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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:
https://www.rollingstone.com/music/m...rmore-1105853/
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.
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.
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."
And then this!
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:
https://www.billboard.com/articles/c...source=twitter
No plan to do another long pond session for evermore! sadness!
But yeah, lots of great stuff there.
oKAY!
Obvs, kays are struggling to deal with the it's time to go lyrical fallout:
SOME REASON.
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:
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:
SILLY.
(swiftgronners and kays are always in a tug of war after an album is released! It's amusing!)
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.
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!
. . . and then we'll be whining over not enough content.
This is adorable . . . Paul McC as Taylor's wardrobe helper:
Congratulations to my friend @TaylorSwift13 (and her boots) on her wonderful ‘#evermo re’ album charting at #1 in the UK this week and no doubt US on Sunday.
— Paul McCartney (@PaulMcCartney) December 19, 2020
by @maryamccartne y pic.twitter.com/iGrMZ59tlI
. . . 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:
https://www.rollingstone.com/music/m...rmore-1105853/
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.
“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.
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.
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.
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.
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:
https://www.billboard.com/articles/c...source=twitter
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.
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.
oKAY!
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.
SOME REASON.
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
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.
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…
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…
SILLY.
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.
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.
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.
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.
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!
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.
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
"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!
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