travel to another country) that i borrowed my nonna’s international credit card to sign apple music and watch it. after watching i canceled my account because i didnt had money to afford the signature LOL

IN CONCLUSION by listening to her songs i feel like she is my best friend and she is giving me advices or telling me stories about her life. i just love her honesty and her passion about music and about LIFE

she makes me want to dream BIG, to live the life of my dreams, to found my true love and to deal with pain and feelings turning it into art. i love her more than in the same intensity i love my momma, my nonna and my dog (and thats a lot)

so, to celebrate hers 13 years of career, i just wrote about one of many histories of life she changed. she turns feelings into music, i turn feelings with words

anyway, CONGRATS TAYLOR for 13 years on the road! im more proud of you than you could ever imagine I LOVE YOU @taylorswift

and heres a part of one of my favorite songs of yours, the one who makes me feel connected with you

“ Long, long live the walls we crashed through All the kingdom lights shined just for me and you And I was screaming, "long live all the magic we made" And bring on all the pretenders I'm not afraid

Singing long live all the mountains we moved I had the time of my life Fighting dragons with you And long, long live the look on your face And bring on all the pretenders One day, we will be remembered“

#taylor swift #taylorswift #taylor #swift #13

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ourstaturestouchtheskies · 2 months

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Illustration for "The Rime of the Ancient Mariner" – Gustave Doré // The Tortured Poets Department (The Albatross Variant) – Taylor Swift

#re: my shitpost from earlier today lmao #i couldn't help myself #taylor swift eras (art history version)#the albatross #albatross #the tortured poets department #ts ttpd #ttpd #taylor swift #ttpd taylor swift #taylor swift ttpd #rime of the ancient mariner #samuel taylor coleridge #gustave doré #art #art history

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arttaylorsversion · 1 year

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Waiting by Thomas Francis Dicksee + I Almost Do by Taylor Swift

#taylor swift #art history #tsedit #tswiftedit #taylorswiftedit #tswiftart #tslyrics #painting #tswiftlyrics #my edit #tswiftdaily #red (taylor’s version)#red era #red tv #i almost do #i almost do (tv)

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tweeterbugkayla · 5 years

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When you think Taylor Swift, I hope you think of me. 13 years ago she released her first album and since 13 is her number, it’s only appropriate to make a post in support for this iconic day. 7 albums later, the only tears she has on her guitar is tears of joy from her lover. The first time I heard Teardrops I thought it was just another teeny bop song on the radio, and then one day I was flipping through the music channels and stumbled across CMT playing music videos and then I heard the real version of Teardrops On My Guitar along with the music video and the rest is history because it made me cry. If only the radio stations back then appreciated the art, creativity and beauty put into what made the song, I’m sure most people like I did myself would understand it better than assume all people want to hear is pop remixes. The same day I saw every other music video from her debut album and I just knew as many songs as she had charting, she really was killing it. Here we are 13 years later. And I still have never been noticed. 😂😭 but I still have faith that maybe someday, my time will come. Maybe this era is it. I can’t even tell you how many times I’ve watched her win so many awards and felt so proud to be a supporter of her music. I relate so much to the lyrics in her songs because I feel like I’ve lived similar situations. I never knew how to put emotions and feelings into words until she wrote words about how she was feeling on a piece of paper. I no longer felt alone and loved having a soundtrack to go along with my life experiences. To all the love, and loss and heartaches and heartbreaks, to all the teardrops on guitars, with every guitar string scar on your hands. Happy 13 years, Taylor. ❤️ Forever a swiftie. 🦋 . . . @taylorswift @taylornation #13yearsoftaylorswift #taylorswift #swifties #taylurking (at Thirteen) https://www.instagram.com/p/B4BkHqjn1HP/?igshid=5f8vhxgkgvbs

#13yearsoftaylorswift #taylorswift #swifties #taylurking

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earlymodernbarbie · 11 months

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Taylor Swift in the Karma (ft. Ice Spice) Music Video// Statue of Lady Justice (Themis) above the Old Palace of Justice in Bruges, Belgium (1720s)

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gossipgirl2019-blog · 6 years

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5 Artists Who Could Win Future VMA Video Vanguard Awards

New Post has been published on http://gr8gossip.xyz/5-artists-who-could-win-future-vma-video-vanguard-awards/

5 Artists Who Could Win Future VMA Video Vanguard Awards

The Video Vanguard Award has existed for as long as the MTV Video Music Awards have been around. At the first VMAs ceremony in 1984, David Bowie, Richard Lester and the Beatles were honored for their early, pioneering work in the pre-MTV days of the art form. The rest of the Eighties saw various pop heavyweights get their due, including Madonna, David Byrne and Michael Jackson, whose name was attached to the award the year after his sister Janet won it in 1990.

Video Vanguard presentations were much less frequent during the Nineties, becoming an off-and-on component during the VMAs’ wildest and most excessive years. Since 2013, these segments have returned as a featured part of the broadcasts, paying tribute primarily to the stars of the 21st century who have kept music-video fans on their toes. On Monday’s show, Jennifer Lopez will become the latest to join the roster, a well-deserved accolade for a star whose dancing skills and ability to toy with her own celebrity have made her videos an important part of the new millennium’s pop canon.

There are still many music-video heroes to pay homage to, especially from the 2000s. Here’s a shortlist of potential future recipients of the coveted Video Vanguard moonman.

Missy Elliott

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Missy is the most obvious candidate to be a future recipient of this special VMA trophy. Her contributions to the Total Request Live generation of MTV were some of the era’s most surreal, inventive and widely imitated pieces of pop-video art, a perfect match for the eclectic and daring music she was making at the time. From the garbage-bag fisheye in “The Rain (Supa Dupa Fly)” to the Beetlejuice-esque haunted mansion dancing of “Lose Control” or letting teen and tween dance stars show off their skills in clips like “Gossip Folks” and “Work It,” the products of her singular vision have become some of the most enduring moments in music-video history.

Joseph Kahn

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The VMAs haven’t recognized a video director as a Video Vanguard recipient in more than a decade, and Joseph Kahn is one of the most ideal contenders for the award. He’s been directing music videos for nearly 30 years and his range of collaborators is unmatched. He’s the man behind the vampire fantasy in Backstreet Boys’ “Everybody (Backstreet’s Back),” the Brandy vs. Monica face-off in “The Boy Is Mine” and the vengeful secret-agent epic portrayed by Britney Spears in “Toxic.” Having worked with everyone from Korn to Taylor Swift, Kahn is certainly one of the most prolific and versatile video visionaries of the 21st century.

Eminem

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Shifting erratically from the gravely serious to the completely wacky, Eminem has been a master of groundbreaking music videos. His best work has come from his collaborations with Phillip Atwell, leading to goofy and provocative clips in which the rapper has portrayed various celebrities (like Bill Clinton and Johnny Carson in “My Name Is”), psych ward patients (“The Real Slim Shady”) and dramatized versions of himself (“Stan”). Whether skewering pop culture’s biggest stars or tackling toxic relationships and domestic violence, Eminem’s videos have always made an undeniable impact.

Lady Gaga

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More recently, Lady Gaga has been responsible for making music videos into events again. She made her debut just as the age of TRL was being replaced with YouTube consumption, but that didn’t stop Gaga from making lengthy, plot-heavy, fashion-forward visual components to match the arty pop she was churning out from album to album. Following the couture futurism of “LoveGame” and “Poker Face” came the noir glamor of “Paparazzi” — in which a conniving but handsome Alexander Skarsgard pushes an It Girl Gaga off a balcony, only to be poisoned by her later — and the Thelma & Louise–inspired vengeful road trip epic of “Telephone,” which co-stars Beyonce in one of her most unique and out-of-character roles yet.

Marc Webb

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Another excellent Video Vanguard contender is Marc Webb, the director of some of the great alternative-rock videos of the 2000s. Working with artists like Green Day, the Used and Evanescence, Webb helped keep a lot of great rock acts of the new millennium on par with the pop and rap artists dominating the MTV universe of the time. His most notable contribution was the dramatic, emo-goth funeral of My Chemical Romance’s “Helena” video.

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nightcoremoon · 7 years

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Looool just in case no one ever explained the meme "don't you hate it when it's 9 in the afternoon and your eyes are normal sized" to you here it is; 9 in the after noon is a song by panic at the disco and it goes "nine in the after noon, eyes are the size of the moon" So the joke is that their eyes aren't the size of the moon, it's more of a reference I'm by no means pretentious but I saw ur comment on that post and thought just incase no one had told u yet I would lol x

bruh.

i own fever you can’t sweat out, pretty odd, the deluxe version of vices and virtues, too weird to live too rare to die, and the nightmare before christmas soundtrack, and i’m gonna buy death of a bachelor and the suicide squad soundtracks as soon as i have the money to. i regularly listen to nine in the afternoon; the original, the acoustic, a live version, i even downloaded the fucking stripped a capella version. i get the joke, i get the reference, i get the meme.

but. look.

this ask, right here, is the literal definition of pretentious.

just in case no one ever explained pretentiousness to you, “attempting to impress by affecting greater importance, talent, culture, etc., than is actually possessed.” is what you get from googling the word. in layman’s terms, if you take delight in having information other people don’t have and then turn around and make fun of them for it, or attempt to condescendingly educate them about it, even if in this instance they probably didn’t listen to baroque pop on alternative rock radio in 2008 because of, gee i don’t know, various other chart toppers such as miley cyrus, avril lavigne, britney spears, justin timberlake, taylor swift, lil wayne, rihanna, katy perry, flo rida, kanye west, beyonce, lady gaga, t.i., the jonas brothers, nickelback, coldplay, fall out boy, linkin park, avenged sevenfold, the offspring, and michael jackson (posthumously), then you are being pretentious, especially if the person you’re speaking to already knows. panic is american so i’m going by all the artists that had songs that were in the top 40 and not the obscure gems that you can’t find on mainstream pop radio, which is what the majority of people listened to during the time of the song in question’s popularity. oh look i just gave you information you probably already knew in a feeble attempt to make myself look better than you by comparison even though that probably wasn’t my original intent. oops.

regardless, my original point, the post i made in the first place that prompted this ask (i literally scrolled for ten minutes trying to find the post in question and i did not post this within several days on account of i haven’t posted at all this week), still stands. art history nerds are one level of pretentiousness, but the fucking overzealous “emo trinity” fanboys and fangirls hold the crown. the superwholocks, weeaboos, terfs, and egalitarians are all close seconds but they’re more annoying and misinformed than pretentious. i cited the nine in the afternoon post specifically because if you don’t listen to 2008-era panic! at the disco, which a fuckton of people didn’t, then you’re probably not gonna get a post that just reeks of absurdist surrealism that blends in with the rest of the nonsensical bullshit on this demented hell site. it pisses me off when people sneer and snicker, circlejerking, pointing and laughing at the people who actively don’t inform people asking questions. “i don’t get it, someone please explain it to me so i can understand” “WOW WHAT A FUCKING DUMBASS, LOL, NOBODY TELL THIS JOKER WHAT THE REFERENCE IS” it just leaves potential newcomers to your fanbase with a bad taste in their mouth. they just might end up becoming one of the “haters” that are spawned from caricatures and misrepresentations about your group. trust me as a brony, a metalhead, a weeaboo, and a handful of other media demographics that get marginalised by the majority of the internet, annoying stunts and displays of elitism don’t do anybody any favors. it’s the embodiment of pretentiousness, which is why i referenced that specific infamous post.

if my deconstruction of snobbish asshattery in turn makes me a snobbish asshat, then that label doesn’t bother me because i know i am one and the shoe fits.

but now you know why i made the joke that i did. Looool

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