the resemblance is scary beautiful
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@julienicoleee
the resemblance is scary beautiful
“I want to first thank Billboard from the bottom of my heart, for this honor, and for naming me as their woman of the decade. So, what does it mean to be the woman of this decade? Well, it means I’ve seen a lot. When this decade began, I was 20 years old, and I’d just put out my self-titled debut album when I was 16, and then the album that would become my breakthrough album, which was called Fearless. And I saw that there was a world of music, and experience beyond country music, that I was really curious about. I saw pop stations send my songs Love Story and You Belong With Me to #1 for the first time. And I saw that as a female in this industry, some people will always have slight reservations about you: whether you deserve to be there, whether your male producer or cowriter is the reason for your success, or whether it was a savvy record label – it wasn’t. I saw that people love to explain away a woman’s success in the music industry, and I saw something in me change due to this realization. This was the decade that I became a mirror for my detractors: Whatever they decided I couldn’t do is exactly what I did. Whatever they criticized about me became material for musical satires or inspirational anthems, and the best lyrical examples I can think of are songs like Mean, Shake It Off, and Blank Space; basically, if people had something to say about me, I usually said something back, in my own way. And this reflex dictated more than just my lyrics. When Fearless did win Album of the Year at the Grammys, and I did become the youngest solo artist to ever win the award, with that win, came criticism and backlash in 2010 that I’d never experienced before as a young, new artist. All of a sudden, people had doubts about my singing voice, was it strong enough, was I a little bit pitchy? All of a sudden they weren’t sure if I was the one writing the song because sometimes in the past I had had cowriters in the room. At that time, I couldn’t understand why this wave of harsh criticism had hit me so hard. I believe a popular headline back then was “a Swift Backlash,” which is clever – you gotta give it to them. And now I realized that this is just what happens to a woman in music if she achieves success or power beyond people’s comfort level. I now have come to expect that with good news comes some sort of pushback, but I didn’t know that then. So then, I decided that I would be the only songwriter on my third album, Speak Now, and that I would tour constantly, work on my vocals every day, and perfect my stamina in a live show. I decided I would be what they said I couldn’t be. I didn’t know then that soon enough people would decide on something else I wasn’t quite doing right, and the circle would keep going on and on, and rolling along, and I would keep accommodating, overcorrecting, in an effort to appease my critics. They’re saying I’m dating too much in my 20s? Okay! I’ll stop and just be single – for years. Now they’re saying my album Red is filled with too many break-up songs? Okay! I’ll make one about moving to New York, and deciding that really my life is more fun with just my friends. Oh, they’re saying my music is changing too much for me to stay in country music? Alright, okay, here’s an entire genre shift, and a pop album called 1989. Oh, you heard it? Sick! Now it’s that I’m showing you too many pictures of me with my friends. Okay, I can stop doing that too. Now I’m actually a calculated manipulator rather than a smart business woman? Okay, I’ll disappear from public view – for years. Now I’m being cast as a villain to you? Okay, here’s an album called reputation and there are lots of snakes everywhere. In the last 10 years, I have watched as women in this industry are criticized and measured up to each other and picked at for their bodies and their romantic lives and their fashion. Or have you ever heard someone say about a male artist, “I really like his songs, but I don’t know what it is. There’s just something about him I just don’t like?” No – that criticism is reserved for us. But you know, I’ve learned that the difference between those who can continue to create in that climate usually comes down to this: who lets that scrutiny break them, and who just keeps making art. I’ve watched as one of my favorite artists of this decade, Lana Del Rey, was ruthlessly criticized in her early career, and then slowly but surely, she turned into, in my opinion, the most influential artist in pop. Her vocal stylings, her lyrics, her aesthetics. They’ve been echoed and repurposed in every corner of music, and this year, her incredible album is nominated for Album of the Year at the Grammys because she just kept making art. And that example should inspire all of us, that the only way forward is forward motion. That we shouldn’t let obstacles like criticism slow down the creative forces that drive us. And I see that fire in the newer faces in our music industry, whose work I absolutely love. I see it in Lizzo, Rosalia, Tayla Parx, Hayley Kiyoko, King Princess, Camila Cabello, Halsey, Megan Thee Stallion, Princess Nokia, Nina Nesbitt, Sigrid, Normani, H.E.R., Maggie Rogers, Becky G., Dua Lipa, Ella Mai, Billie Eilish, and so many other amazing women who are making music right now. Female artists have dominated this decade in growth, streaming, record and ticket sales, and critical acclaim. So why are we doing so well? Because we have to grow fast, we have to work this hard, we have to prove that we deserve this, and we have to top our last achievements. Women in music, onstage, or behind the scenes, are not allowed to coast. We are held at a higher, sometimes impossible-feeling standard. And it seems that my fellow female artists have taken this challenge, and they have accepted it. It seems like the pressure that could’ve crushed us made us into diamonds instead, and what didn’t kill us actually did make us stronger. But we need to keep advocating for women in the recording studios, behind the mixing board, in A&R meetings, because rather than fighting to be taken seriously in their fields, these women are still struggling to have a chance to even be in the room. We now find ourselves fully immersed in a vast frontier that wasn’t around last decade, and that is the streaming world. In music, we’re always walking hand in hand with technology, and sometimes that is so awesome, like how now we’re able to just drop a song that we made yesterday. I’ve spoken out in the past about the future of revenue flow for creators, songwriters, and producers who are being left behind due to these rapid shifts and changes. I still don’t think that record contracts or producers’ agreements have fully aught up, and I hope that in the next decade, we can keep searching for the right solution for producers, songwriters, and creators. Don’t you? Lately, there’s been a new shift that has affected me personally, and that I feel is a potentially harmful force in our industry. And as your resident loud person, I feel the need to bring it up. And that is the unregulated world of private equity coming in, and buying up our music, as if it is real estate, as if it’s an app, or a shoe line. This just happened to me without my approval, consultation, or consent. After I was denied the chance to purchase my music outright, my entire catalog was sold to Scooter Braun’s Ithaca Holdings in a deal I’m told was funded by the Soros family, 23 Capital, and the Carlyle Group. To this day, none of these investors have ever bothered to contact me or my team directly, to perform their due diligence on their investment, on their investment in me, to ask how I might feel about the new owner of my art, the music I wrote, videos I created, photos of me, my handwriting, my album designs. And of course Scooter never contacted me or my team to discuss it prior to the sale, or even when it was announced. I’m fairly certain he knew how I would feel about it, though, and let me just say that the definition of the toxic male privilege in our industry is people saying, ‘But he’s always been nice to me!’ when I’m raising valid concerns about artists and their right to own their music. And of course he’s nice to you. If you’re in this room, you have something he needs. The fact is that private equity is what enabled this man to think, according to his own social media post, that he could ‘buy me,’ but I’m obviously not going willingly. Yet the most amazing thing was to discover that it would be the women in our industry who would have my back, and who would show me the most vocal support at one of the most difficult times and I will never ever forget it, like ever. But to conclude, I will say that in 10 years, I have seen forward steps in our industry. In our awareness, our inclusion, or ability to start calling out unfairness and misconduct. I’ve seen the advent of social media, the way it can boost the breakthrough of emerging artists. And I’ve seen fans become more engaged and supportive than ever before. I’ve leaned on that support, and it has kept me in a place where, no matter what I always wanted to keep making music for them. I was up on a stage in New York City in 2014, accepting Billboard Woman of the Year, and I was talking about the future of streaming, how we needed to make sure that the female artists, writers, and producers of the next generation were protected and compensated fairly. This was before my record deal with Universal last year that would contractually guarantee that the artists on their roster be paid upon any sale of their Spotify shares, unrecoupable, so thank you for that. This speech I’m referring to was on my 25th birthday, and I’m about to turn 30 tonight! But my exact quote during this speech was, ‘I really just feel like we need to continue to try to offer something to a younger generation of musicians. Because somewhere, right now, your future Woman of the Year is probably sitting in a piano lesson, or in a girls’ choir, and today, right now, we need to take care of her.’ I’ve since learned that at that exact moment, an 11-year-old girl in California really was taking piano lessons, and really as in a girls’ choir. And this year, she has been named Woman of the Year, at the age of 17. Her name is Billie. And those are the stories we need to think about every day as we do our jobs within this industry. The ones where people’s dreams come true and they get to create music and play it for people. The ones where fans feel a connection to music that makes their day easier, makes their night more fun, makes their love feel more sacred or their heartache feel less isolating. The ones where all of you in this room stand as an example for someone else in the next generation who loves the same thing that we love: music. And no matter what else enters the conversation we will always bring it back to music. And as for me, lately I’ve been focusing less on doing what they say I can’t do and more on doing whatever the hell I want. Thank you for a magnificent, happy, free, confused, sometimes lonely, but mostly golden decade. I’m honored to be here tonight, I feel very lucky to be with you, thank you so much.”
— Taylor accepting Billboard’s Artist of the Decade Award on December 12, 2019 (via cages-boxes-hunters-foxes)
I didn’t watch taylor eat cookie dough 234823 times in 2017 to be fucked over twice god damn it
reblog if you’re still at 2000+
just trying to see it’s ok guys were all in this together
that’s the kind of heartbreak time could never mend i’d never walk cornelia street again
My Netflix Homepage: Taylor Swift
Track # 1 ,
Got out some popcorn , as soon as my rep starting going down, down, down .
Laughed on the school yard as soon as I tripped up and hit the ground, ground ground
But I forgot that you existed , and I thought that it would kill me, but it didn't ,
And it was so nice so peaceful and quiet
Track # 2
And it’s oh , whoa oh , it’s a cruel summer ,
It’s cool that’s when I tell em no rules ,
Unbreakable heaven but oh whoa , oh oh
It’s a crueeel summer with you .
Track # 3
And at every table ,
I’ll save you a seat ,
Track # 4 ,
I’d be a fearless leader , I’d be the alpha type ,
What’s it like to brag about raking in dollars , and gett’n bitches and models , and it’s all good if you’re bad , and it’s ok if you’re mad
I’m so sick of running as fast as I can ,
wondering if I’d get there quicker if I was a mann ,
Track # 5
I’ve been the archer ,
And I’ve been the prey
Track # 6
I think he knows his footprints on the side walk , Lead to where I can't stop , go there every night
I think he knows his hands around a cold glass ,
Make me wanna know that body , like it's mine
He got that boyish look that I like in a man
I am an architect, I'm drawing up the plans , It's like I'm seventeen, nobody understands
He got my heartbeat , Skipping down 16th Avenue ,
Track # 7
I saw the scoreboard , and ran for my life . No cameras catch my pageant smile
I counted days, I counted miles , To see you there , To see you there , It's been a long time coming but , It's you and me ,
That's my whole world , There's nothing like this Miss Americana and The Heartbreak Prince .
Track #8
Went home and tried to stalk you on the internet
Now I've read all of the books beside your bed
I like shiny things , but I’d marry you with paper rings
and picture frames and all my dreams , oh you’re the one I want .
Track # 9
I hope I never loose you ,
I hope it never ends ,
I’d never walk Cornelia street again .
That’s the kind of heart break time could never mend .
Track #10
But if the story’s over , why am I still writing pages?
I ask the traffic lights if it’ll be alright ,
They say I don’t know ,
Gave you so much, but it wasn't enough
But I'll be alright, it's just a thousand cuts
Track # 11 🇬🇧
We can go drivin' in, on my scooter uh, you know, just riding in London
They say home is where the heart is
But that's not where mine lives ,
You know I love a London Boy .
Track # 12
Track # 13
And I can't talk to you when you're like this
Staring out the window like I'm not your favorite town ,
I'm New York City
They say the road gets hard and you get lost When you're led by blind faith.
Track # 14
And I’m just like ,
Uh oh ,
Uh oh ,
Uh oh ,
You need to calm down .
You’re being too loud .
Track # 15
I blew things out of proportion now you’re blue .
Put you in jail for something you didn’t do .
I need to say, hey, it’s all me, just don't go , meet me in the afterglow .
Track # 16
I’m the only one of me ,
Baby that’s the fun of me .
Track # 17
Lost my gloves, you give me one
"Wanna hang out? Yeah, sounds like fun
It’s nice to have a friend
Track # 18
Luck of the draw ,
Only draws the unlucky ,
So I became the but of the joke .
I've been sleepin' so long in a twenty-year dark night . And now I see daylight
I don’t want to be defined by the things I hate or the things I’m afraid of . I just think you are what you love .
@taylorswift Because I love Lover so much and kittens I spent close to two weeks buying , and designing mini props and scenes for my kitten to do every single song off of Lover . I actually worked hard on this. So I hope you like it 💗.
Wtf this is the best thing ever 😂💓 @taylorswift @taylornation
LISA THIS IS SO EXTRA I LOVE IT @taylorswift
This is the best post I have Ever seen!! @taylorswift
@taylorswift
Art @taylorswift
THIS IS SO CUTE AND BEUTIFUL 😻 @taylorswift
BEST. POST. EVER.@taylorswift
This is the best thing I've ever seen and an accurate representation of how EXTRA this fandom is
@taylorswift babe you gotta see this
Wow this is one of the best posts I’ve ever seen! @taylorswift you need to see this! All of the time and dedication amazing job! SO CUTE😻😹👏🏼
Ladies and gentlemen, this made my day and it’s SO AMAZING LIKE SERIOUSLY @taylorswift SEE THIS. Meow.
BEST. POST. EVER. OMG YOU JUST MADE MY WHOLE LIFE
This is the BEST thing I EVER saw on Tumblr
@taylorswift
I hate to just repeat what everyone else said but this seriously is the BEST POST EVER. The arts and crafts! The costumes! Cats in sunglasses! The acting! The co stars!
@taylorswift
guys ... her mind fucking
YES YES YES YES
WAIT IT GETS BETTER
everything that happens in those rooms is literally the narrative of those albums.
Red room (red): her man makes her jealous/maybe cheating, the Taylor from the yellow room (fearless) is out of place, lots of friends
Black attic (rep): she holes up with just her lover and private time with nobody else
Pink room (lover): she's happy and close with him but also has happy time to herself here, a balance, happiness
Blue room (1989): when her fame spiked and her life became a fishbowl of voyeurs and any lover she had entered the fishbowl alongside her
Green room (debut): he's just putting up a frame showing they just began, she just plays instruments innocently enjoying her time with her lover, no real understanding of love yet
Purple (speak now): SHE IS JUST IN IT ALONE SINGING & PLAYING PIANO BECAUSE SHE WROTE IT BY HERSELF (they also have the cute dinner and dance in here, like the love she fantasized about on this album)
Yellow (fearless): playing board games and living life upsidedown - this one is the only one im not sure about? maybe that's the era where her life literally turned upsidedown from fame???
TAYLOR DID I GET IT RIGHT
😃🐣🐥
taylor’s little bridge changes…. like ‘he’s long gone when he’s next to me’ to ‘he was long gone when he met me’… or ‘we never had a shotgun shot in the dark’ to ‘it hits you like a shotgun shot to the heart’… or ‘and I know everything about you, I don’t wanna live without you’ to ‘and you know everything about me, you say that can’t live without me’… or ‘oh, i’m holding my breath, won’t lose you again’ to ‘oh, i’m holding my breath, won’t see you again’… or ‘another name goes up in lights, like diamonds in the sky’ to ‘another name goes up in lights, you wonder if you’ll make it out alive’ TO ‘’cause now my name is up in lights, but I think you got it right’… or ‘everybody here wanted something more’ to ‘everybody here was someone else before’… or ‘i’ll be just fine. I always forget to tell you I love you, I’ll love you forever’ to ‘I’ll be okay. I always forget to tell you I love you, I loved you from the very first day’… or ‘we called it off again last night’ to ‘you called me up again tonight’… or ‘and right before your eyes I’m breaking, no past, no reasons why’ to ‘and right before your eyes I’m aching, no past, nowhere to hide’…….. reblog if you agree……
friendly reminder that @taylorswift shouldn’t have to re-record albums she already poured her heart and soul into that were taken away by self-entitled, mysoginistic bullies
For years I asked, pleaded for a chance to own my work. Instead I was given an opportunity to sign back up to Big Machine Records and ‘earn’ one album back at a time, one for every new one I turned in. I walked away because I knew once I signed that contract, Scott Borchetta would sell the label, thereby selling me and my future. I had to make the excruciating choice to leave behind my past. Music I wrote on my bedroom floor and videos I dreamed up and paid for from the money I earned playing in bars, then clubs, then arenas, then stadiums.
Some fun facts about today’s news: I learned about Scooter Braun’s purchase of my masters as it was announced to the world. All I could think about was the incessant, manipulative bullying I’ve received at his hands for years.
Like when Kim Kardashian orchestrated an illegally recorded snippet of a phone call to be leaked and then Scooter got his two clients together to bully me online about it. (See photo) Or when his client, Kanye West, organized a revenge porn music video which strips my body naked. Now Scooter has stripped me of my life’s work, that I wasn’t given an opportunity to buy. Essentially, my musical legacy is about to lie in the hands of someone who tried to dismantle it.
This is my worst case scenario. This is what happens when you sign a deal at fifteen to someone for whom the term ‘loyalty’ is clearly just a contractual concept. And when that man says ‘Music has value’, he means its value is beholden to men who had no part in creating it.
When I left my masters in Scott’s hands, I made peace with the fact that eventually he would sell them. Never in my worst nightmares did I imagine the buyer would be Scooter. Any time Scott Borchetta has heard the words ‘Scooter Braun’ escape my lips, it was when I was either crying or trying not to. He knew what he was doing; they both did. Controlling a woman who didn’t want to be associated with them. In perpetuity. That means forever.
Thankfully, I am now signed to a label that believes I should own anything I create. Thankfully, I left my past in Scott’s hands and not my future. And hopefully, young artists or kids with musical dreams will read this and learn about how to better protect themselves in a negotiation. You deserve to own the art you make.
I will always be proud of my past work. But for a healthier option, Lover will be out August 23.
Sad and grossed out,
💔
Taylor
did she just-
When you remember you left the stove on
When you left your scarf at his sisters house
when you post a picture with five holes in a fence and everyone loses their minds
when it’s new year’s day and he’s not cleaning up bottles with you
when you bought a dress but he didn’t take it off
when you did something bad but it didn’t feel so good
When someone tells you who is Taylor Swift anyway ew
When people make a chain post
Wen speling isnt fun
It’s national wine day @taylorswift - what’s your favorite wine
All of it
{ ME! x why she disappeared }