Archive | September, 2019

Lover Album Review (song by song)

27 Sep

This is the album that brought me strongly back to the Swift-verse fold.  I like that the songs are cohesive, as is the overall message of the album.  But each song also can stand alone.  I am putting the songs in order from my favorite to the one I don’t really like.  And I am listening ONLY to the songs, not judging based on the feeling of the era (love it!), the stylings (FAVORITE!), or the music videos (must buy a DVD because they are that  good).  This is sans Easter eggs–unless lyrically, they are imbedded and don’t require too much prior knowledge to appreciate. Some of that is simply impossible to remove because I’m alive in the world.  As an aside, I have intentionally omitted the words, “bop” and “banger” because they sound dumb, are overused and need to die.  So here the review goes:

 

Lover

The opening line bothers me just slightly, as til January is not late, and not rebellious to leave Christmas lights up-I’d say it’s early, actually.  But Taylor has people so it maybe gets done instantaneously otherwise.  Back to the song, this style of this song reminds me of 1940-1960s sound.  I tried to remember what it’s called, but I don’t know if I ever knew.  Whatever it’s called, it comes across as very classic.  My favorite thing about the vibe of this one is the romance of it all.  It makes me feel sentimental and like love is very lovely, indeed.  The wedding symbolism is strong, and despite that (I find it too saccharine and capitalistic and antiquated) I get all the feels listening to it.

 

I forgot that you existed.

It’s got just that feistiness that really put me on team Taylor in the first place.  I mean, we (Taylor in her life and me in mine) are not just going to sit and take anyone’s crap-there will be some writing about it.  Yes, it’s probably harping on the Kanye stuff, but it’s a very small part of the album.  Also. it’s mellow shade, tightly written.  Which  provides just the right transition between the Reputation album and this one.  Makes it flow and continues the story of Taylor’s evolution.  And what could be worse than just writing someone off as meh?  The song itself is poppy and you find yourself humming it later.  Even though it’s really a transition, and not super-representative of the album’s theme, it’s toward the top of my list because this song is easy to listen to.

Taylor_Swift_-_You_Need_to_Calm_Down

You Need to Calm Down

Yay Taylor!  This one is past overdue.  The gays needed some love, and got a political advocate as a bonus.  The timing of this one (Pride month) was perfection.  YNTCD became the fun soundtrack of June.  It’s a light-hearted listen with a serious message.  Lyrically, the statement is important, as is Taylor making her position clear.  I like the message and the peppiness, it’s perfect for the target audience.  It’s an ear-worm also.  TRY to get it out of your head once it goes in your ears.

The only thing that could be smoother is if the 3 stanzas went together better.  The first is talking about internet trolls and references the snakes and everything of KimYe.  But can also go along with gays getting trolled (though doesn’t mention that explicitly).  The second part of the song is about crazy protesters at Pride parades.  The third verse is about the media (patriarchy) pitting the female music artists against each other (which is NOT done with guys) instead of appreciating everyone for their strengths.

I think it would have been more cohesive if each of the 3 verses either all dealt with gay issues, all dealt with Taylor’s personal image, or if all 3 verses did double-duty.  As is Taylor’s personal stuff is left out of verse 2 (or is it?) and the gays are not really a part of verse 3.  But that’s a very small writing technicality, I really like this song over all, and think it’s a wonderful single, and a good representative of the feel of this album

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Death by 1000 Cuts

The bright sounds bely a sad subject matter, and I like that dichotomy.  I also like the symbolism of a building being used for a relationship.  Is the background a children’s choir?  It’s an interesting sound if so.  The strongest part about this song (is it called the bridge?) is when she starts to quickly list things, “my heart, hips, my body, my love…trying to find a part of me that you didn’t touch” that this person influenced for her.  It evokes emotion and makes the music interesting.

 

False God

The brass and slowness make this sexy.  And that’s a cool thing that Taylor has started showing in her songs.  I’m glad she’s not pulling a Britney and trying to play it virginal and innocent–especially in her 20s.  Wholesome and sexy don’t have to be seperate.  The way she pronounces the final “love” in each line is my favorite portion of the song. I ranked this one nearly equal with “Death by a Thousand Cuts,” but that one inched above based on its bridge.  It was slightly more fleshed out.  But this is one of the top songs on the album.

 

The Man

Go Taylor!  I’m glad Taylor acknowledged that she’s a feminist.  How could someone that markets herself vigorously, tightly controls her image, writes her own music, and makes THE most money not be?  But I’m glad she realized feminism isn’t the dirty word that society sometimes makes it out to be.  Yes, the song is a little bit surface-level, but considering her primary audience is teenage girls (I’m determined to change that–calling all elder-Millennials! ), it’s appropriate.  It’s also dipping a toe in so as not to alienate people with the oft-mentioned ‘radical feminism’ sold to scare women off from politics and keep them in their place.  I do appreciate the cheekiness of the song, totally agree with the message, and love that she called out Leo is an example of the double-standards that exist.  The personal (that Taylor is renowned for writing about) IS political.  Good introduction and hopefully there will be more of this is Taylor’s future writings.

 

Afterglow

About a subject seldom written, “Afterglow” really shows a maturity that Taylor is gaining.  Yeah, there is a place for the angry songs, blaming $hit-heads for their dirty deeds.  Do it-love it!  But this apology song shows that Taylor is accountable for it when she messes up too.  Well done on showing both sides of the coin.  It’s not easy putting aside your ego, and it’s probably doubly difficult for Taylor who is kinda known for lashing out at her haters.  It’s an interesting 180 looking-inward also.

 

Paper Rings

Immediately catchy and bouncy.  I like the upbeat baseline and spoken word verses.  It’s a very cheery story of a song, peppered with stylistic choices such as shouting the “three times” that makes it different.  The quiet chorus at the end shows the seriousness Taylor puts in the subject matter, and it’s a nice emphasis so the listener knows it’s not all superficial pop-this means something.  The lyrics make me wonder who the song is about and I can tell whoever it is has Taylor’s complete affections.  Also, I hope it isn’t an ambush song, because the wedding imagery is thick.  Please be a Kaylor!

 

Cornelia Street

What a change from the last song!  This is my choice for next best song, but it also happens to be the track order, which seems an abrupt change in mood.  And as an aside, that change in mood, or showing the yin yang is throughout the album.  With bouncy music and sad lyrics.  This track order is more of that same idea.  “Cornelia Street” is a darker side of love, fearing that it will end.  It talks about a possible break up, but still in that peppy/poppy dichotomy that lives throughout Lover.  The whispered message in wavery, teary voice goes a long way to show the devastation a permanent breakup would cause for Taylor.  It’s the best part.  The sounds under the music (wind?  heart beats?) are a little clumsy in my opinion.  It’s not obvious enough to me what they are, so it’s hard to know what they represent.  It just feels like forced production, a weakness in the sound engineering…  Also, this song means a little less to me mostly because it references landmarks a lot, and I have no familiarity for any of them.  so a little bit of it is lost on me.

 

 Cruel Summer

There started out being a 3 way tie between this and the preceding two songs on my list.  This one ended up being the weakest of the 3 in my opinion after listening many times.  It’s a good song, with a good story, and many symbols, which I always like.  But against other songs on the album, the music is straightforward and exactly what you’d expect.  There’s not that yin-yang that is showcased throughout the other tracks.  I guessed where it was going, then it did.  The track length is very short, so I feel like if they had added something the song could have been better.  I must say, I do like it very much because of all the possible Kaylor symbolism.  I think it is the strongest song in that regard.  But that will only come out–if she does.

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Me!

It was nearly impossible for me to judge this song on it’s own, without thinking of the video or the Easter eggs, but those are my rules so I tried, really hard.  When I first heard, (and 2nd, 3rd, 4th) this song I did NOT like it.  I thought it was cheesy, annoying, and too.  Just too, I’m not missing a word.  Like very extra.  The spelling breakdown?  Awful.

But it does grow on you.  The best parts are the end, when there is just a crescendo of feeling and things are getting more emotional and tense.   By the time Brenden Urie hits those high notes, I have goosebumps and teary eyes from all the feelings.  Oh, and a pro-tip I heard from a podcast is that replacing “spelling” with the name of a bar or location, makes this a super-super catchy karaoke jam.  Good point, and thank you for that.  Rectified.

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Daylight

It’s a perfect closer for an album, so there’s that.  And tying this song (and therefore the Lover album and TS7 era) to Red is smoothe.  It makes the whole career linear and pulls the past into this album, correctly shows an evolution, and it just a great mechanism for good story-telling.  That’s the genius.

The song, individually, is also very much a story and shows Taylor’s maturity about love as a concept.  She has gone from very fairytale and romcom-love to a more balanced version with more good times than bad times.  But not perfect.  Because love isn’t about perfection, as real people know.  The song is also excellent as using that color imagery so important to this album’s era.  I like when the cadence gets slower, volume gets lower, and the golden = love echo sounds.  Like so many of the tracks those tactics convey seriousness amid the catchy pop.  The spoken message at the end is very moving also.

 

Miss Americana

This song leans against a lot of immature symbolism.  The cheerleading chanting is tiresome and makes too light of the politics Taylor is trying to finally shed light on.  It minimizes the impact it could have had.  Which maybe was the point she was trying to make–keep it light.  Also, I didn’t care for the high school stuff because I think Taylor has aged out of all the high school content long ago, but I’m glad she’s officially putting that away by rejecting it in this song.  I guess I can see how that is useful to the album’s concept as a whole.  It is nice that the album does look back to earlier works and draws connections while showing the lessons learned.  It exemplifies the butterfly of it all.

 

Soon You’ll Get Better

Important, that’s what this is.  Heavy subject that everyone can relate to.  A song of grief that will be utilized whenever the C-word comes up or tragedy or end of life.  The sentiment is real.  Taylor says aloud what so many people think, and I respect that.  The strings sound somber and pretty.

Including the Dixie Chicks is the best.  It helps give them visibility after they “were [unfairly] cancelled” boy, how things have changed.  That group’s cautionary tale also provides a statement of why Taylor was reluctant to engage with politics.  And I like that she showed that, instead of telling it.

I didn’t rank this song higher on the list, even though it’s so thoughtfully done and important, because frankly, it’s a bummer.  And I’d rather be happy.  But when the time comes when I need it (and everyone will eventually have that time, making this a universally appealing song) It’ll be on repeat.  Thank you Taylor, for putting your emotions on the table, letting us have a piece of your personal life, and sharing your experiences, no matter how real and painful.

 

I think He Knows

This album had bright hits.  Each track got me more excited than the next, peaking, and now this one was sort of on the other side of that peak.  The songs from here on I started to like less, instead of more.  Musically, it acts like the “Miss Americana” lyrics.  It’s a little too superficial in sound.  With bubbling and tings and blips and ‘eh’ noises.  Too many onnawannapeas–what a cool word though, right?!  The song is simple and the fast part ending in “I’ll drive” was the best thing about it.  But if you notice the music backs off quite a bit while she does that.  I would have told the producer/engineer to cool it a little with the gimmicks.

 

It’s Nice to Have a Friend

This song ranks as one of the lowest because it confuses the heck out of me.  We’re going along, and the feeling is childhood platonic friendship.  Which is sweet to cover as part of the Lover medley of all types of love.  Then suddenly, everything is made weird by the line, ” something gave you the nerve to touch my hand” and turns the whole scenario on it’s head.  So it’s not kids, and it’s not platonic, because nerve to touch my hand is tension.  It makes me wonder who this is about (guy or gal?) and what age they are in this one.  The story is all over the place so it bothers me.  IF Taylor comes out as bi or gay, I’ll like this song as a hint.  If Taylor is actually totally straight and marrying her boyfriend [no way!] then, this song isn’t good writing.  Also, the horns remind me of some kind of Alice in Wonderland fox hunt or something, which lends to the weird, out of place vibe this track has on an album of love.

 

The Archer

want to like this song, especially since it’s in the all-important track 5 slot that is so important to Taylor.  I just can’t get into it, because it feels like a lull.  Everything else on the album is catchy, mostly poppy, then this one is slow and echoing in a way that breaks that up.  It doesn’t fit well.  I also don’t care for all the cliche’s used in this one.  Taylor is such a good writer, skillfully employing symbols, metaphors, and double meanings always, so I feel this is a little lazy.  I want more from this.  I do like this other more double-sided analysis of archer and prey, however.  Just like on “Afterglow” it shows maturity has been gained.

 

London Boy

I don’t like this one at all.  I think/hope it was meant as a satirical song about bearding (best case scenario).  But it’s too pandering, yet geographically inaccurate.  She pulled in every expression and place possible and pretty much listed them.  It’s so light it floated away.  I do think it’s the strongest brass on the album though.

 

So obviously, I love the album as a whole and as pieces.  We’ll get to the era and symbols and analysis in other blogs.   So there is my ranking.  Enjoy.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Why Does Taylor Swift Act That Way?

23 Sep

After doing a lot of Taylor Swift research in general, and Kaylor factoids, I was thing about Taylor’s possible feelings and motivations.  The underlined are topics that came to mind, and I want you to read it bearing in mind things that go on in the Swift-verse (I tried to made up a word for Taylor Swift’s world, and I’m not sure it worked out).  The following is laying the groundwork for what’s happening with Kaylor and why.

 

Being in the closet:

fear of getting caught

fear of other’s people’s reactions

fear of losing important people in your life

fear of career setbacks

fear of being bashed

fear of who you become when you give up being (thought of as) straight

sadness at not fulfilling (heteronormative) expectations

sadness at not having an easy love/life

sadness at missing out

sadness about being the odd man out with friends and society at large

not being sexual at all-as a way to avoid it

being “too busy” for dating/love-so that people stop asking

being ultra-private-to signal others not to ask about it

feeling defensive

feelings of persecution

feelings of being alone, the only one

feelings of not being supported

forcing straight relationships (then feeling detached from them)

dating the opposite sex, but it’s weird/not what you had thought

internal homophobia

using homophobic language–so others won’t suspect

acting more straight

having very close same sex friendships

having confusing feelings regarding friends

being confused about boundaries

talking about the opposite sex to throw others off

staying away from ‘out’ queer people (guilty by association)

planning ahead-to avoid awkward topics, situations, or damning evidence

anger at having to hide

anger that life is harder for LGBT members

anger at a small dating pool

anger at homophobes

anger at people that “tolerate” gays

being hyper-aware of pronouns and manipulating them

language with a double-meaning

using wardrobe, jewelry, color to signal other gays, but stay hidden from everyone else

swearing others to secret

threatening same sex partners not to let on

not acting couply in public

saying your lover is just a friend

coming out to certain, trusted people, but not large groups, or known homophobes

 

Not knowing Taylor Swift personally, but being alive in the world, I think she may experience some of these feelings.  Lyrics, interviews, dates, and persona could maybe relate to a lot or most of these.  You can’t rush a person’s timeline.  Taylor has to come out when she’s ready (or if she is ever ready at all). 

A lot of these are truly founded worries the LGBT individuals have about making known their ‘difference.’  The list above comes about with politics, language, expectations, seeing openly gay people struggle.  This stuff doesn’t just come out of nowhere.  For example, Ellen Degeneres is an ‘it’ gal today sure.  But she lost everything when she came out–and for a long time afterwards. 

Instead of taking that trajectory as  ‘it’ll work out, come out– see how good Ellen is doing?  I think it should be a cautionary tale.  It was scary and even today I would characterize Ellen as a reluctant gay icon.  She came out for personal reasons, so she could live authentically.  I And when that happened she lost everyone.  Except a small group of LGBTQQA.  She didn’t wanna play to only gay crowds.  Didn’t ask to represent a whole population.  She was thrust in that role because of how big a deal her coming out was at the time.  But that other stuff wasn’t a choice she made–she played to exclusively gay crowds because suddenly, no one else would see her.  She was boycotted.  Ellen was cancelled.  People see her current success and forget all of that.  She didn’t even really mention her gayness at all in the beginning of her talk show.  She had to sort of play it straight again to get the status she has attained.  She finagled her way back into the mainstream. 

There are many more examples of people cut down after coming out.  So if Taylor is planning to come out (which I greedily hope she does, b/c it would make me personally very happy) I think she’s right to be cautious and do it carefully.  I would not want to see people throw her away, especially in the world of music where women are treated as a dime a dozen, totally replaceable by the next pretty blonde.

 

Gay-Dar

Because of all the closeted tactics, gays automatically learn to identify “family” and there is a knowing wink and nod, exchanged.  I think to some extent most gay people (and some straight) have honed their gay-dar.  It’s a practiced skill based on signals, non-verbal cues, and some stereotypes.  My feeling is that gays from conservative or churchy backgrounds are especially good at it, because the rural gays have to be more secret and underground.  

Does Taylor Swift’s Easter eggs relate to this?  I think so!

On the pod-cast I was listening to, they asked if Ellen Degeneres know Taylor Swift.  My feeling:  absolutely.  You can sense the two have a rapport.  Think of the episode when Ellen asked Taylor who she’s dating in kind of a knowing and cheeky tone.  And Taylor said, “My publicist told me not to answer that.”  I think Ellen knew what was up.  And whether or not Ellen has been told explicitly, I think she’s clever (and experienced enough) to know the signs when she sees them.

 

bearding

I’m not going to get into this as much, because it’s not really in my personal experience, but bearding is a good way to remain in the closet.  Because if you’re dating the opposite sex you obviously can’t be gay-says the public at large.  

This one speaks for itself.  And is the subject of so many theories in Kaylor.

 

Heteronormative/heterosexist

This is the societal attitude that everyone is straight until proven gay.  And when I say proven, I mean you won’t accept subtle signs, or obvious scenarios–it has to come from that person’s mouth.  The only other way is actually seeing sex.  This mentality is pervasive.  It’s just assumed all little girls dream of their big wedding day with whatever groom chooses them.  Guys are assigned the role of going out and chasing women for sex.  From infants when everyone is so curious about gender, roles are assigned to the sexes, and LGBT has no part in that.  It’s placed on everyone, and if that’s not who you are, it’s your responsibility to ‘come out of the closet’ as not straight.

I feel like 95% of Taylor Swift’s fans believe she’s straight.  They see long hair.  A feminine-looking gal, narratives of dating men.  Even when evidence to the contrary is presented, most fans refuse to believe she might be romantic toward women (too).  And they get angry at Kaylors for “pushing a narrative” when all Kaylors are doing is reading clues that Taylor Swift, herself, has placed.  Kaylors are hunting just like all Swifties, in the way that Taylor has asked and expected us to do.  I think some people, no matter what evidence was presented, would refuse to take stock in that.  Because of heterosexism, homophobia, or ignorance.  A lot of straight people don’t know that they know a gay.  Therefore, they don’t know what characteristics go with that.  Or they might have only experience with the most ‘out’ gays.  Which are only one type of gay.  To be fair, not a bunch of gays have come out, so people don’t realize the LGBT is diverse and there are all types, not just the super-flamboyant and stone-butch that are unable to hide, and are obviously gay.

 

OK, so there I think is a good foundation to see Taylor’s motivations and how it could possibly substantiate the Kaylor theories.

A Rainbows and Butterflies Obsession

21 Sep

But first, real quick: Ummm, when did WordPress become so user UNfriendly? Drafts are gone? I’m now having trouble uploading pictures. The auto-save didn’t work. I wrote this entire thing and it glitched at “publish” so irritating! It’s like the Myspace days, save your work elsewhere, lest lose it. Any tips?

 

And the topic at hand:

I am obsessed with Taylor Swift.  I have always liked her song-writing, and incorporation of personal details in lyrics (see so many blog posts that used her songs).  When I was driving almost 3 hours one way for all my IVF donor appointments, I must have listened to “Mean” and “Your Not Sorry” a billion times.  Her writing really touched my heart.  But I went away from her when Red came out–and was NOT available on Spotify.  Because how was I going to listen to the album without streaming?  That is also how I lost track of Adele also, who I think is super-talented and a wondrous singer.  But if you don’t allow streaming, I don’t have motivation to dig around.  And a lot was happening in Taylor Swift’s life and career at that time.  But once you’re out of the loop, it’s hard to get back in.  So I missed Red, 1989, and any Reputation stuff save for the music itself on the latter album.  I missed the dating, the clique, the feuds (except what was ubiquitous in pop-culture), and thus pretty much everything.

Brandi Carlile was my jam since, oh, 2010.  And I wish her music and everything still resonated with me now, as it had before.  I want to love it.  I wish I was still really into it.  I feel Brandi is an earnest person, with a good track record, and genuine concern about making the world better.  Her rock and folk albums were inspired, and even superseded some of The Indigo Girls’ work for me.  I like her (I guess her persona, because she makes you feel like you know her).  Her concerts are THE BEST.  And her actual singing is unmatched.  When she popped up on Zac Brown Band’s backing-vocals yesterday (listening to Spotify at work), I immediately knew it was her.

I am just not excited about this Americana direction she’s taking, dabbling in country, pandering to bullying, ect… to get Grammys.  I dutifully listen to the music she’s collaborating on, and really, really try to be a great fan.  But it’s not organically happening for me.  I can appreciate the work, I like it ok.  But my fandom is not what it used to be–and that’s disappointing.  It’s not over.  And I hope Brandi’s next album will feature the twins more, still have those notes she can hit like no other, and reignite the spark for me again.

And this post is not about how there can only be one female artist.  Not at all.  No trading is going on here.  I like them all and have a place in my heart for all of them.  There obviously, can (and needs to be) ALL the women in music.  They can all be successful, it’s important to support that, and help it grow.  I’m just illustrating that there was kind of a hole there (in my fandom?)… Which is when butterflies were bandied about.

 

 

 

 

 

 

 

 

I love color, love flowers, butterflies, tye dye, kittens, glitter, and unicorns, all of those things.  Always have.  It’s nothing to do with anything, just what aesthetic I’m naturally drawn to, and what incites passion and enthusiasm in me.  So when the “Me” video came out, it was my LIFE.  It was as if Taylor Swift made a video specifically for me.  Even better that little clues (Easter eggs) were throughout.  I also watched Pop-Up Video and loved all the trivia and facts and behind-the-scenes.  Same thing.

 

 

 

 

 

 

So just like that I was hooked back in, trying to find the meanings and read the clues.  And when super-gay “You Need to Calm Down” came on to the scene–I was floored.  It was fun, it was bright. . .  It painted Taylor (we’re on a first name basis) as at least an advocate and at most, was a coming out party for bisexual.  And that led to Kaylor.  Which is an easy word to describe a possible love between Taylor and Karlie Kloss.

PS-I don’t know what shipper means, and I don’t really care for it (I’m not 12), but that is the language used amongst Swifties, a group I’m too old to be in.  Which needs to change.  I should not be excluded just because I’m in my 30’s and can’t get on to the cool lingo.  Taylor Swift is an artist I’ve followed for a long time, I’m interested in, and who’s music/career I’m really into right now.  So I’m taking age out of it and being a super-fan (but leaving out the parts not applicable to me).

 

A lot of things made sense to me about Taylor being with Karlie.  Especially when you see the looks, body language, and intimacy between them on YouTube.  I feel like I have insider information about the difference between what friendships look like vs more.   I also know about the coming out process.  And when the lyrics of her songs are dissected in a different way–it makes so much more sense.  I am impressed by how coded Taylor intentionally or unintentionally made her lyrics and videos and media.  Like, how detailed could such a busy person get?!  Color me impressed!  That’s my very favorite thing about Taylor’s work.  Also interesting:  The LGBT community has used codes (handkerchiefs, ear piercings, etc, etc) forever to remain secret at large but still identify each other.  Which un-ironically(?) can describe Taylor Swift’s whole thing.  And what’s it called? double entrande’ ? Karlie has a computer coding school for girls, I think?  Codes, all the codes!  So now I guess I’m obsessed with accumulating irrefutable evidence of their relationship ie, I guess “outing” Taylor.

 

 

 

 

 

Which isn’t cool, and something I, personally, hate.  But I’m not doing in a blackmail way or smarmy, or anything.  More in a–knowing the REAL inspiration behind songs lets you in on the secret and allows more authentic enjoyment of the material.  It’s a little like my obsession with Disappeared (Jaycee Lee Dugard, The McStays, Maura Murry, etc, etc…) and wondering what ever happened to that person. . .  I always think about scenarios, make theories, and comb the internet for clues.  But this is a little brighter, because it’s about a true, hidden love-not disappearance and death.  But same combing for clues, making theories.

(Another blog post about that later–it’s kinda it’s own thing)

I was super into every Lover video, lyric, and Easter egg.  And thrust back into Taylor’s world-though I have a daunting amount of research to catch up on just so I know what’s going on.  There is a lot of media attention, romance stories, break-ups, friendships, characters–it’s worse than studying Chaucer.

Even more exciting-is that Taylor Swift is known to stalk her fans, get to know them via social media, then INVITE THEM TO HER HOUSE TO MEET HER.  Instant fantasy.  You know how I always want to meet them.  Hopefully the tone of this blog, and any criticisms of Taylor’s work doesn’t preclude me from that.  I thought about erasing any trace of negativity just in case.  But the integrity of the blog comes first.  Any my authenticity is always primary.  Over time, feelings can evolve, as Taylor herself knows all about.  Those were my opinions with information I had at the time, so they stay.

What I’ve learned since I wrote (especially my Reputation review) then is that the album is OK as a stand-alone.  But what really expands the experience and gives it depth are the background stories, music videos, and especially the Easter eggs.  Which is why Reputation got kind of a mediocre review from me at first (which has changed with my Kaylor knowledge) and is waaaay better now.  That’s why the Kaylor truth is so important for Taylor Swift to share, and also why it’s important for me not to go erase the past.  That’s me and my story, and just like Taylor’s works, plays a part in future works.

So that’s what is happening with Me! (see what I did there>) and why I have been inspired to write (more, still not enough-time gets away) again.  And to especially make some songs.

The Song-Writer’s Conundrum

11 Sep

what’s highly personal to me

doesn’t mean the same thing to you

the song is released *

it can be misconstrued

 

bridge:

twisted up ~ contorted

you took my words

and mis-reported

 

Chorus:

the song-writer’s conundrum:

show the world my most inner thoughts

people will take it as they want

now I feel so dumb

:  To share my lines or just stay mum?

 

I can be mean

it happens–that’s fine

but this incident? *

was just not one of those times

 

bridge:

twisted up ~ contorted

you took my words

and mis-reported

 

as the sentiment turned

things got out of my control

the tone turned hateful

I didn’t wanna go–down that rabbit hole!

 

bridge:

twisted up ~ contorted

you took my words

and mis-reported

 

Chorus:

the song-writer’s conundrum:

show the world my most inner thoughts

people will take it as they want

now I feel so dumb

:  To share my lines or just stay mum?

 

I didn’t stop it–I could have tried

just sat there, frozen *

it made me feel ugly inside

like my own words had lied

 

bridge:

twisted up ~ contorted

you took my words

and mis-reported

 

chorus (abridged):

now I feel so dumb

:  To share my lines or just stay mum?

 

bridge:

twisted up ~ contorted

you took my words

and mis-reported