"Hi. The quality of my speaking voice is the product of two things that I’m not sorry for. One is that I went to, I was lucky enough to go to a Knicks game last night. I screamed for 100% of it, and then I got home and I was like, ‘You gotta stop screaming. You’re screaming too much. You’re screaming instead of talking. You’re too excited.’ And I was like, ‘Okay, I’m not going to scream tonight.’ And then I got to witness the amazing performances that I saw tonight, and then I just kept screaming. I just never stopped screaming. And so this is what you get, and again, I make no apologies for that. I’ve had a blast. Tonight has been amazing.
I want to begin by thanking the person who introduced and inducted me tonight, and thinks this is the first time he has inducted me into something. But what he may not be taking into consideration is that through his decades of spellbinding storytelling, Steven Spielberg has unknowingly inducted me and countless others into his sacred club of expansive world-building. From the time he was a kid, every time he dreamed something up, he wanted to do anything humanly possible to be able to show it to you. I watched his films pivot between different genres, from action, to sci-fi, to historical epic, to drama, to comedy, romance, fantasy, to musical, and I watched him ace every single genre. And that kind of limitless creativity isn’t just inspiring to burgeoning filmmakers. Because of examples of Steven’s, I trusted my imagination, regardless of it was taking me somewhere new and uncharted, and then every time I dreamed something up, I wanted to do everything humanly possibly to be able to play it for you.
A few months ago when the Songwriters Hall of Fame asked me about my heroes and the creatives who shaped my storytelling and who I might want to present this award to me, I said Steven’s name. And about an hour later to my absolute delight, I ended up on the phone with him and his legendarily effervescent wife, Kate Capshaw, who is here tonight. And he was telling me, yes, absolutely, he would be thrilled to be here. I was completely blown away because the man has a massive film called Disclosure Day that’s coming out at midnight tonight, and he’s still going to agree and show up to do this for me a few hours before it comes out. Wouldn’t that be impossibly hard to balance? Wouldn’t that be too difficult, scheduling-wise? I’m trying to give him an out. At which point, Kate said something I’ll never forget. She said, ‘Good and true things are easy.’ And if I look back at my entire 23-year career in music: the ups and downs, the industry battles, the trials and tribulations, the tears and the cheers and the dogpiling of doubt, the criticisms, both fair and unfair, the complete loss of privacy, the world tours, and the ego wars, and the twists of fate, the absolute magical chaos of this path that I chose when I was too young to remember it ever being a choice at all. Songwriting was the easiest thing I ever did. Not because it didn’t take effort – it definitely did; not that it wasn’t frustrating at times, because it could be; and not that my songwriting didn’t haunt me relentlessly until I cracked the perfect internal rhyme scheme for the third line, the second verse of the book where my teachers called me out in class for not paying attention – because that definitely happened. But when I say that songwriting was the easiest part for me, I think what I mean is that it was instinctual. No one taught me how to do it. I had to be taught how to entertain a crowd, and learn choreography, and be less annoying, and navigate the industry, and fiercely protect my own sanity. I had to learn all of that over time, through difficult lessons and massive amounts of trial and error and chaos and calamity. But songwriting, for me, was pretty much the only thing I ever just naturally did.
My parents tell me stories about driving home from taking me to see Disney movies, and in the theaters, they were noticing I was singing the songs from the film on the way home, in the car, but I was changing the lyrics and the melodies to be about my own life. As a little kid, I loved to sing. I loved to do children’s theater performances. But everything came together when I learned to play guitar at 12. I wrote my first song after learning my first three chords. It felt easy to work incredibly hard at this. It felt easy to nurture something I loved so much, to watch calluses form on the tips of my tiny fingers and to become a constant observer of the human condition. Because people’s feelings, passions, and motivations always fascinated me, and it was easy to choose songwriting over everything else in my life. But it couldn’t have been easy for my parents and my brother—I’m good [crying]—to just pick up and move our entire family from Pennsylvania to relocate to Nashville so that I could hone my craft in the songwriting capital of the world. But after it became obvious that this was not even remotely a temporary phase their tween daughter was going through, they uprooted their entire lives to move me to Music City. And even though words are kind of supposed to be my thing, I will never be able to express my gratitude to you guys for doing that for me. You’re the reason I’m doing it.
In Nashville, I took meetings, and I played acoustic shows until I was able to secure a publishing deal. I got signed when I was 14—oh, thanks! And I got the chance to work with incredibly wise and experienced cowriters. People like Liz Rose, Troy Verges, Hillary Lindsey, Robert Ellis Orrall, Angelo, The Warren Brothers, and the late but so very loved Brett James. So I’d written over 100 songs on my own at that point, but this would be my first experience cowriting. My parents have raised me to be overprepared, show up early, never assume the world owes you anything. And I might have been 14 years old, but I didn’t want anyone in a professional setting to treat me like a baby, or for these songwriters to think that I expected them to write songs for me to slap my name on. So at this point, I started to approach songwriting like a full-time vocation. And that didn’t mean just showing up to my appointments and hoping the ideas would show up too. It meant spending nearly all of my free time writing ideas in preparation for my writing sessions, and then stopping myself at a certain point to allow my cowriters to later weigh in. So some of these ideas were fifty percent done, some were seventy-five percent done, some were just a hook with lyrics and a melody or a chorus. I stockpiled them, so that when I went into a writing session with a cowriter, I’d play them and sing them a few of these ideas, sort of like it was a pitch session, and whichever idea they liked the best is the one that we would finish together. I kept long lists of words that I loved, and I added to it every time I thought of a new one. I developed a serious fixation on alliterations and juxtaposition. And I wrote poems when I didn’t have the right melody yet.
When I was inspired by my own life, my curiosities about the world, or my very dramatic but extremely dire crushes on boys at school who had never even once talked to me, I wrote about that. And if I wasn’t inspired by my own life, I’d use other methods to spark my imagination. I figured, if the idea doesn’t come to you, you have to become your own search party and go find it. Oftentimes, I’d put a movie on. I’d pause a scene, and try to write a song from each character’s perspectives—even the villain. I’d explore what they were going through and try to say it in a vernacular that that character might use. And this is how I learned that every person has a self-constructed justification system that they live by, and we each get to decide what choices we’re willing to condone ourselves. We each decide what we see as good and true, fair and right. And so with my metaphorical Mary Poppins bag of hooks, choruses, and bridges, and my nonmetaphorical backpack from sophomore year of high school, I’d walk into my writing sessions on Music Row.
One of my favorite stories from this time in my life is when I got a chance to write with one of my favorite songwriters of all time, Craig Wiseman. Yep. Craig is an absolute savant of a writer, but he’s also one of the funniest people I’ve ever met too, so I know that I can tell this story. I brought in about five different semi-formed songs that I thought were really strong. Because it was Craig Wiseman, I led my pitch with a song I really thought was special. It was pretty much done except for a few lines in the bridge. So filled with nervous anticipation, I played it on guitar and sang it for him, and when I finished, he very kindly told me tht he thought it was good but he didn’t really get it, and he’d love to hear the other ideas I brought. A few songs later, we landed on one that resonated better with him, and we had a fantastic writing session. It turns out, you really can and should meet some of your heroes. But years later, we still look back on that session and we laugh about that first idea that I had played for him. I had ended up going home and finishing the song on my own later that night. It was called Love Story. Finishing that song that night was me trusting my instincts as a writer, regardless of any feedback or information I had about what other people’s take on it might be. I think now more than ever, in an industry that seems to be consumed by metrics, data, and analytics, and we’re all trying to predict whether something will trend or not, like, writers need to trust their human intuition. And I think the thousands of hours I’ve spent lovingly working at this craft have taught me to really be able to identify the ideas that jump out at me and sparkle and linger, the ones that matter to me the most.
I have to say thank you to Sombr for that perfect performance. And his writing is so exceptional that it makes me actually envious, and I love that feeling. He’s going to be the top of my Spotify Wrapped this year, guaranteed, like it’s locked, it’s in the bag. A lot of my late night debates with my friends about the state of the music industry involve me saying very loudly, ‘Sombr is the future and he does it all on his own and he doesn’t need AI. The kids are fine.’ And so obviously, Shane is a very well-adjusted person and artist, and doesn’t need any of my advice at all. There are so many incredible writers that I love who have come into their own recently, and if I had advice for young artists, though, who should perhaps be interested in it, I would say that you really have to prioritize what you love down to your very core, because you’ll need that if your song ever gets heard by the public, or the critics, or the haters posing as critics, or the people who are chronically online, or the robots posing as people who are chronically online. Songwriters have a real balancing act that they have to conduct every day, because inherently, we’re supposed to let it all in, feel deeply and sensitively to the point of near-delusion, and then reflect those feelings and delusions back to the world in the form of a three-and-a-half minute sonic landscape, or a ballad, or a folk tale, or a battle cry, or a 10-minute coming-of-age song about a scarf.
So it’s hard to harden yourself to certain brutal elements of this world, but allow me to now make a hard pivot and pull out a quote I love from the show Yellowstone: ‘When a father says to his son, it’s the one constant in life, son. You build something worth having; somebody’s gonna try to take it.’ Thank you, thank you very much, thank you. So, John Dutton was talking about a ranch, but I’m using this quote to refer to your self-worth, your peace of mind, and your singular vision as a creator. Positive feedback and people loving what you wrote feels incredible, and I hope you get lots of it. But you need to be ready to receive negative feedback, whether you seek it out or not. It’s no longer a shock that this is how things work, but sometimes it feels like I have this conversation with a young writer every other week. If you make anything awesome, someone out there is going to say horrible things about it, or twist what you meant into something completely unrecognizable to you. What I hope you discover is this: You can be sensitive, but also durable. And you can accept that feedback, and skepticism, and criticism are inevitable. You can take what’s useful or constructive from that information, and leave out what’s simply damaging to your creativity. No one does or should make art that appeals to everyone, everywhere, all the time. My favorite art is detailed and singular in its voice, therefore it can’t be digested and metabolized by everyone who experiences it in the same way. I’m very frequently told by people how they feel about my music, that they never really got my music until they got their heart broken, or started driving their daughter to school every day, or until I made an alternative album in the pandemic called folklore, or that they only like the hits, or that they only liked the ones that weren’t hits, or that they don’t like any of it at all. But it doesn’t feel uncomfortable for me to get feedback of all sorts because I know where I stand regarding the work I’ve made.
As writers, we can only hope to meet people where they are in their lives, but you can’t ever orchestrate or force the encounter. You just have to hope that in some exquisite happenstance, you bump into them on the same path at the same time, that somehow, amidst the noise of life, a line we wrote or a melody that we crafted cuts through, and they hear it and they feel something, that they get chills or feel lighter or think of someone they love. Our goal is to elicit that glint of recognition in another human being, because something that felt good and true to us feels good and true to them in the same time. And in that moment, when someone blurts out, ‘I love this song,’ it was easy.
Before I go, there are so many people who helped me get to this podium, who vouched for my writing and cared about my perspective before anyone cared about my name. And then the fans came along, and they wanted to hear my stories, my prose, my hooks, my heartache, and nothing, nothing delights and surprises me more than the fact that 20 years after my first song came out, they still want to read the next chapter. Nothing makes me happier than when someone tells me that they used to listen to my music with their parent, and now, decades later, they listen to it with their own child. [crying] I’m good. Or that they listen to it with their best friend, or when a couple tells me that Love Story is their song, or somebody does a cute little dance to The Fate of Ophelia, or I hear people in different countries singing Opalite in their own accents, or someone tells me that the song Enchanted gets their baby to stop crying. It’s, I’m humbled by the ways that fans have immortalized my songs in their own individual ways, allowing them to be the underscore of some of their real life expeditions on this Earth, the magnificent moments, as important to me as the seemingly mundane. Lastly, I know that when it comes to legacy, there are so many songwriters who have had such remarkable careers before me, and I know that the Songwriters Hall of Fame could have chosen any of these deserving and brilliant writers to receive this honor this year, but you chose to include me in this group of exemplary songwriters to be inducted into the Hall of Fame, class of 2026 tonight. So I want to thank the voters for celebrating and honoring the best and trust parts of my life. I will be forever grateful. Have a good night guys! Thank you!"
— Taylor's induction speech into the Songwriters Hall of Fame on June 11, 2026 (x)
Out and about | New York City, NY | October 30, 2025
Magda Butrym ‘Oversized Bomber Jacket’ - $3,465.00
Dôen ‘Agathe Turtleneck Mini Dress’ - $450.00
Nouvel Heritage ‘Monday Morning Mood Hoops’ - $7,300.00
Louis Vuitton ‘Blossom Open Ring’ - $3,150.00
Louis Vuitton ‘Tambour Watch’ - $54,000.00
Manolo Blahnik ‘Suede Knee High Boots’ - $1,695.00
What a deliciously cool look! There are so many details I’m a fan of. First, take the interplay of proportions between the slouchy, oversized jacket and the tighter silhouette of both her knit dress and tall boots. Next, the textural sandwich styling. We’ll often talk about this fashion tactic - which brings cohesion and interest to the eye - in terms of colour. But with a monochromatic look, we see that concept executed here by material. The leather of her jacket ties into her leather LV camera bag. Her cashmere sweater dress meets its softened match with her suede knee high boots. It shows how you can create a look that’s dynamic and keeps the eye moving throughout the ensemble, even within one colour.
Given the proportions of her bomber jacket plus the high neck of the dress, I think an updo was definitely the right call for some breathing room around her face. Though perhaps a burgundy or berry lip might have suited the moodier chocolate-y palette?
You might recognize many of her accessories here as they’re all repeats from Taylor’s closet. The LV bag had a showing in October 2023, albeit with a more athleisure ‘fit. The watch is one of a few she’s had on rotation since Noveber 2024. Taylor also owns these boots in black, originally worn at a Chiefs game look last December.
remember when lwymmd came out and everyone dogged on it and called it cringe and try hard, then it became the serve of the century at the eras tour and suddenly everyone was losing their minds over it and reputation became one of her most loved and iconic albums by the general public? right right…….
thinking about the overarching theme of ttpd being “the story isn’t mine anymore”. obviously there’s the traditional reading of this line (she gives up ownership of her past heartbreaks to those who made her songs their own) but in light of but daddy i love him, who’s afraid of little old me, clara bow, how did it end? (and a few others but we’d been here all day), it’s got some other meanings.
bdilh is an attempt to claim her story and her relationship for herself. she very stubbornly refuses to let people define what she has with this person, because this story is HERS and SHE DOESNT WANNA SHARE! this is interesting in light of other songs i’ll discuss later, which do involve people successfully defining things for her life, without her permission. sometimes she’s stubborn like she is here, sometimes she’ll be resigned.
meanwhile who’s afraid of little old me processes the fallout from people trying to write her story for her. they’re lying about who she is, manipulating reality, but she calls their bluff and says “okay. you’re right. i am awful! are you scared?” here, the story was never hers; it was written against her will.
clara bow my haunting beloved. by placing herself in the line of famous musicians who have come before her, she is stripping herself of her uniqueness. it’s a commentary on what fame does to women: it makes them disposable, only beloved until there’s a newer model out there. (people do love an ingénue, after all.) her personal story of her rise to fame and success and failure fades into the background. it’s not hers anymore. she is name on a list.
how did it end? is such an interesting song to me because it tells two stories: 1) a person in heavy grief trying to figure out how this major relationship ended, and 2) the general public putting together the supposed easter eggs and lyrics and hints to figure out how this private relationship collapsed. #1 should be the only focus of the song and in her life. she should be able to process her heartbreak in peace without prying eyes, but the story of her broken heart is not just hers. it’s everyone’s, because they made it so. again, without her consent.
when the manuscript relinquishes her story to the audience, i think it’s worth wondering how much of it she really wanted to give, and how much we demanded nonetheless.
does this mean potentially ts13 is going to be her married/wedding era ur telling me the girl who writes about true love and finding her person and whose first albums were all dreams about settling down with her person and whose lucky number is 13 could potentially have everything she finally wanted in the 13th era of her career I’m gonna kms the universe loves her so much
yousharknotpass
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