[cages-boxes-hunters-foxes]

I am just! wow this sounds like her owning her whole whole self again “man it’s been a while—wearing that same smile” like. that’s how it’s felt seeing her the last few years, and honestly this coming out so close to the anniversary of owning her masters?! is kinda making me teary

and the 20 year anniversary of her career 🥲 totally about her and also not about her at all (which i think is what she meant about feeling so, so deeply connected to jessie)

[stillgotscars]

happy one-year anniversary of taylor announcing she bought her masters back to all those who celebrate 💚💛💜❤️🩵🖤

[pyotrkochetkov]

TAYLOR SWIFT New York Knicks vs. Cleveland Cavaliers - ECF Game 3 | May 23, 2026

[evermoredeluxe]

You’ve got to be kidding me dude, she looks so good

[tsforever1989]

Excuse me.. this one right here folks.

[tswiftupdatess]

Taylor Swift and Travis Kelce at the Knicks vs Cavaliers game. (May 23, 2026)

[diamondseaside]

LOOK AT HER

[cages-boxes-hunters-foxes]

chelsie_enekwechi: 🫶 (x)

[faith-maccaullay]

TAYLOR SWIFT Seen out at Zero Bond in New York City | May 14, 2026

[columbusswift]

Taylor Swift out and about in New York City (May 14, 2026)

[cages-boxes-hunters-foxes]

“The mirrorball bridge, this was Jack sending me a track during Covid, and me immediately knowing that it needed to be how I felt as a performer and an entertainer within this moment when entertainment and art has effectively shut down. I’m still gonna stand on this tightrope, I’m still up on the trapeze, I’m still gonna try to do tricks for you. But at the same time, you know, being a person in the public eye, I’ve really begun to realize that you are a mirror, like, you are a mirror for your fans, for the media, for people on the internet, for just random, just people who don’t really care about your music but they know who you are. However they feel about themselves and their life will be projected onto how they perceive you. A public person who makes art is a mirrorball! And that’s part of why I’ve been able to keep my wits about me through all of this, because I know that, and I’m really kind of aware of that dynamic, but I'm still endlessly fascinated by people, by the human experience, by why people are the way they are, by the ways that they feel emotion. I think that’s what keeps us connected, even though, you know, you can make these kinds of like, shockingly vulnerable confessions by being like ‘I’ve never been a natural, all I do is try, try, try.’ And you say that at first, and I remember writing that and being like, ‘Oh my god, this feels like—like, ‘Do you want to say this?’’ And I’m like, ‘Actually, I feel like a lot of people feel that way.’ That always overrides my discomfort with if a line feels too true, because I don’t really think that there’s anything that’s too true.”

— Taylor to The New York Times on mirrorball and being comfortable with discomfort (x)

[cages-boxes-hunters-foxes]

“I think the importance for me of a bridge, it just feels like we’re painting a picture, we’re setting a scene, we have this opportunity as a songwriter to tell an entire story, an entire movie, or a very detailed description of one scene in a movie, or a very nuanced dynamic between people, or a complicated emotion, or we only have so long to do this, you know? I’ve written some really long songs in my life but for the most part, they’re between three-and-a-half and four minutes. You can start like, painting the picture in the verse, you can get to the heart of it at the chorus, but then the bridge can be where you zoom back, you walk 20 feet back, and you see what this entire painting was supposed to be. Like, you’ve seen brushstrokes, you’ve seen the color tones, but the bridge can be when you step back and you feel everything you’re supposed to feel. That’s just how I feel about bridges.”

— Taylor to The New York Times on the importance of a bridge (x)

[cages-boxes-hunters-foxes]

“I learned you can’t ever really tell if other people are going to like it. But oftentimes, when I love it to a certain degree, that kind of tends to match up with people. And it could be that it doesn’t match up with the way people feel until six, six years later. I loved the reputation album. I was like, ‘You guys say what you want. I know what I did. I love it. Like, go with god, sorry. You can come around if you want. It’s okay if you don’t.’ And then you know, six or seven years later, people are like, ‘Oh my god, like, …Ready For It? People slept on that song.’ When we were making that song, I wanted to headbang myself through a wall. I felt that when we wrote …Ready For It? I felt that way during, writing Getaway Car. I felt that way, I think the first time I felt like, ‘I don’t care if people hate this because I love it so much’ was when I wrote the song Love Story when I was 17, sitting in my bedroom, mad at my parents because they wouldn’t let me go on a date with a guy who was too old, so I shouldn’t have been on a date with him anyway, and this is why you need to discipline your kids, because they might write songs that go no. 1.”

— Taylor to The New York Times on learning to write songs without knowing how they’ll be perceived (x)

[darkbluetennessee]

just so pleasing to me that taylor's first era post-eras tour has been this massive celebratory, recollective moment of getting her flowers, going into detail about her work, and sharing perspective from her experience as a woman in the entertainment industry for two decades. it's just too excellent, like that's literally show business for you!!!!

[cages-boxes-hunters-foxes]

everyone loves to yell at taylor for not growing and changing until they realize she has and then they’re like “what do you mean you grew and changed?”

[darkbluetennessee]

"don't respond to trolls in your comments. that's not what we want from you, we want your art." new load-bearing taylor swift quote just dropped

[cages-boxes-hunters-foxes]

“I started writing songs when I was 12. As soon as my love for singing and picking up and instrument happened, songwriting just spontaneously started becoming the entire cornerstone of my life. I think the first songs that I fell in love with were the types of writing that I think folk and country is really kind of known for. It’s like that storytime structure—songs like Harper Valley PTA, or Goodbye Earl by the Dixie Chicks, or you know, any amazing Kenny Chesney song where like, you know, a hypothetical structure would be, you know, first verse, little girl, you know, learns a lesson that in the chorus, her mom teaches her about. Then the little girl grows up and now she’s a teenager and she realizes, ‘Oh my god, my mom was right about this.’ Now the second time you hear the hook, the same hook means something a little different because she’s like, grown up in her life. Then the bridge, maybe she goes on in her life, she has a little girl, she imparts that wisdom onto her, and then if you really want to get me to cry, bring back that same first line of the song and end the song with it. So that was the first thing that made me think, ‘It’s gotta be country music.’ That was the first type I really fell in love with.”

— Taylor to The New York Times on early country music influences in her writing (x)