Swiftie from Sydney

Taylor follows

[aaronstveit]

FAVORITE LYRICS ♡ MAGGIE ROGERS

[fruitffish-deactivated20250218]

Excerpts for a 1920's newspaper during the Spanish Flu

[johnthestitcher]

History repeats itself ....

[emmaduerrewatson]

TAYLOR SWIFT ‘‘evermore’’ BTS

[eva-mei-10]

Only Taylor can make me unfaithful to Taylor

[cages-boxes-hunters-foxes]

[swiftbeats]

YES YES 

[bushpoppy]

Taylor Swift is not gay people music. Get help.

[nymph1e]

You.... do know straight people can make gay people music right??? You do know that a lot of "gay icons" are literally straight. all it takes is the community identifying with it and claiming it for music to become gay people music? Thus, since a large community of gays has claimed taylor swift music, it is now gay people music?

[sweeney1999]

^ this. I'm extremely hesitant to vilify her for attempts at trying to be vocal for and/or be inclusive/appealing to an LGBTQ+ audience. Her work clearly resonates with a lot of LGBTQ+ people, leave it be. If the messaging and subtext of a song or album resonates with a LGBTQ+ person, that's what matters. Taylor Swift has one of the biggest platforms in the world and has advocated for LGBTQ+ rights and freedoms for a long time. Regardless of her own sexuality, the LGBTQ+ community has a long history of appreciating, loving, and "adopting" very strong allies like her into the fold (see: Laura Dern).

Let people like what they like, and leave Taylor Swift alone (it's 2020, the internalized misogyny isn't cute anymore).

[justkarliekloss]

karliekloss: good morning baby ♥️

[cages-boxes-hunters-foxes]

[tayloswift]

the smell of smoke would hang around this long ’cause i knew everything when i was young

[cages-boxes-hunters-foxes]

[promisedtoanother]

i love how it was a running joke in the fandom to just be like “new album at midnight!!” every time taylor did anything and then the one time we weren’t even thinking about it taylor was literally just like ts8 at midnight

[cages-boxes-hunters-foxes]

“He’s a songwriter, and actually because of social distancing, I’ve never met him. He actually wrote the original idea for ‘Exile,’ and then Taylor took it and ran with it. I don’t actually know to be totally honest. [...] Yeah, I don’t fully know him, other than he wrote ‘Betty’ and ‘Exile’ with her. But you know she’s a very collaborative person, so it was probably some songwriter. No, no, no [its not an alias]. I mean, I don’t know — she didn’t tell me there was a ‘Cardigan’ video until literally it came out, and I wrote the song with her [laughs]. So I don’t know. But I’m pretty sure he’s an actual songwriter. She enjoys little mysteries.”

— Aaron Dessner on the mystery of William Bowery (x)

[tenerifeseas]

alright i have a theory about the album cover. buckle up let’s go

so all of her previous album covers have been close ups of her and focused on her, and all the songs on the albums have been stories about her life, hence the focus on the close up of her

this album, she’s further away and it’s not a close up of her, it’s more focused on her surroundings, and she says these songs are stories not necessarily about her life, but about things she has observed around her, hence the focus on her surroundings more than on her

[kissyoulikealover]

THIS IS WILD 

[loveisbraveandwild]

bon iver’s voice when he sings “so step right out there is no amount of cryin’ i can do for you ”

[path-of-my-childhood]

Aaron Dessner Talks Taylor Swift’s New Album folklore

By: Sam Sodomsky for Pitchfork Date: July 24th 2020

Like millions of people across the world, Taylor Swift spent the past few months in isolation, stuck at home, changing plans, reflecting on the past, and imagining new connections. One of those new connections was with Aaron Dessner, the multi-instrumentalist and producer from the National.

On release day, he called us from his home in the Hudson Valley to speak about their entirely virtual but highly collaborative process, sounding just as surprised as anyone. “Nobody needs to tell Taylor Swift how to write a song - and I certainly didn’t,” he says with a laugh. “But it did feel like we were going toe-to-toe pushing each other.”

What is your personal relationship with Taylor Swift’s music? I’ve always admired her craftsmanship and talent. But 1989 was the first one I was really listening to as a fan. My brother [Bryce Dessner, guitarist in the National] and I were in Iceland with [performance artist] Ragnar Kjartansson, and he’s a total Swiftie. It was the summer of 1989, and we’d be hanging out listening to it loud. Ragnar is an art historian, so he was just contextualizing every moment. It was a lot of fun. That’s when we became bigger fans.

When did you actually meet her for the first time? We met her at Saturday Night Live in 2014 when Lena Dunham was hosting. And then she came to see us play last summer in Prospect Park during this crazy torrential downpour. She was there with Antoni [Porowski] from Queer Eye. She talked a lot with my brother and me. That’s when we realized how much of a fan she was, and how lovely and down to earth. I don’t know that many people who have that sort of success, so it’s a nice feeling to realize they’re cool. That left a good impression.

She got in touch again at the end of April. I got a text and it said, “Hey it’s Taylor. Would you ever be up for writing songs with me?” I said, “Wow. Of course.” It was a product of this time. Everything we had planned got cancelled. Everything she had planned got cancelled. It was a time when the ideas in the back of your head came to the front. That’s how it started.

Keep reading

[cages-boxes-hunters-foxes]

“She was a bit cryptic. I didn’t know that we were actually working on a record for quite a while. It just seemed that she was seeking me out to collaborate. And then we were both feeling very inspired by it. Once there were six or seven songs that we had written over a couple of weeks, she said, “Hey can we talk?” Then she said, ‘This is what I’m imagining,’ and started to tell me about the concept of Folklore. Then she mentioned that she’d written some songs at an earlier stage with Jack [Antonoff], and they felt like they really fit together with what we were doing. It was a very inspiring, exhilarating collaborative process that was almost entirely remote. Very sort of warp speed, but also something about it felt like we were going toe-to-toe and in a good pocket.”

— Aaron Dessner on if Taylor had a specific vision in mind for folklore (x)