Stevie Nicks to The New York Times on Taylor’s songwriting, specifically referencing You’re on Your Own, Kid (April 2026)
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Stevie Nicks to The New York Times on Taylor’s songwriting, specifically referencing You’re on Your Own, Kid (April 2026)
What's everyone's top 3 from the first half of TTPD and top 3 from the second half?
TTPD + Themes: Marriage
TTPD + Themes: Stages of Grief
We were just kids, babe - a webweave
Taylor Swift for 'The Life of a Showgirl'
(October 3, 2025)
in summary. I find taylor swift interesting bc shes lost the idgaf war against everyone including herself.
this is my favorite ever photo of her bc it captures this deep obsession within her work regarding the creation and curation of her art and her image. Shes both object and subject, artist and muse. She's essentially a woman whose been curating her life since the age of 15, trapped in a permanent adolescense that shes constantly struggling to escape. She's been putting out work consistently for almost 20 straight years with little to no breaks and has been succeeding on a comical level the whole time. Shes critically acclaimed and one of the most financially successful artists in the world to the point where her success receptors are completely broken and she KNOWS IT!!! She knows how weird she is and how impossible it is for her to ever have normal connections and it terrifies her. She has a song thats just her begging her fans to let her drown herself in alcohol and die alone in an empty house. All art she ever makes is going to be about the act of Being Taylor Swift because its something you can never escape
the life of a showgirl has all the potential to be a sister album to reputation. max martin and shellback returning after reputation, the same photographers for the shoot, and a theme that’s parallel and completely opposite. reputation was born from a time when everyone hated her and people thought her career was over. the mood was angry and quietly serene in its melancholy. on the contrary, the life of a showgirl is the child of a time when she’s been at the top of the world and her career has never been more successful and we'll have a sparkling, fun mood (at least from what she said). these two albums mirror each other in a shared theme, but seen under two completely different lights. they are like sisters that share the same blood, yet have completely different and opposite personalities.
Taylor Swift reveals that she won't release any bonus songs for 'The Life of a Showgirl'
"There's no other songs coming. With Tortured Poets Department I was like, here's a data dump of everything I've thought, felt or experienced in 2 or 3 years, here's 31 songs. This album is 12. There's not a 13th. There's not other ones coming. This is the record that I've been wanting to make for a very long time. Every single song is on this album for hundreds of reasons, and you couldn't take one out and it be the same album. You couldn't add one and it be, it's just right. That focus and that discipline with creating an album and keeping the bar really high is something I've been wanting to do for a very long time. I tend to love to write lots and lots of music, so it's a temptation to release lots of music. But oftentimes I wanted to do an album that was so focused on quality and on on the theme and everything fitting together like a perfect puzzle that these 12 songs for my 12th album- I feel like we achieved that, and I'm really happy about that."
(On August 13, 2025 | via New Heights)
'No one ever leaves a star. That's what makes one a star.'
Sunset Boulevard (1950)
Billy Wilder’s Sunset Boulevard (1950) is probably the most movie-besotted movie of all time. Start with the premise. Gloria Swanson, a silent-film star whose career was derailed by the talkies, is Norma Desmond, a silent-film star whose career was ended by the talkies. Her butler-chauffeur, Max, turns out to be a once-acclaimed silent-film director and Norma’s ex-husband. He’s creepily–and brilliantly–played by Erich von Stroheim, a once-acclaimed silent-film director who’d been reduced to playing character parts, mostly Nazis in World War II-pictures.
The most meta scene comes shortly after screenwriter Joe Gillis (William Holden) takes up residence in Norma’s decrepit mansion, where he serves as a combination amanuensis/boy toy. He tells us that Norma throws regular movie nights, just for the two of them; Max is projectionist. The repertoire, of course, is her own films. We see a bit from one of them, a scene where the young Norma’s face is illuminated by candles.
The clip is from Queen Kelly, a 1929 film that, more than any other single factor, derailed the careers of Swanson (the star) and von Stroheim, the director. At least he was the director until producer Joseph Kennedy (Swanson’s lover and JFK’s father) fired him because the scenes he’d produced were too explicit and dark. Because von Stroheim retained the rights for what he’d shot, the film had never seen in the United States–until Sunset Boulevard. [x]
Gloria Swanson in Sunset Blvd. (1950) dir. Billy Wilder
ik i said this only slightly differently last night but i can’t get over it !!!! i keep thinking of being young and cutting her image out of magazines to put on my wall. it’s the Being Watched of it all. showgirl album covers i love you!!
clara bow i can do it with a broken heart the lucky one who's afraid of little old me nothing new long live