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The Study of Swiftology

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  • If you are feeling overwhelmed by the tsunami of Taylor content, I wouldn't worry. Release week stuff is kinda slowing down and by the time Grammy voting in ovah, she'll probably retreat into monastic silence and hopefully also sleep for a few months. With any luck, we'll be back in a Taylor drought by February!

    . . . and then we'll be whining over not enough content.

    This is adorable . . . Paul McC as Taylor's wardrobe helper:

    . . . and out of nowhere I had a flashback to how journos witnessed THiddles kneeling down to help Taylor switch into different boots to go to the Met Gala afterparty.

    (I only have mem'ries like that for vanessa's sake.)

    It's crazy that folklore is still doing numbers like this when it dropped five months ago.

    So close to having both #1 and #2!

    So we've got two big ass interviews with Aaron Dessner about evermore, where he does answer some of my questions about the making of. He also makes it clear that TAYLOR ALISON SWIFT IS A MENACE.

    Rolling Stone:

    Taylor Swift and Aaron Dessner didn’t expect to make another record so soon after Folklore. As they were putting the final touches on Swift’s album this past summer, the two artists had been collaborating remotely on possible songs for Big Red Machine, Dessner’s music project with Justin Vernon of Bon Iver (who also dueted with Swift on the Folklore track “Exile”).

    “I think I’d written around 30 of those instrumentals in total,” Dessner recalls. “So when I started sharing them with Taylor over the months that we were working on Folklore, she got really into it, and she wrote two songs to some of that music.”

    One was “Closure,” an experimental electronic track in 5/4 time signature that was built over a staccato drum kit. The other song was “Dorothea,” a rollicking, Americana piano tune. The more Dessner listened to them, the more he realized that they were continuations of Folklore‘s characters and stories. But the real turning point came soon after Folklore‘s surprise release in late July, when Dessner wrote a musical sketch and named it “Westerly,” after the town in Rhode Island where Swift owns the house previously occupied by Rebekah Harkness.

    “I didn’t really think she would write something to it — sometimes I’ll name songs after my friends’ hometowns or their babies, just because I write a lot of music and you have to call it something, and then I’ll send it to them,” Dessner says. “But, anyway, I sent it to her, and not long after she wrote ‘Willow’ to that song and sent it back.”

    It was a moment not unlike when Swift first sent him the song “Cardigan” back in the spring, where both she and Dessner felt an instant creative spark — and then just kept writing. Before long, they were creating even more songs with Vernon, Jack Antonoff, Dessner’s brother Bryce, and “William Bowery” (the pseudonym of Swift’s boyfriend Joe Alwyn) for what would eventually lead to Folklore‘s wintry sister record, Evermore.

    Even more spontaneous than the album that preceded it, Evermore features more eclectic production alongside Swift’s continued project of character-driven songwriting, and includes an even wider group of collaborators, like Haim and Dessner’s own band the National. Dessner spoke to Rolling Stone about the album’s experimentation, how it was recorded during the making of the doc The Long Pond Studio Sessions, and how he sees his collaboration with Swift continuing in the future.

    So he sent westerly/willow to her like a little 'thank you for folklore' gift not for her to write to. But! She can never leave well enough alone, thank beek. She insists on THREATENING US ALL WITH A GOOD TIME.

    When did you realize this was going to end up being another album?

    It was after we’d written several [songs], seven or eight or nine. Each one would happen, and we would both be in this sort of disbelief of this weird alchemy that we had unleashed. The ideas were coming fast and furiously and were just as compelling as anything on Folklore, and it felt like the most natural thing in the world. At some point, Taylor wrote “Evermore” with William Bowery, and then we sent it to Justin, who wrote the bridge, and all of a sudden, that’s when it started to become clear that there was a sister record. Historically, there are examples of this, of records which came in close succession that I love — certain Dylan records, Kid A and Amnesiac. I secretly fell in love with the idea that this was part of the same current, and that these were two manifestations that were interrelated. And with Taylor, I think it just became clear to her what was happening. It really picked up steam, and at some point, there were 17 songs — because there are two bonus tracks, which I love just as much.

    Evermore definitely sounds more experimental than Folklore, and has more variety — you have these electronic songs that sound like Bon Iver or Big Red Machine, but you also have the closest thing Taylor has written to country songs in the last decade. Was there a conscious effort on her part to branch out more with this album?

    Sonically, the ideas were coming from me more. But I remember when I wrote the piano track to “Tolerate It,” right before I sent it to her, I thought, This song is intense. It’s in 10/8, which is an odd time signature. And I did think for a second, “Maybe I shouldn’t send it to her, she won’t be into it.” But I sent it to her, and it conjured a scene in her mind, and she wrote this crushingly beautiful song to it and sent it back. I think I cried when I first heard it. But it just felt like the most natural thing, you know? There weren’t limitations to the process. And in these places where we were pushing into moe experimental sounds or odd time signatures, that just felt like part of the work.

    It was really impressive to me that she could tell these stories as easily in something like “Closure” as she could in a country song like “Cowboy Like Me.” Obviously, “Cowboy Like Me” is much more familiar, musically. But to me, she’s just as sharp and just as masterful in her craft in either of those situations. And also, just in terms of what we were interested in, there is a wintry nostalgia to a lot of the music that was intentional on my part. I was leaning into the idea that this was fall and winter, and she’s talked about that as well, that Folklore feels like spring and summer to her and Evermore is fall and winter. So that’s why you hear sleigh bells on “Ivy,” or why some of the imagery in the songs is wintery.

    I can hear that in the guitar on “‘Tis the Damn Season,” too. It almost sounds like the National with that very icy guitar line.

    I mean, that is literally like, me in my most natural state. [laughs] If you hand me a guitar, that’s what it sounds like when I start playing it. People associate that sound with the National, but that’s just because I finger-pick an electric guitar like that a lot — if you solo the guitar on “Mr. November,” it’s not unlike that.

    That song, to me, has always felt nostalgic or like some sort of longing. And the song that Taylor wrote is so instantly relatable, you know, “There’s an ache in you put there by the ache in me.” I remember when she sang that to me in my kitchen — she had written it overnight during The Long Pond Studio Sessions, actually.

    Did she record all her Evermore vocals at Long Pond while you were filming the Studio Sessions documentary?

    Not all of them, but most of them. She stayed after we were done filming and then we recorded a lot. It was crazy because we were getting ready to make that film, but at the same time, these songs were accumulating. And so we thought, “Hmm, I guess we should just stay and work.”

    On “Closure,” there are parts where Taylor’s vocals are filtered through the Messina, which is this vocal modifier that Justin Vernon uses a lot in his work with Bon Iver. How were you able to modify her vocals with it, if she was never in the same room as Justin?

    I went to see Justin at one point — that’s the one trip I’ve made* — and we worked together at his place on stuff. He plays the drums on “Cowboy Like Me” and “Closure,” and he plays guitar and banjo and sings on “Ivy,” and sings on “Marjorie” and “Evermore.” And then we processed Taylor’s vocals through his Messina chain together. He was really deeply involved in this record, even more so than the last record. He’s always been such a huge help to me, and not just by getting him to play stuff or sing stuff — I can also send him things and get his feedback. We’ve done a ton of work together, but we have different perspectives and different harmonic brains. He obviously has his own studio set up at home, but it was nice to be able to see him and work on this stuff.

    (*I think this trip was on Taylor's jet but I won't swear to it. There was a helluva lot of jet activity at that time we were all confuzzled by.)

    “No Body, No Crime” is also really interesting, just because I don’t think I’ve ever heard you produce a song like that. How did this country murder ballad featuring Haim end up on the record?

    Taylor wrote that one alone and sent me a voice memo of her playing guitar — she wrote it on this rubber-bridge guitar that I got for her. It’s the same kind I play on “Invisible String.” So she wrote “No Body, No Crime” and sent me a voice memo of it, and then I started building on that. It’s funny, because the music I’ve listened to the most in my life are things that are more like that — roots music, folk music, country music, old-school rock & roll, the Grateful Dead. It’s not really the sound of the National or other things I’ve done, but it feels like a warm blanket.

    That song also had a lot of my friends on it — Josh Kaufman, who played harmonica on “Betty,” also plays harmonica on this one and some guitar. JT Bates plays the drums on that song — he’s an amazing jazz guitarist, but he also has an incredible feel [for rhythm] when it comes to a song like that. He also played the drums on “Dorothea.” And then Taylor had specific ideas from the beginning about references and how she wanted it to feel, and that she wanted the Haim sisters to sing on it. We had them record the song with Ariel Reichshaid, they sent that from L.A., and then we put it together when Taylor was here [at Long Pond]. They’re an incredible band, and it was another situation where we were like, “Well, this happened.” It felt like this weird little rock & roll history anecdote.

    You also brought on the National to record “Coney Island.” What was that process like, where you’re recording a song with your band that’s for a different artist?

    I had been working on a bunch of music with my brother [Bryce Dessner], some of which we were sending to Taylor also. At that stage, “Coney Island” was all the music except the drums. And as I was writing it, I don’t think I was ever thinking, “This sounds like the National or this sounds like Big Red Machine or this sounds like something totally different.” But Taylor and William Bowery wrote this incredible song, and we first recorded it with just her vocals. It has this really beautiful arc to the story, and I think it’s one of the strongest, lyrically and musically. But listening to the words, we all collectively realized that this does feel like the most related to the National — it almost feels like a story Matt [Berninger] might tell, or I could hear Bryan [Devendorf] playing the drum part.

    So we started talking about how it would be cool to get the band, and I called Matt and he was excited for it. We got Bryan to play drums and we got Scott [Devendorf] to play bass and a pocket piano, and Bryce helped produce it. It’s weird, because it does really feel like Taylor, obviously, since she and William Bowery wrote all the words, but it also feels like a National song in a good way. I love how Matt and Taylor sound together. And it was nice because we haven’t played a show in a year, and I don’t know when we will again. You kind of lose track of each other, so in a way, it was nice to reconnect.

    So Joe contributed lyrics to coney island, and not music. That makes sense - The National was the band she called their 'relationship band' so it's sweet that they got to lyrically cos-play together as their favorite band solely to lure Matt B. into singing Happy Birthday to Taylor.

    When working on Folklore, you had to keep most of your collaborators in the dark about who you were working with. What was the process like this time around, now that everyone knew it was Taylor? How did you keep it a secret?

    It was hard. We had to be secretive because of how much people are consuming every shred of information they can find about her,* and that’s been an oppressive reality she’s had to deal with. But the fact that no one in the public knew allowed for more freedom of enjoying the process. A lot of the same musicians that played on Folklore played on Evermore. Again, it was a situation where I didn’t tell them what it was, and they couldn’t hear her vocals, but I think a lot of them assumed, especially because of the level of secrecy. [laughs] But as funny as this is, I think everyone who’s been involved has been grateful for these records to play on this year and is proud of them. It kind of just doesn’t happen, to make two great records in such a short period of time. Everyone’s a little bit like, “How did this happen?” and nobody takes it for granted.

    (* just @ me next time, beeksus.)

    Taylor has mentioned that you recorded “Happiness” just a week before the album was released. Was that something you guys wrote, recorded, and produced all at the last minute, or was it something you’d been sitting on for a while before you finally cracked the code?

    There were two songs like that. One is a bonus track called “Right Where You Left Me,” and the other one was “Happiness,” which she wrote literally days before we were supposed to master. That’s similar to what happened with Folklore, with “The 1” and “Hoax,” which she wrote days before. We mixed all the tracks here, and it’s a lot to mix 17 songs, it’s like a Herculean task. And it was funny, because I walked into the studio and Jon Low, our engineer here, was mixing and had been working the whole time toward this. And I came in and he’s in the middle of mixing and I was like, “There are two more songs.” And he looked at me like, “…We’re not gonna make it.” Because it does take a lot of time to work out how to finish them.

    But she sang those remotely. And the music for “Happiness” is something that I had been working on since last year. I had sang a little bit on it, too — I thought it was a Big Red Machine song, but then she loved the instrumental and ended up writing to it. Same with the other one, “Right Where You Left Me” — it was something I had written right before I went to visit Justin, because I thought, “Maybe we’ll make something when we’re together there.” And Taylor had heard that and wrote this amazing song to it. That is a little bit how she works — she writes a lot of songs, and then at the very end she sometimes writes one or two more, and they often are important ones.

    I love this, because I can just picture poor Jon Low's face when Aaron walked in and Jon's all like, "MAKE THIS WOMAN STOP TERRORIZING ME WITH HER UPTEEN MILLION SONGS."

    My favorite song on the album is “Marjorie,” and I feel like, for most artists, the instinct would be to present a song like that as a somber piano ballad. But “Marjorie” has this lively electronic beat that runs through it — it literally sounds alive. How did you come up with that?

    It’s interesting, because with “Marjorie,” that’s a track that actually existed for a while, and you can hear elements of it behind the song “Peace.” This weird drone that you hear on “Peace,” if you pay attention to the bridge of “Marjorie,” you’ll hear a little bit of that in the distance. Some of what you hear is from my friend Jason Treuting playing percussion, playing these chord sticks, that he actually made for a piece that my brother wrote called “Music for Wooden Strings.” They’re playing these chord sticks, and you can hear those same chord sticks on the National song “Quiet Light.”

    I collect a lot of rhythmic elements like that, and all kinds of other sounds, and I give them to my friend Ryan Olson, who’s a producer from Minnesota and has been developing this crazy software called Allovers Hi-Hat Generator. It can take sounds, any sounds, and split them into identifiable sound samples, and then regenerate them in randomized patterns that are weirdly very musical. There’s a lot of new Big Red Machine songs that use those elements. But I’ll go through it and find little parts that I like and loop them. That’s how I made the backing rhythm of “Marjorie.” Then I wrote a song to it, and Taylor wrote to that. In a weird way, it’s one of the most experimental songs on the album — it doesn’t sound that way, but when you pick apart the layers underneath it, it’s pretty interesting.

    Do you have a personal favorite song or a moment that you’re proudest of?

    “‘Tis the Damn Season” is a really special song to me for a number of reasons. When I wrote the music to it, which was a long time ago, I remember thinking that this is one of my favorite things I’ve ever made, even though it’s an incredibly simple musical sketch. But it has this arc to it, and there’s this simplicity in the minimalism of it and the kind of drum programming in there, and I always loved the tone of that guitar. When Taylor played the track and sang it to me in my kitchen, that was a highlight of this whole time. That track felt like something I have always loved and could have just stayed music, but instead, someone of her incredible storytelling ability and musical ability took it and made something much greater. And it’s something that we can all relate to. It was a really special moment, not unlike how it felt when she wrote “Peace,” but even more so.

    Do you see this collaboration with Taylor continuing onward, to more albums or Big Red Machine projects?

    It’s kind of the thing where I have so many musicians in my life that I’ve grown close to, and make things with, and are just part of my life. And I’ve rarely had this kind of chemistry with anyone in my life — to be able to write together, to make so many beautiful songs together in such a short period of time. Inevitably, I think we will continue to be in each other’s artistic and personal lives. I don’t know exactly what the next form that will take, but certainly, it will continue. I do think this story, this era, has concluded, and I think in such a beautiful way with these sister records — it does kind of feel like there’s closure to that. But she’s definitely been very helpful and engaged with Big Red Machine, and just in general. She feels like another incredible musician that I’ve gotten to know and am lucky to have in my life. It’s this whole community that moves forward and takes risks and, hopefully, there will be other records that appear in the future.

    And then this!

    I do have to ask: How did you come to find out about William Bowery’s real identity as Joe Alwyn? Or did you know all along?

    I guess I can say now that I’ve sort of known all along — I was just being careful. Although we never really explicitly talked about it. But I do think it’s been really special to see a number of songs on these albums that they wrote together. William plays the piano on “Evermore,” actually. We recorded that remotely. That was really important to me and to them, to do that, because he also wrote the piano part of “Exile,” but on the record, it’s me playing it because we couldn’t record him easily. But this time, we could. I just think it’s an important and special part of the story.

    Aw, Aaron is such a Toe shipper.

    She and Joe should just move to a commune near long pond and stay in the forest and give up pop and acting and everything else and just chill with the Dessners forevermore. So good for the mental health of all involved!

    And! Billboard interview with Aaron:

    Aaron Dessner on the 'Weird Avalanche' That Resulted in Taylor Swift's 'Evermore'

    One day this fall, Taylor Swift walked into Aaron Dessner’s home to wish his daughter a happy 9th birthday -- but that wasn't the only reason Swift was there.

    She was mostly there to film the Disney+ special, Folklore: The Long Pond Studio Sessions, in which she was meeting up with her primary Folklore collaborators — The National’s Dessner and Jack Antonoff. They had all gathered for the first time at Dessner’s upstate New York studio to play her record-breaking album live.

    The indie-folk project -- which was created remotely, with the multi-hyphenate Dessner putting the pieces together at Long Pond -- became Swift’s only album to spend its first six weeks atop the Billboard 200. It earned Dessner two Grammy nominations, both in Big Four categories, for album of the year and song of the year (for "Cardigan”). It also ushered in a new songwriting style for Swift: first-person fiction.

    On the last night of filming the special (a process that was done while following CDC guidelines, with a limited crew and COVID-19 testing), Dessner recalls how he, Antonoff and Swift stayed up until 4:00 or 5:00 a.m. -- drinking and celebrating the more-than-warm embrace Folklore had received. But in the days that followed, Swift ended up staying, and she and Dessner unexpectedly continued working. Eventually, they had 17 more songs, all of which became the sister album, Evermore, released on Dec. 11.

    “Folklore almost immediately was treated as a classic or a masterpiece,” says Dessner. “It was elevated fairly quickly and had been commercially really successful, so obviously it’s hard to follow something like that up. But one of the things I love about [Evermore] is the ways in which [Taylor] was jumping off different cliffs. The ability she has to tell these stories, but also push what she’s doing musically, is really kind of astonishing. It’s like I went to some crash course, some masters program, for six months.”

    Below, Dessner tells Billboard all about the work that went into his second album in five months with one of the world's biggest pop stars.

    With Folklore a lot of the production and arrangements came from a folder you had sent Taylor. Did you continue to pull from there, or was Evermore made from scratch?

    A lot more of it was made from scratch. After Folklore came out, I think Taylor had written two songs early on that we both thought were for Big Red Machine, “Closure” and “Dorothea.” But the more I listened to them, not that they couldn’t be Big Red Machine songs, but they felt like interesting, exciting Taylor songs. “Closure” is very experimental and in this weird time signature, but still lyrically felt like some evolution of Folklore, and “Dorothea” definitely felt like it was reflecting on some character.

    And I, sort of in celebration of Folklore, had written a piece of music that I titled “Westerly,” that’s where she has the house that she wrote “Last Great American Dynasty” about. I’ll do that sometimes, just make things for friends or write music just to write it, but I didn’t at all think it would become a song. And she, like an hour later, sent back “Willow” written to that song, and that sort of set [things in motion] and we just started filling this Dropbox again. It was kind of like, “What’s happening?”

    And then it just kept going. She wrote "Gold Rush” with Jack [Antonoff] and by the end there were 17 songs, and it was only a couple months after Folklore came out, so it’s pretty wild. Each time we would just be in disbelief and kind of like, “How is this possible?” Especially because we didn’t need to talk much about structure or ideas or anything -- it was just this weird avalanche.

    Considering how industry-shaking Folklore was, what pressure did that introduce this time around?

    I think because of how we made it, it really wasn’t like producing some giant record or something, it still had this very homespun feeling to it. There may have been a moment or two when I think Taylor was wondering when and how to put out Evermore, but I think the stronger it became, and as each song came together, it just started to feel like, "This is a sister record -- it’s part of the same current of creativity and collaboration and the stories feel inter-related."

    And aesthetically, to me, Evermore is wilder and has more of a band dynamic at times. You can feel her songwriting sharpen even more on it, in terms of storytelling, and also just this freedom to make the kinds of songs that were coming. When she started to write in a less diaristic way and tell these stories, I think she found she had this incredible wealth of experience and depth to her storytelling that was quite natural. She could easily make these songs more reflective or blur the lines of what’s autobiographical and what's not in interesting ways. It felt like the most natural thing in the world.

    Folklore was made entirely remotely, how did that process change for Evermore?

    This was both. Some of it was remote, but then after the Folklore: The Long Pond Studio Sessions, [Taylor] stayed for quite a while and we recorded a lot. She actually wrote “‘Tis the Damn Season” when she arrived for the first day of rehearsal. We played all night and drank a lot of wine after the fireside chat -- and we were all pretty drunk, to be honest -- and then I thought she went to bed. But the next morning, at 9:00 a.m. or something, she showed up and was like, “I have to sing you this song,” and she had written it in the middle of the night. That was definitely another moment [where] my brain exploded, because she sang it to me in my kitchen, and it was just surreal.

    That music is actually older -- it’s something I wrote many years ago, and hid away because I loved it so much. It meant something to me, and it felt like the perfect song finally found it. There was a feeling in it, and she identified that feeling: That feeling of… “The ache in you, put there by the ache in me.” I think everyone can relate to that. It’s one of my favorites.

    Did you watch the Disney+ special?

    I’m not a big fan of watching myself -- but I did watch it, and I thought it was beautiful. It’s funny, because it was very DIY in a sense; a tight little small crew was there to do it, nobody was styling us or fixing our hair or anything like that, it’s very authentic. I rehearsed a little bit before, but both of us -- Jack and I -- were pretty much figuring it out as we went.

    And I think the nice thing is that all of the songs could work like that, and that’s partly a testament to the strength of the album. Without big production tricks or backing vocals or anything like that, the songs stand up, and Taylor just sang the crap out of them. And hanging out with them was so much fun. They’re kind of like siblings almost; they’ve known each other a long time, there’s this quick humor between them.

    Would you like to do something like that again with Evermore?

    I don’t know if you can recreate exactly what we did with Folklore. I haven’t actually talked to anyone about that. But to me, the songs of Evermore would be even more fun to play, because more of them feel like band songs. But, that being said, I won’t be disappointed if we don’t -- there is no plan afoot right now to do that.

    During an interview on Jimmy Kimmel Live! Jimmy asked Taylor about the rumors behind Woodvale and if there’s a third album coming, to which she said she’s exhausted. How are you feeling energy wise?

    I think we both feel like it was Mission: Impossible -- and we pulled it off. I imagine that we’ll make music together in some ways forever, because it was that sort of chemistry, and I’m so thankful and grateful for what happened, but I think there’s a lot there. It’s not just the two albums, there’s also bonus tracks, and two of my favorite songs aren’t even on this record. We’re not pouring into another one now.

    I’m going to finish the Big Red Machine album -- I was really very close to finishing it when all of a sudden the Folklore and Evermore vortex opened up, and actually Taylor has been really helpful and involved with that as well — and The National is starting to talk about making music, and I think she’ll probably take a break. But I’m so excited for any future things we might do -- it’s definitely a lifelong relationship. And I’d say the same for all the people who worked on these records, including my brother and everybody who contributed. It’s a really special legacy.

    No plan to do another long pond session for evermore! sadness!

    But yeah, lots of great stuff there.


    Obvs, kays are struggling to deal with the it's time to go lyrical fallout:

    Again, Taylor knows the reactions her actions/songs will have. She anticipates everything in advance. So for whatever reason, she seems to want to hint at a break up/friendship ending with Karlie EVEN IF THATS NOT TRUE/not what those songs are actually about. She knew people would read them that way—especially with all the rereleased Kaylor articles over the last 6 months. She is allowing an implosion of the Kaylor friend/GF narrative for some reason we aren’t privy to.


    HOW. That . . . it . . .

    Like . . . it literally does the opposite?

    I mean, you find the above on kay sites and the below discourse on kay skeptics sites:

    anon: Not that this really matters, but after today I don’t even know how anyone could claim that any love songs on rep, Lover and folklore are about (or even inspired by) Karlie. I really believe that they fell apart in late 2016/early 2017. I think that every single clue points to that direction (the fact that they stopped hanging out then, the LWYMMD mv references, the Twitter likes...). And if she still feels this strongly about what she did after all this time, I really don’t know how anyone could claim that back in 2017/2018, when she probably already felt this betrayed and was this angry, she could’ve written songs such as Dress/Cornelia Street/Cruel Summer/DWOHT about Karlie.

    Even if they dated/had something going on (which I don’t think is the case, but it’s obviously possible), the only love songs that we could suspect were written about her are on 1989. You simply do not call someone a “crook” and write Dress about that same person (and everything suggests that by the time rep came out she already knew what Karlie had done).

    kaylortruther: it sort of erased any doubts i had too

    Two different realities on the same verse. I lean to the latter not the former (OBVIOUSLY), because yeah . . . even if (and that's a HUGE IF) Karlie and Taylor had ever ever played naughty sleepover gamez in their heyday of friendship, Taylor ain't writing Dress or anything like that for Karlie in 2017! Karlie's betrayal had JUST happened. Taylor literally kiboshed all those theories about sekrit Karlie love songs on rep and Lover with that one verse on it's time to go. She sees Karlie as a crook not a muse! No need to go puzzling it out anymore.

    Posing for that fakety fake pic after the Nashville rep show to shut up the tabloids must have been oh so fun.

    From the new 2kween:

    Anonymous asked:

    Previous anon here about the lyrics who said “is NOT about KK” I meant that it doesn’t make any sense to be about KK sorry I’m not American so might have mixed up a little bit there. I meant that those lyrics can’t be about KK because they don’t make sense to be about her!

    tp: I just wanted to make it clarify! I agree they don’t make sense about her.

    Anonymous asked:
    Everyone always rags on Karlie. / Yeah cause her shady ass betrayed Taylor. Some of us actually care about Taylor and want good things for her.

    tp: She did not “betray” Taylor. What “secrets” did Karlie sell to Scoobs in this silly little narrative so many antis are trying to create? That she was planning a CO on June 30th? Uhhh we all thought that including alot of people in the general public. That she was leaving her label? Uhh we already knew that Taylor posted about it. That Taylor isn’t straight?? Uhh we been knew. You’re believing a Perez HIlton story…


    Anonymous asked:

    Cowboy Like Me may be a Swiftgron bop, but we have Gold Rush so who really won ☺️

    tp: Uhhh Cowboy Like Me is totally a kaylor “bop”. Wyoming wedding “hustling for the good life, like it could be love” “telling all the rich folks anything they want to hear”.

    Forever is the greatest con.

    (swiftgronners and kays are always in a tug of war after an album is released! It's amusing!)

    Anonymous asked:

    1 - I understand that we are all disappointed with Taylor after she says that William Bowery is Toe. Speaking for myself, I can't believe she did this to keep the relationship with Karlie private, she could have left WB under the pseudonym and kept the relationship private. I even believe that she really regretted it, but it was too late and now she needs to get on with it. I don't think the grammy has anything to do with it.

    2 - In my mind this contract with toe would be short, but she saw that everything was flowing so well, that she decided to extend it. About a supposed engagement, I think it won’t happen, bearding for 4 years and so far she hasn’t done it, I believe it won’t happen. I think everyone is upset because she used her art with the toe, it really hurts and when she comes out, if she does that, she’ll find herself to apologize.


    tp: Pro: It gives the toes something to cling onto I think.

    Anonymous asked:

    Am I the only one afraid of these two Taylor interviews? / i'm always afraid these days and it's stressful when it's supposed to be fun. that's why i'm close to checking out. if she's still with K they're doing a terrible job planning for the future. i have a hard time believing they could be this dumb. so unless i see someproof they're still together i'm assuming they're done.

    tp: Maybe they want everyone to think it’s done to legitimize the beards. To protect their reputations.

    Anonymous asked:

    What if taylor give the credit of WB to J*e as a separation fee? Since out of all her beards t*e is the only one who "really" follow her rules? Taylor is not cold hearted, she really appreciate everyone who work with her (as long as they're not jerk or bitch)

    tp: Maybe because of Covid? Tay has alot of employees it’s usually expected for employees not to be jerks to their bosses.

    Anonymous asked:

    Folk-LORE. Ever-MORE. Kay-LOR. I laughed. If there is a secret third album to celebrate Karlie's freedom and Taylor calls it Fer-VOR I will actually lose my mind. "Her fervent yearning . . . a reputation elucidated." Come on Tay, be that loud. Do it for Spade. Do it for TTB. Make the antis quake!

    Anonymous asked:

    It's SO creepy that some weirdos are trying to make cowboy like me of all songs a platonic song about a Toe friendship

    During cowboy like me, the guitar and the piano alternate between playing the piano theme from cardigan, so how in the F*CK are people thinking cowboy like me is about a Toe "friendship" when the song revolves around the cardigan piano theme, a song that's most certainly not platonic or about Toe?!

    It's so obnoxious that G*ylors/Ex-Kaylors are trying to invent a fictional friendship between Taylor and her beard when she used the subtext of London Boy to insult the hell out of him and when he's been rumored to talk shit about Taylor at gay bars when picking up lads since 2017 and was rumored to still insult her and talk shit about her at gay bars in March 2020 because they are sticking their fingers in their ears screaming "Lalalalalala, the cardigan piano theme being integral to cowboy like me's existence means nothing to me, f*ck Taylor because we decided her music only means what WE want it to, she should shut up and sing!"

    Taylor's going to seriously take a career hiatus and retire to the woods for the foreseeable future at this rate.

    tp: That last paragraph yes! Fictional friendship is so weird. They don’t look happy in their pap pics.

    That's . . . I mean, I feel like I'm fairly klued in to all things in this krayzy fandom, and rumors of Joe going to gay bars is just . . . not a thing? these rumors don't exist? I mean . . . WUT.

    Anonymous asked:

    "Her songs not who she says her songs are about. That is marketing. Maybe it’s because she wants to remind people she’s “with him.”" I wasn't talking about her mentioning him because the songs are about him but because he 'wrote' some of them with her.

    tp: but he didn’t lol

    I think? that this person is actually admitting that Joe is WB, but also really mad that Taylor likes guys?

    The STOP BEING AN ALLY is just sending me, y'all. Taylor can't win!

    Last edited by ophy; 12-19-2020, 10:21 AM.


    • All these interviews must be exhausting but it seems Taylor is handling it.

      Excellent post again, thanks ophy!


      • I have such a crush on Aaron Dressner now though he is not physically my jam. But he seems so sweet and kind and humble, but you also know he is a total musical badass for being able to keep up with Taylor in this whirling dervish songwriter fever. It’s just a touching thing that they found this amazing working relationship and became friends. You know, we talk about Karlie and Taylor’s former squad and all, and the fact that she now prioritizes making friends with people like Aaron says something about how she has changed her life in the time since 1989.


        • Apparently there's a Taylor/ Joe photo leaked but I can't find it anywhere.


          • It's not scandalous! It's literally just a pic Taylor took of them in the mirror getting ready for their NYE costume party 2016 in the bathroom at their first London rental in Hampstead. The fun part about it is that Taylor is wearing jeans and a bra, her J necklace, and a long pink wig, and Joe is shaving his chin while shirtless.

            They look . . . uh . . . really good, imo.

            I can't post the pic here because Tree! Paine! is ON IT. She's already pulling accounts down and it's been erased from twitter as far I can tell.

            (you can find it at unless it's already been yoinked.)

            I don't see why they care about taking it down tbh, it's a cute pic and they both look hot.

            Hacker claims he got it from Selena's phone. People are trying to make it seem shady that Selena had it, but I mean, obvs Taylor was like, "yo sis, this is the hawt british guy I moved to London for" and Selena was like "lol get it girl" and that's why she probably had the pic on her phone. If that's the raciest thing on there, then her photo roll is boresville.

            Secret Sessioners have long claimed they saw a pic as the screensaver on Taylor's laptop of Joe kissing Taylor on the cheek with Taylor wearing a pink wig, so this must be all from that same night most likely. (Joe was dressed as a snowman later that night).

            This is the bathroom (h/t leftussilent):

            Kays are UNHAPPY. Saw some klaim that Tree leaked it herself to bolster Taylor's het credibility. Others are just denying it's her entirely (it's definitely her!).

            TWICE U A DUMBFUCK. Imma start using that, it's klassic.

            It's not like I'm hoping for more pics to leak but not like I'm not not hoping. Anyways!

            Last edited by ophy; 12-24-2020, 05:18 PM.


            • I knew I could count on you! It's a good pic.

              Happy holidays you all!


              • "yo sis, this is the hawt british guy I moved to London for" and Selena was like "lol get it girl"
                That picture is totally this.

                My takeaway from the pic is this is from Taylor’s ED timeframe and yet her boobs are very full and perky. So:implants? Regardless, I love that the Swifties know what bathroom they were in from just that picture.

                The poor Kays. There really is no way to explain this one as staged content. Taylor would never stage that.


                • He shaved just to be a snowman? Hah. I’m assuming she wants it down just because she didn’t sanction it. He’s still not my thing, but they both look great.


                  • He shaved just to be a snowman?

                    Yep, this was the night:

                    So . . . the guys were told to dress as snowmen and the gals were told to wear long wigs and head pieces? I do not understand this theme at all.

                    It's also the night they jumped into the pool (re: Paper Rings) and the night that inspired New Year's Day. Possibly also the night that inspired the line "the moon was high like your friends were the night that we first met".

                    My head canon is that this is one of the first times she really hung out with his friends. She had vamoosed to London only like four or five weeks before ("I recall late November slowly I said you don't need to save me/but would you run away with me/Yes" CIWYW) and was in deep hiding mode so it probably took her a little time to warm up to the idea of letting new people into their sekrit love hideaway. Actually says something that after recent friend betrayals (UHMM HMMMM) she trusted Joe enough that fast to also extend that trust to his Frosty Crew.

                    Good on her for not shutting out errrybuddy after how rough 2016 was.

                    Speaking of London, Taylor is not even pretending to be American anymore . . .

                    As a side note, those are the floorboards for their latest London place, so that must be where they have stayed for the holidays. Taylor hasn't been Stateside for the holidays since 2017, I think? She must like an English Christmas.

                    What is truly impressive is that they seemed to have been able to keep this particular house a secret for quite awhile (since before the release of Lover, I think!). No one knows the location, or even if they own it or are renting.

                    Okay, random things . . .

                    The latest stats for the sister albums:

                    So since her debut (which did not go #1), every album she's ever put out has gone to #1. That's just . . . hoo boy. Who else gets to stay on top for fifteen years? I would not be surprised if everyone else in the music industry HATES her. She just sucks all the oxygen out of the room every time she releases! Ed's latest surprise song drop was a dud, Katy's new video flopped . . . Taylor's success makes things unfun for them. I'll bet when most of the pop folks heard Taylor singing about running off to a cottage to disappear in the lakes, they were all like, "YES GOOD, GO DO THAT PLZ". Probably the same way all the swim bros were desperate for Michael Phelps to retire.

                    Taylor did try to support Katy's latest bit of unmemorable candy flavored triviality:

                    (for reals that video is a mess and I don't get it, and I don't get what her career is like lately.)

                    (also! haven't seen any similar screenshots of Katy supporting Taylor's new music or video!)

                    But one place where Taylor is openly being dissed is here . . . Taylor is being replaced in the Legends mural in Nashville:

                    There were already only 4 women in the mural, so to take one out and replace it with another dude is certainly a choice.

                    Never change, Nashville!

                    So this is sad . . . Abigail's's husband Matt unfollowed her and Taylor, so . . . I feel like we now know who happiness was written for. Another casualty of 2020 (and the seven year curse on relationships). I feel like lockdown has strengthened some relationships and doomed others and it feels almost like a crapshoot as to who ends up on which side of things.

                    Speaking of Abi, tumblr has reminded me of this klassic moment, after the rep show in Nashville when (in retrospect!) Abi threw mighty shade at Karlie:

                    Which is a nice transition to more from the kays about the now infamous mirror pic:

                    . . . they took a pic in 2016 on purpose to release as a stunt in 2020? Wow, such foresight.

                    Anonymous asked:

                    No they’re definitely trying to cover something else up or something big is coming. Why that picture? Why now? Idk why some of y’all are freaking out already, that picture doesn’t mean anything, kaylor is still real. And honestly it looks like a pic I’d take with my gay bestie

                    lol im not freaking out

                    the pic looks stagged af and the timing for it to be randomly selected to be leaked is suss

                    the antis keep pushing their

                    Anonymous asked:

                    I'm pretty sure that the real Taylor's bellybutton is located lower on her stomach than where the bellybutton of the random chick hysterically gulible people are claiming is Taylor in the dumb photoshopped pic is

                    BELLYBUTTON TRUTHERS YES!

                    Anonymous asked:

                    Selena gets hacked, but it's Taylor and Toe that got leaked.

                    What the fuck is this shit? Also, why does she have that picture in her damn phone anyway! What kinky shit are y'all on...??

                    People are easily hoodwinked and bamboozled.

                    I don't buy shit!

                    Great PR move though!

                    tick-tock to a break-up....we ready.

                    Anonymous asked:

                    Omg... Taylor in a bra and mirror leaked!

                    In what world would she let this happen!? Is it manip? Who leaked it?

                    What the hell is coming y'all!

                    Joe wouldn't know what to do with boobs!

                    Also. Do people think Taylor would be happy with this?

                    industryhearts answered:

                    lol not taylor

                    boobs next to him yet toe still looks gay af
                    Thank you all for the Anons. So here my humble opinion:

                    Impossible to miss another T&T masterpiece.

                    Toe's muscles from 2020 met with Taytay's pendant, mobile and 'wig' from 2016-17.

                    Very conveniently everything that was posted was erased so now we have a pic and second hand information about the hour and the date (even if the pic was altered by including the email stamps) and that *allegedly this was the most interesting picture from 'the hacked Selena's mobile phone'.

                    So Selena doesn't have any nudes, any old flames pictures, neither Biebs, Abel, not even Orlando or Cara, but she keeps a seminaked yet very decent picture of Tay and Toe.


                    Anonymous asked:

                    Why leaked pictures now?


                    dunno but makes you think something gay coming



                    Well, we certainly wouldn't want the Wisdom of Spade to vanish from the world!

                    If you ever want to konsult the orakle that was never* wrong**, here it is:


                    * ha
                    ** ha ha

                    The hilars thing about this new blog is that they are wasting time trying to konnect old spade riddles to new folklore/evermore lyrics.

                    ♠️ Love does not grow within closed fists. She blooms in open hands. - 6/26/2020

                    ivy (2020):

                    “oh goddamn, my pain fits in the palm of your freezing hand” (palm = open)

                    “clovers BLOOM in the fields,”

                    ♠️ The promises we’d made, still tangled in the sheets, and from the third floor, I watched you leave. - 08/21/2019 ♠️

                    We slip away like shadows in the light. - 11/14/2019 “But I can see us Lost in the memory August slipped away into a moment in time 'Cause it was never mine And I can see us twisted in bedsheets”

                    August lyrics:

                    But I can see us lost in the memory

                    August slipped away into a moment in time

                    ‘Cause it was never mine

                    And I can see us twisted in bedsheets

                    August sipped away like a bottle of wine

                    'Cause you were never mine

                    . . . on the inkredible assumption that spade was akkurately predikting lyriks from albums that HAD NOT BEEN WRITTEN YET.


                    • Holy shit, Joe and Taylor look hot in that pic. I don't see his appeal at all in movies but he delivers SOLID sexy candids.
                      Itís just really honestly so tiring and emotionally draining to have to get upset over reality constantly.


                      • Why leaked pictures now?


                        dunno but makes you think something gay coming
                        How many times can they say that pictures of Taylor and Karlie with their male partners is a sign of something coming without that thing actually happening? It feels like eventually you’d get tired.

                        Re: the night of that picture - I think you are right that must have been the first time with his friends, and an epic night for her, clearly, judging by how many songs came out of it. But can you imagine him texting his friends to invite them and mentioning that by the way Taylor Swift is going to be there? It’s like that dinner part in Notting Hill when Hugh Grant shows up with Julia Roberts. I want Joe to some day explain the process by which he got his friends and family to believe that he was really dating Taylor Swift.


                        • Originally posted by vanessa View Post
                          I want Joe to some day explain the process by which he got his friends and family to believe that he was really dating Taylor Swift.
                          OMG. I really want this now.


                          • Well, seems like the whole time 2020 was wilding, 2021 was in the background taking notes. It's already been SO KRAY.

                            With that said, here's a Very Belated Happy New Year's To Y'all!

                            I have some bits! and some pieces! So if you want to take a Tay break from ragemuttering at Congress and all things MAGA and stupid, here we go . . .

                            Taylor says FAREWELL FOHEVAH 2020:

                            I feel like this was a joke gift from Austin, as in you should name the next album 'carrnivore' or something.

                            It costs $200 and it's from the show Workaholics and you can buy one here:


                            . . . if you are so inclined.

                            Grammy's were postponed to March, which seems dumb? We're not all gonna be vaxxed by March, so they might as well have just put together something virtual for January.

                            Taylor's hair looks so goooood in her NYE video:

                            This has been my favorite hair era ever for her. I even like it when the whole thing is a mess with wackadoo home cut bangs. I just like seeing a free-er looser less polished less likely to wear a bra maybe she didn't even shower today? Taylor. Kills me that we won't get to see what her folkevermore era red carpet fashion would have been with that hair for the Grammys but oh well. Probably would have been something entirely too quirky from Stella and I would have whined about it all night anyway.

                            Taylor and the little girl from willow video:

                            All right, that's cute. Even the Uggs.

                            evermore in scrabble points:

                            SHE IS PLAYING GAMES WITH OUR BRAINS I HATE HER.

                            This pure sales number, btw, is INSANE:

                            People just do NOT sell full albums like this anymore. But that is the advantage to putting out two in one year, I guess. The 2 bonus songs from evermore are avail to stream errrywhere now, btw. I still think the lakes >>>>>> right where you left me >> it's time to go, but these things are subjective, I suppose. Dunno that I'll listen to either of them much.

                            And Claire Winter came through with this polaroid of an FU Taylor:

                            Very appropriate for this whole . . . whatever this year has been.

                            I assume that's Joe because their hair seems to be the same color, we know he was there that night* from pap pics of him arriving in LA, and it does look like his watch. Could be someone else though!

                            * Based on her top, the pic was from Taylor's NYE party in LA in 2017/18:

                            leftussilent was able to identify what room it was taken in from just the hanging light, which is impressive work:

                            We got a teensy tidbit about Taylor and Joe's current? London place:

                            The Zoo! and that number is very specific, so could be a Big Clue.

                            And speaking of Joe, this is just a random thing, but I was wondering during long pond when Taylor was talking about the song august and how she imagines the girl as being named Augustine, I was thinking why Augustine instead of Augusta? Augustine is not a common form of that name, and then duh just realized a couple of days ago that Joe has been working recently with the director Augustine Frizzell on the movie Last Letter To Your Lover. It's coming to Netflix at some point soon-ish.


                            "You witness a woman's journey in how she chooses to live her life," says Woodley, whose character Jennifer finds herself falling in love with troubled journalist Anthony O’Hare (Callum Turner, Fantastic Beasts) while married to the frightfully well-to-do, yet cold Laurence Stirling (Joe Alwyn, The Favourite).

                            . . .

                            Though the women's journeys are the focus of the story, the surrounding men also have their own uneven paths to navigate, and when it came to casting it was avoiding the obvious choice that enlivened the characters and added dimension.

                            "Joe is such a naturally kind and warm and welcoming human being," says Shailene Woodley of Alwyn, who plays her unfeeling, chauvinistic, and dismissive husband. "I always like when casting surprises me a little bit and puts actors in roles that you wouldn't necessarily assume they would fill." While each of Jennifer's relationships with the two men is very different, Woodley found she naturally had chemistry with each. "Working with both Joe and Calum [Turner] was incredible," she says. "The beautiful thing about what we do is when you have those rare moments in time where you have natural kinetic energy with someone. There's not a whole lot for you to have to do as an actor, because you can lean and rely heavily on whatever electricity is happening between the two of you. I felt like that with both of them. I was very, very fortunate to settle into the natural energy that existed and then let the characters unfold within the essence of that."

                            Joe's character sounds a bit like it could have been part of the inspiration for tolerate it, for reals.

                            And also speaking of Joe and Taylor, does . . . does OK! not know there is a pandemic going on?


                            So much for the nuptials of her "Wildest Dreams!" An OK! source claims that Taylor Swift, who's been "collecting bridal magazines and wedding ideas since she was a teen," will have to adjust to the idea of a small, sequestered affair when her boyfriend, Joe Alwyn, officially pops the question.

                            According to the source, the once-outgoing songstress, 31, has turned into "a hermit" since hooking up with the British actor, 29, who insists on total privacy and loathes attention.

                            "She's become like a recluse, seldom venturing out from their London apartment or her Nashville home where she's holed up with him," says the source, adding that the singer stopped attending red carpet events unless "absolutely necessary."

                            And now, Swift's inner circle is said to be worried that in Alwyn's continued efforts to fly under the radar, "he'll ultimately nix the lavish nuptials Taylor's long envisioned," and instead, "insist on a quiet ceremony with family."

                            As OK! previously reported, the duo, who have been dating since the fall of 2016, have been keen to tie the knot, though they've yet to pick a date.


                            On what planet is Taylor 'Safety Protocols' Swift throwing lavish nuptials during a fuhreaking plague?

                            Maybe someone should tell them.

                            Tabloids are almost as thirsty for an engagement or wedding reveal as Swifties. They'll be manifesting this next:

                            As a side note to the happiness song discourse, Abi deleted all of her pic of her husband and is back to using her maiden name again. Taylor writing songs about divorce right when Abi and her husband are divorcing . . . she's always been a bit too involved in Abi's relationships. She used to pay for Abi's plane tkts (this was before her private jet days) to see Matt and then tumblr reminded me of this:

                            (Taylor let the guy do this at her lake house outside Nashville.)

                            (and of course, the song fifteen itself is obviously classic overinvolvement).

                            Funny that Matt unfollowed Taylor, but didn't unfollow Joe. #brosB4hoes

                            But! We also know that Zoe Kravitz is in Taylor's London social pod, and she and her husband just announced their divorce as well. So there may have been multiple influences. Taylor did say 'several' of her friends were going through it, sad.

                            reddit K/Gaylors have a response ready to go for Claire's NYE pic:

                            I THINK YOU MEAN 'GAY KOINCIDENCE'.

                            (gif by karliesbuzzcut)

                            But this! Jack's Kodak sweater:

                            That is an instant kodak klassic. #loud

                            So! We had two different reactions from the Tayverse as to last night's FUCKING TREASON . . .

                            Jack, beek bless him, is very direct:

                            I think this kind of reaction is part of what is driving Javanka out of the NY social scene and down to a Trumpier Florida.

                            Karlie is less so direct:

                            my fave response:

                            This is basically Karlie, at Dinner With The Kushners:

                            All of her passive aggressiveness means NOTHING NADA ZIP to me, obvs. #komplicit

                            And I thought y'all would appreciate 2kween defending white umbrellazgate:

                            Peeps are saying? that the real kween is back on tumblr hiding under the spade riddle blog, which seems kwite plausible to me. If so, she's been real boring so far.

                            okay, back to being productive!*

                            * by productive, I obviously mean . . .

                            for reals, though, cheers to the (faint) optimism that 2021 will end the pandemic and save democracy because (faint) optimism is all I've got left!

                            ETA: ouch, Tavi is not getting off Karlie's neck (nor should she!):

                            Last edited by ophy; 01-07-2021, 12:55 PM.


                            • Thanks for the break, O! I needed some Tay Time.

                              I agree about Taylor's hair. Less fussing is more with her hair, though I did love the 1989 bob.

                              leftussilent was able to identify what room it was taken in from just the hanging light, which is impressive work
                              Excellent work. I love fandom except when I don't.

                              Karlie as Resistance Barbie is perfect! I know she is walking a tough road here, but those tweets aren't cutting it.


                              • Well, v! Giving you another Tay break, why not.

                                Back to #1!

                                So much winning.

                                Karlie is still getting dragged, unsurprisingly:

                                Ash A. liked this post from The Cut:

                                I don't know if any of this will stick to Karlie permanently (although it probably should!) but this does show that there is little appetite for her brand of komplicitness right after a coup attempt by her inlaws.

                                And Todrick liked this e! post, confirming the ittg lyrics about Karlie:

                                Tavi again!

                                I did not realize until tumblr told me (h/t swiftiesleuth) that Tavi Gevinsen is actually a friend of Taylor's and has hung out at Holiday House, so if she's hitting Karlie this hard, then . . .

                                In 2016 she was even at that bday party Taylor threw for Lorde, which was one of the last times Karlie and Taylor were seen occupying the same general space:

                                . . . where this pic was taken:

                                . . . So yeah, she knows the tea! she's not just a rando journalist running her mouth. I knew she had interviewed Taylor before, but I'm shaky about the squad days as y'all know. I didn't pay a lick of attention to Swiftology until Taylor started jetting around with THiddles so prettily. (and apparently drunkenly.)

                                Oh, my! Ivanka got her feefees hurt by Karlie:


                                Ivanka Trump ‘surprised and hurt’ by Karlie Kloss’ tweets after Capitol siege

                                By Sara Nathan

                                January 8, 2021 | 3:24pm

                                Ivanka Trump was left “surprised and hurt” by sister-in-law Karlie Kloss’ social media comments amid the attack on Congress.

                                As supporters of President Trump laid siege to the Capitol building on Wednesday, Ivanka posted — then deleted — a tweet in which she called them “American Patriots.”

                                A few hours later, Kloss, who’s expecting her first child with husband Josh Kushner — the younger brother of Ivanka’s husband, Jared — tweeted, “Accepting the results of a legitimate democratic election is patriotic. Refusing to do so and inciting violence is anti-American.”

                                Her post sparked an instant rebuke from one social media user, who fired back that she should “Tell your sister in law and brother law.”

                                Kloss responded: “I’ve tried.”

                                A friend of the family revealed: “The tweet was brought to Ivanka’s attention and she was mostly surprised because they’re so close and talk on a regular basis, but never really about politics.

                                The insider added that, “Karlie likes to position herself publicly as an activist, yet she’s never approached Ivanka on any of the issues [the model has] championed like paid maternal leave, women in STEM and criminal justice reform.”

                                They said that for Kloss to claim she’s tried to discuss her different views is “simply not true.”

                                “Karlie is public with her politics, but privately shies away from discussing them,” they said.

                                “But they are very close and they really enjoy each other’s company, so Ivanka is hurt. “

                                The source added: “Understandably, the moments of the day left everyone feeling fraught and upset, but Ivanka would of course be open to hearing from Karlie about her views.”

                                Ahead of his departure from the White House on Jan. 20, President Trump has already pardoned Jared and Josh’s father, Charles — the real estate tycoon who paid a prostitute to seduce his brother-in-law.

                                He was sentenced in 2005 to two years in federal prison.


                                (but lolarious!)

                                And also ouch . . . Ivanka is NOT HERE for Karlie's attempt to preserve her own brand amidst all of this TREASON.

                                The 2kween kays are just gonna hang on, hang on 'til redemption days:

                                Anonymous asked:

                                Spade is someone from Taylor's team if not Taylor herself. Of course she would say that Karlie is going to be exonerated. That's what she hopes for and is counting on after all. I don't think it will be as a smooth process as Taylor wants to imagine. Taylor at times tends to be naive and even out of touch. Again, these problems would be solved with a tell-all, but we all know this is never happening.

                                tp: The tell all is definitely happening but will it be in this decade? The jury is out.

                                Spade said the “reputation exonerates everyone” someone pointed out to me that could mean us too.

                                Anonymous asked:
                                Omg a tell-all would definitely 'exonerate' us too, despite the fact that we're the only innocent party here and the only party that has literally nothing to gain here. But from the looks of it Taylor doesn't even care to 'save' her own child from the vile Kushner name, I doubt she really cares about saving us from internet hate and abuse no matter how injust they are.

                                tp: Tell all won’t happen until end of career or retirement. I’m not expecting a tell-all to exonerate all of us, I’m hoping exoneration comes sooner!!

                                But this!

                                Anonymous asked:

                                Taylor has previously referred to Karlie in songs as a “dream”. So when I hear “not a twin from your dreams, she’s a crook who got caught” I take it as one of Karlies twin sisters hurt Taylor.

                                . . . now that is a kreative dodge of facts, well done.

                                Speaking of bonus tracks, right where you left me is starting to grow on me.

                                Aaron D. is a fan:

                                He also said that it's time to go was one of the first songs written for evermore and right where you left me was one of the last.

                                I've also seen some interesting song analysis on tumblr:


                                Asked by Anonymous

                                Right where you left me— what’s it about? Is it about her not wanting to be famous and idolizing the red era?

                                i think it’s about how she was ‘frozen in time’ at the moment she felt she lost her footing. taylor has been haunted by her mistakes, big and small, professional and personal, throughout her career. she was obsessed with never stepping a toe out of line when she was younger, which she talked about in miss americana; and remember when she confessed to studying “behind the music” episodes to make sure she never went off the rails? and she said once in the 1989 era that she knows she could lose her success at any time because of a mistake.

                                not to mention that taylor is also obsessed with a redemption arc. she’s used the metaphor of rising from the ashes multiple times (in 1989, she was proving herself to be more than just a man-eater and she thanked fans during her tour speeches for standing by her when her hands were tied behind her back; in reputation, she “rose up from the dead, i do it all the time”; in evermore, she “comes back stronger than a 90s trend” when people try to count her out.)

                                and as time went on, we saw taylor come to realize that some of this fall from grace-to-redemption cycle was her own doing. the archer encapsulates that perfectly: “i never grow up, it’s getting so old.”

                                it’s not an exaggeration to say that taylor’s greatest fear was to receive the backlash she received in 2016. it traumatized her. she sang as recently in evermore that she struggled to get past the moments “all was lost.”

                                so to me, this song is her reflecting on where she is mentally - about not knowing how to move past those devastating, life-altering mistakes, and obsessively recounting the past to figure out where she went wrong… to the point where she cannot possibly move on. she’s living in the time where she was innocent, before things got all fucked up.

                                Friends break up, friends get married
                                Strangers get born, strangers get buried
                                Trends change, rumors fly through new skies
                                But I’m right where you left me
                                Matches burn after the other
                                Pages turn and stick to each other
                                Wages earned and lessons learned
                                But I, I’m right where you left me

                                this is similar to “the world moves on, another day, another drama, drama / but not for me, not for me, all i think about is karma” in LWYMMD - minus the need for revenge. taylor is saying she knows the world moves on, with or without her… but she’s stuck there, living in the past, afraid and unable to join everyone else in the present.

                                Did you ever hear about the girl who got frozen?
                                Time went on for everybody else, she won’t know it
                                She’s still twenty-three inside her fantasy
                                How it was supposed to be
                                Did you hear about the girl who lives in delusion?
                                Breakups happen every day, you don’t have to lose it
                                She’s still twenty-three inside her fantasy
                                And you’re sitting in front of me

                                imo this song uses a typical breakup (where you’re so heartbroken you feel like time is paralyzed) as a metaphor for all the turmoil she endured from 2016 to now. everyone thinks she should be over it; she’s been criticized for writing too many breakup songs, for not getting over the kimye snapchatgate thing, for being afraid of interviews or whatever. they want hre to get a grip, get some perspective. but she can’t. she had a plan for how her life and career should have gone, she was so careful - and when her life went so completely off the rails, she couldn’t regroup and get back on track.

                                but then it leads into it’s time to go, implying that taylor has finally learned how to move on.


                                I haven’t seen any one mention this directly but Taylor having the husband in ivy be a stand in for her relationship with fame and the media and the world and then again using the same parallel for fame in right where you left me where the breakup with someone symbolizes her breakup with the world that began with the constant critique she endured for years and not being accepted, and being stuck in the moment when the floor fell eventually out in 2016, really speaks volumes about how deeply affected she was from that whole time period and by fame

                                but her ability to write both these stories in metaphor and terms other people can relate to in terms of fear and loss and deep heartache is a huge testament to her talent to write a song about a specific emotion but to do so in ways almost anyone can understand it even though they didn’t experience her own situation directly


                                “did you ever hear about the girl who got frozen time went on for everybody else she won’t know it, she’s still 23 inside her fantasy” in right where you left me and “there’s this thing people say about celebrities, that they’re frozen at the age they got famous. i had a lot of growing up to do just to try and catch up to 29” in miss americana........ my heart.


                                I'm not sure why all the analysis of right where you left me is focusing on a breakup/friendship betrayal so maybe there's something I'm missing, but to me it's very much a song about fame and popularity. not too unlike mirrorball or even the archer. to me, the relationship is more allegorical than about someone specific. like it's about feeling left behind and unable to move forward while people around you do. taylor spoke in miss americana about feeling frozen at the age she became famous - "did you hear about the girl who got frozen? time went on for everybody else" and "she's still 23 in her fantasy" (with that being her age in the red era where she got huge crossover fame but also huge criticism). all the jokes and jabs at her being overly emotional and obsessed with breakups - "did you hear about the girl who lives in delusion? breakups happen every day, you don't have to lose it." the breakup in the song can represent both the actual breakups she's been through and the times that the public have effectively broken up with her. then it can be contrasted with it's time to go to highlight how there's a part of her that feels like that but also she's now able to go through a heartbreak or betrayal and let it go, instead of still feeling stranded in that restaurant.


                                right where you left me screams things that were said about taylor in the red era—she needs to grow up, move on, stop writing about her exes, she’s too dramatic, and the fact that it sounds like something from back then as well???? god tier

                                . . . but of course, it's also been claimed as an actual break up song for swiftgron, kaylor, and haylor because of course it has. I lean more towards the metaphor for fame and her general public narrative etc than an autobiographical breakup revisit.

                                Oh, and speaking of songs, wanted to have this gifset all in one place:

                                From a year or so before . . .

                                If Joe and Taylor ever wrote an entire album of heart wrenching life ruining songs together I'm not sure I could ever forgive the evil bastards.

                                LOOK AT HOW EVIL THEY ARE. LOOK AT THEM.

                                LOOOOOOOK AT THEEEEEEEEEMMMMMMM.