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I knew you through the daze Of the blades of the grass in summer Parachutes for the free fall of being younger Taylor Swift | I Knew It, I Knew You

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this is how new yorkers @ mamdani

happy pride month

It’s a *Toy* Story 🤠

You knew it! My new original song “I Knew It, I Knew You” for Disney and Pixar’s Toy Story 5 will be yours on June 5th. I’ve always dreamed of getting to write for these characters who I’ve adored since I was a 5 year old kid watching the first Toy Story movie. I fell instantly in love with Toy Story 5 when I was lucky enough to see it in its early stages, and I wrote this song as soon as I got home from the screening. Sometimes you just know, right?

You can pre-order now exclusively on my site and catch Toy Story 5 in theaters June 19th ☁️☁️☁️☁️☁️

treacherous-touch

i am not a swiftie but i fuck w y'all. some of her latest songs kinda fuck n taylor in general seems like a very kind person like she's a duck and y'all are her ducklings and she's helping you cross the street

This is very true, I am Taylor Swift's ducking and she is helping me cross the street

pisces-core

misterlemonztenth

Misterlemonztenth.tumblr.com/archive

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https://www.nytimes.com/2026/04/28/magazine/taylor-swift-songwriting-process-interview.html

The New York Times Magazine polled more than 250 music insiders and gathered six Times critics to choose the 30 Greatest Living American Songwriters. One artist who made the list was Taylor Swift. The writer Joe Coscarelli met with Swift in Los Angeles to talk about the craft of songwriting. In this 30-minute interview, Swift explains her process, the stories behind some of her biggest hits, her love of a “rant bridge” and how life in the public eye informs the stories she tells in her songs

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By crafting vivid chronicles of her life since she was a teenager, she has built a vast catalog that rewards the attention millions have pai

It was all there at the very beginning for Taylor Swift: romance, nostalgia and the occasional popping of shiny bubbles of emotion, all within the pristine economical package of a pop-country song. She was 16.

She has never stopped chasing that initial Nashville impulse — a four-ish-minute distillation of the biggest feelings imaginable, threaded through a melody that won’t leave you alone. Sometimes she brings country phrasings to electro-pop, or pop rigor to indie rock; she might let her rhymes and verses go shaggy or bring a bridge back like a chorus. Such are the perks of having mastered the form early, while amassing the cultural capital to remake pop in her image.

Pop stars are not supposed to last this long or create this much. The Beatles’ entire creative output happened, essentially, in eight years. But Swift’s durability — 12 studio albums and hundreds of songs over two decades — has given us an unprecedented combination of musical auteurism and commercial success.

Her later work often explores the tension between the two. She has a campy kiss-off register for tart bon mots — “Lights, camera, bitch, smile / Even when you wanna die,” she chirps on the fake-bubbly “I Can Do It With a Broken Heart.” But on the dream-pop opus “Mirrorball,” it’s all earnest reflection from the top of the mountain: “I can change everything about me to fit in.”

Swift’s latest run of dominance, the stretch that has given her two more Grammys for album of the year (and four in total, a record), began with that surprise pandemic one-two flutter of “Folklore” and its sister album “Evermore.” Simultaneously, Swift was painstakingly recreating four of her earlier albums to own them outright. Collective fervor around the “Taylor’s Version” albums sent a 10-minute director’s cut rendition of a nearly decade-old breakup ballad, “All Too Well,” to No. 1 on the Billboard chart in 2021, simply because so many listeners wanted to hear even more of a track that made them feel bruised, abandoned and devastated.

Swift has done as much as anyone in modern popular music history to advance the idea of the song — its construction and impact, its tensions and limitations — as an important art form. But she has also done it while foregrounding the agency and emotional lives of young women, and as a result has become probably the most pored-over writer — or at least up there with J.K. Rowling and the pope — of the 21st century in any medium. — Joe Coscarelli