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ialwaysknewyouwerepunk · 3 years

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cherry - close reading

alright, this one’s different, for a bunch of reasons that i will be getting into after the lyrics. this might be the point where people who have very strong opinions on narratives surrounding stunts could get angry at me. that’s totally fine, as long as you keep it to yourself (hehe). i wanted these close readings to steer clear of that whole side of harry’s public persona, but i couldn’t write this post honestly doing so. i needed to get this off my chest and apparently i had a lot to say (i surprised myself, really).

so, this is actually a WARNING: do not proceed if you are a firm believer in hamille. that’s all (and i won’t be replying to anons about this)

fine line, track 5

title: from French: “chérie”, darling

Don't you call him “baby”

lovers calling one another “baby” ～ to be so lonely

We're not talking lately

Don't you call him what you used to call me

common theme: jealousy

I, I confess I can tell that you are at your best

the other is thriving now the relationship is over

I'm selfish so I'm hating it

self-deprecating, honest, jealous

I noticed that there's a piece of you in how I dress

Take it as a compliment

the relationship has left its traces

no bad blood after the split, pretty blasé

I, I just miss

I just miss your accent and your friends

Did you know I still talk to them?

miss little things, more the atmosphere and context of the relationship, no strong yearning for the person

Does he take you walking 'round his parents' gallery?

again, jealousy

gallery: repeat of word in sunflower, vol. 6, but with (possible, likely) different meaning

[Outro: french girlie]

Coucou ! Tu dors ? Oh, j'suis désolée...

Bah non... Nan, c'est pas important...

Ouais, on était à la plage, et maintenant on—

Parfait ! Allez !

(translation: yoohoo (ish?), you’re sleeping? oh, i’m sorry… oh no, it’s not important… yeah, we were at the beach, and now we… perfect! (“allez” literally means “go” but it’s kinda like “let’s go” and more of a stop word. hard to translate)

this is not a voicemail. a voicemail gives you a monologue, a short message by the person directed at the owner of the phone number they’re calling. this is an overheard phone call: we hear one side of the call

SYNTHESIS

Right, okay. I have to be honest: from the lyrics themselves, there’s not a lot of deep shit I’m getting. This is a simple love song about a lost love, written about the period right after a breakup. It’s full of pettiness, simple jealousy. There’s no bad blood and the “I” even seems pretty okay with it. He misses the person, and the missing is expressed through the little things, like their accent or style. The relationship is definitely over, since the other has moved on already, and the “I” is not asking them to come back. There is no yearning, loneliness or miserable missing like Harry sometimes likes to express (～ Falling, To Be So Lonely, MMITH, From the Dining Table…). What the “I” seems to miss most is the other person’s attention, presence.

Now, we all know that this has been painted as the song dedicated to Camille Rowe. It's shoved down our throats: her voice is on the track (though can we be sure it’s actually her?), the title is a play on a french pet name, she supposedly dated someone involved in galleries after Harry (idk the details leave me alone). Naturally, I’m in no position to say whether they ever actually had a relationship or not. I’d be very surprised, since I’ve only ever seen and heard Harry’s love and praise for dick, but that's whatever. If it is about a real relationship (of an entire year), then all I can conclude is that the relationship remained pretty surface-level and they managed to move on easily, unless Harry suddenly changed his entire style for expressing love when writing this. (And No, the other love songs on the album are not about this relationship. Don’t fuck around.)

I’ll say that I think this song was written for a purpose, crafted to fit that narrative. I have avoided the personal aspect, or the who is this actually about shit in previous posts as much as possible, because I wanted to focus on the lyrics and artistry only. In this case, this song, however pretty and cute it is, stands out on the album, to me, because of its simplicity and the absence of attachment to the rest of the story. Golden, Adore You, Falling, To Be So Lonely, Sunflower, Vol. 6 and Canyon Moon tell parts of the same love story. There’s depth, connection, care, and - especially - a long-term love that’s persisted. In my later posts on Sunflower, Vol. 6 and Canyon Moon, especially, it will become clear how I read them as being about a long-term relationship. Even the simple line in To Be So Lonely, “i was just a little boy,” should be enough for everyone to know that song is not about that one relationship with a french model in recent history.

Sure, Cherry can still be about something real; another relationship that took place during a break in Harry's long-term one. Again, I'd just be extremely surprised by our curly boy walking in a rainbow paradise in a strawberry lipstick state of mind. But even then, placing the song on the album like that, preceded and followed by songs about a love that's life-altering and successful, just feels off to me. The story would make a lot more sense to me if the song weren't there. That's of course my own experience of the album, and another interpretation is just as valid. Who knows, maybe I'm totally wrong - but there's no need to come tell me that 😇

Fine Line being branded during its publicity as an album about being sad/a breakup and having sex will always infuriate me, which I really shouldn't let happen, because I know Harry is just sitting there with that wide-ass grin on his face, safely hiding behind his wall of vague lies and half-truths. Literally only Watermelon Sugar is explicitly about sex and even Falling, arguably the most straightforwardly sad song, holds hope for their love to survive. Harry being that open about a relationship - naming her, putting her voice on the track (!!) - is also very out of character and simply reminds me of interviews during the 1d days, which is an extra reason for me to attach little or no truth to the entire narrative. He's still just as private about everything else in his life: he's offline, we only see photos of him when his team wants us to and when talking about any other song or inspiration he's as vague as can be. This is the only exception and it's a thorn in my eye. But, of course, the stunt worked perfectly and it was the perfect plan to distract the general public. “This is the narrative, this is what it's about, here you have all the answers, you can stop thinking now, no no no don't look at the other lyrics, it's fine shhhhhhh." Cherry is Harry's favorite song, his most vulnerable song, damn he really bares his soul in this one. And we definitely mustn't look into any other theme the album might be about, no no. Bad gp. And that the voicemail is not really a voicemail so the narrative of it being one Harry saved from their relationship doesn’t even hold up but we won’t get into that.

Alright, time for me to calm down. Let's just say there's one thing that will always always convince me that I've got it right: the Vogue interview, featuring its writer wondering if something went lost in translation when Harry invited him to a gay swimming pond, descriptions of Harry and Harry Lambert (his stylist) calling each other Sue and Susan, ending with Harry playing Cherry and Gemma saying, "he does his own stunts." No, this is not said about the kid bouncing on a trampoline for one of the shots. This is a reaction to his performance for the crew, and that's what the article decided to end with. Ok I’m calm once more

Typical that I wrote so much about a song that I initially thought was going to be a breeze, since I knew I wouldn’t be able to link it to the greater themes. Guess that’s what made me rant about it in the first place. This one was a muuuuuuch more stunty post than the others in this series, and that’s also because this song is not like the others. It doesn’t belong here and I treated it as such. Tune in tomorrow for our regular scheduled programming, with the one and only Falling.

Read my other lyric analyses here

#cherry #fine line analysis #stunts #vogue interview #harry #lyric analysis #this took a few years off my life not gonna lie #it just gets to me #and this is the only version of events that makes sense to me #i'm serious when i say i won't reply to negative anons #but any other feedback i'd happily read bc i'm obviously not all-knowing #this is mainly instinct yk #and based on my overall interpretation of harry's lyrics #lp #my posts

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daisiesonafield-blog · 2 years

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daisie did you see the lyrics or you’re basing everything on what you’ve heard from anons?? and also, do you 100% believe it and think it’s legit?

Hi dear,

I have not seen the lyrics. The anon paraphrased a couple of things they could remember. They also didn't see the lyrics. They just listened to the album twice. So whatever they paraphrased was what they could remember.

But it's ultimately ONE PERSON'S INTERPRETATION after just 2 listens. That leaves a LOT of room for things to be missed or misinterpreted.

Also, after sleeping on it and thinking about everything the anon told me, I can see how even the stunt song could potentially have additional layered meanings. Of course I would have to listen to it myself and hear the actual lyrics. But just the fact that the concept of cinema is used gives you room to see expanded meanings. It sounds like he's personifying the concept of cinema...which in itself can be read in various ways. There's the explicit one being about their sex life...but the layered one...being about how things in cinema are pretend, for the camera. This could be wrong because I haven't heard it. But I know Harry, and the way he writes is never straightforward. He's always poetic, layered and he uses a lot of synonyms and poetic language. Like, Justin Bieber said "you got that yummy yum", while Harry wrote "I want you more than a melody". There's no comparison.

And to answer your last question, I believe they have heard it. They sounded very genuine. If they’re lying they’re damn good at it. But just because they've heard it, it doesn't mean that their interpretation is the only one, or the gospel of this album. It is their interpretation.

I'm SO excited to listen for myself, because I know I will hear his music differently. Think about the song She: many people thought it was about Harry dreaming about a dream girl he couldn't or didn't have. His ideal girlfriend. But imo a much more accurate interpretation of She is that the song is H talking about his own gender identity. And struggling with feeling "she" inside, and always having "her" with him. And how that makes him feel like he's pretending, and how he's trying to know who "she" is.

Overall I have SO much faith in Harry and his music. We're focusing too much on 1 measly stunt lyric and letting it overshadow AN ENTIRE ALBUM. It's not like that. I trust Harry as a person and artist, and I know he'd be able to deliver the utmost quality songs, despite a few stunt lyrics.

I have loved all of his songs since 2017, Watermelon Sugar is one of my favorites. I know I will love Harry's House just as much, despite the dumb narrative. And if I'm honest, based on what I've heard, I'll love even Cinema. It sounds like the type of song I love, and if I removed the narrative from it, then it's just a banger of a song with sexy undertones. And that sounds great.

Related to this and this and this and this and this

#harry’s house #hs3 rumors #hs3 speculation #harry receipts #hs3 receipts #holivia #stunts #cinema #boyfriend #spoilers #harry's house spoilers #holivia april 2022 #Harry’s house themes #apr 2022 #april 15 2022

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pridesobright · 4 years

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If you’re up for it, what artist or painting do each of the boys remind you of?

disclaimer: art is subjective, so are people’s opinions, and my choices are based on my perception of the boys’ personalities. you may not agree with me, therefore the paintings might not correspond to what you had imagined… still, i tried to shed a light on my own thoughts, which is something i rarely do on tumblr — i tried to remain as objective and positive as possible!

+ louis —

louis is so fiercely good! supportive, loyal, brave… i’ve never seen someone so witty and intelligent, caring and sensitive. louis shines, louis sparkles!!

but he also tells stories like no else. it is truly fascinating how louis can turn the smallest life experiences into masterpieces!! the raw emotions he’s able to convey in just a sentence: we’re sleeping on our problems like we’ll solve them in our dreams…. it’s easy getting lost into louis’ ocean blue eyes but it’s even easier falling for his talent — through storytelling, louis always shares a positive message and i’m in awe of the way he goes through life despite everything that’s been thrown at him. passionate and driven, louis is authentic and unapologetically himself!

i decided to associate louis with gustav klimt — the artist received a conservative and classical training and began his career painting churches and theaters, following the traditional and historical style popular at the time. quite similar to louis’ mindset at the start of his solo career, klimt focused on what the upper class expected of him! however, he kept developing a more meaningful personal style. one that relied on symbolism and the extensive use of the ornamental gold leaf. his paintings were highly decorative and it is the aesthetic of klimt’s work that made the connection so easy ♡

gustav klimt painted many women in erotic positions, embracing their nudity and a celebration of sexuality, which was controversial at the time. but more than that, the artist depicted loving embraces, abandonment and passion. tenderness. and by coating his paintings in golden powder, klimt created a warm cocoon around his subjects! 1. adele bloch-bauer I - 2. judith I (details) - 3. le baiser (details)

louis is so often associated with the color yellow and it’s easy to understand why — yellow is the most luminous color and is the symbol of happiness, optimism and enlightenment. as a warm color, yellow represents light and creates a sense of hope: it is radiant! gold shares many of the same attributes. it is bright, cheerful and is often associated with love, courage and passion. gold illuminates our world and so does louis!

+ zayn —

zayn is very creative, expressive and imaginative. i’d say he’s cautious and overall very intelligent about his privacy! society will often describe quiet people as mysterious, and it romanticizes anxiety in a way that makes my blood boils… it’s a dangerous culture where people with mental disorders are seen as edgy or cool when in reality they are deeply misunderstood. at times defensive, i believe zayn is strong-willed and values his freedom more than anything!

associating zayn with street art was a given. is there anything more liberating than leaving your trace into the world, anonymously and illegally, without knowing if your work will be painted over in the next few days or a couple of years?

artists such as roa, bansky, kobra, invader or shepard fairey have now made a huge impact, and street art has been popularized. many paintings are known worldwide but before then, you had the travel the world to seek out the artists’ works!

and even if some murals can be seen from afar, they draw you in no matter what. like an invisible pull, some are forcing you to cross the street or climb a few stairs to get closer — zayn draws you in! whether people are affected by his quiet personality, his looks or the sheer quality of his voice, you can’t help but want to learn more about him!

i chose behind the curtain by martin whatson for that very reason! at first cold and unreachable, zayn is full of qualities and life experiences deserving to be uncovered.

martin whatson is a stencil artist working in oslo. looking for beauty in decayed and abandoned urban spaces, he developed his style using grey tones as a basis and adding vibrant colours to bring a splash of life. i also love pull back and behind the wall ♡

+ niall —

to me, niall is the type of person who’s enjoying life as best as he can, and fully appreciating everything there is to offer. whether it be passion, irritation, love, fun or distress. mainly because of his cheerful and bubbly personality, he’s seemingly going through life as if it was a big fest! but don’t be fooled, he knows heartbreak too and there’s more to him!!

niall’s albums feel warm, nostalgic and intimate. we’re being let in into a part of him without any flourishes. a melody strummed on his guitar and here we are, transported into the past and reminiscing about an old lover. niall definitely is a romantic! listening to heartbreak weather, there is so much tenderness into his songs…

this painting is called manège de cochons by robert delaunay — it is part of a series devoted to modern urban life and popular shows. carried away by a whirlwind of vibrant colors, it recreates the lively atmosphere of the fairgrounds.

it definitely represents niall and his complex mind. the colors, so vibrant, are an ode to his cheerfulness. for delaunay, primary colors and their complements exalt each other by contrast. and the same tone can be perceived differently depending on its intensity or its arrangement!

at first, only the vibrancy and the warmth shine through but just like everyone else’s, niall’s mind is intricate. his emotions are raw and he puts his pain into songs, as if to compartmentalize everything. as if to tame those feelings and memories, maybe too loud at times! the colors aren’t just splash of nuances scattered across the canvas, they are deliberate. with purpose, they tell a story…

+ liam —

liam is good! and he always goes out of his way to do something good. he often tries to be more mindful of his actions. he’s constantly learning and just like everyone else liam makes mistakes, but he actively grows from them!!

liam is extremely talented, funny and charismatic, yet i feel like he’s not easily understood. he’s a very sensitive, sincere and sweet person, and despite everything liam went through, he remains cheerful, generous and courageous!

he is also passionate and pursues many hobbies — be it fashion, art, cooking or comics: he is well-versed in many topics and it’s a real pleasure to now follow him on youtube!!

robert rauschenberg was passionate about many mediums himself, and he incorporated newspapers, photographs and even some objects (undershirt, parasol parts) onto the canvas before adding broad strokes of paint! he kept exploring the boundaries of art and closely followed the current events of the time, using images of space flight and NASA’s photographs into his work — space (tribute 21) is a personal favorite ♡

i actually picked a selection of artworks to match liam’s personality: 1. untitled (red painting) - 2. untitled (red painting) - 3. red interior. i particularly love that last one, as the far-right stripe reminds me of liam’s chevron tattoo!!

for many years now, liam has been associated with red and it’s no surprise at all — red is the color of passionate love, seduction and adventure. strength, vitality and ambition. it used to be seen as the color of fire, a primal life force. to the greeks, red symbolized super-human heroism. liam is a force of nature, strong both physically and mentally. he is hard-working and energetic!

+ harry —

forget about the way harry has been portrayed ever since he was a sixteen-year-old boy. forget about the curls and the dimples. simply observe the person harry is today. take a closer look at what he decides to share with us. pay attention to the way he’s presenting himself.

fine line (the album) takes us on an introspective journey into his deepest emotions — whether it be torment or happiness. and i think it’s fascinating how well-executed his songs are! even in a catchy and happy song such as golden, harry managed to address quite a raw and painful concept: i’m hopeless, broken, so you wait for me in the sky / i don’t want to be alone — it’s heartbreaking, yet you almost wished you could feel it too!

through various allegories and metaphors, harry makes you question yourself. he interrogates you and talks about a reality you didn’t know existed or could relate to. harry is magnetic.

this painting is called composition XI by vassily kandinsky — and i can’t help but compare both harry and vassily. kandinsky was a painter, professor, poet and art theorist, generally credited as the pioneer of abstract art! he spent years creating sensorially rich paintings, and was fascinated by musicians who could evoke images in listeners’ minds. he strove to work with forms and colors that alluded to sounds and emotions!!

in songs like fine line, the music swells and deflates as if it was a beating heart. each track conveys a different emotion and translates a distinct concept! through his melodies, harry aims to make us feel joy, melancholy, determination or bitterness, even when the lyrics are anything but. his albums leave us speechless and wondering, just like abstract art!

+ overall, this is what art is meant to make you feel! it’s supposed to challenge you. art is meant to make you rethink your boundaries and open up your mind. it’s meant to question you and leave you wanting for more! you are meant to listen to a song several times to fully understand its meaning, and meant to stand in front of a painting for hours to start grasping the artist’s thought process…

yet art remains subjective! depending on your own life experiences and upbringing. art is free for you to interpret as you wish and so is music! i hope you enjoyed this post, thank you for reading it ♡

#have i spent way too much time on this? YES #did i turn the ask into an essay?? YES #i hope at least a few people will be interested in this #and as i said in the disclaimer: those are MY opinions #i hope you're still around there anon ♡#jess parle à la lune #jess répond

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libbieswmp1 · 4 years

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Week 1

Briefly describe in a few sentences what each of the Paines Plough monologues was about.

The Manchester monologue by Chris Thorpe is based around a story told from a man’s perspective of a night with his friends pranking him whilst under the influence of alcohol and drugs. The way in which he tells the story is extremely detailed but clear that his memory is rather clouded due to not being sober. However, he describes in an almost snapshot fashion briefly going back home in the middle of the night after this friends had been laughing at him, grabbing a golf club of his, heading back to his friends house and, with no explanation as to why, hitting one of his friends in the face with it. He ends by explaining that he didn’t go out much for quite some time after that incident, leaving me to wonder what the future held for this man.

The Plymouth monologue by Hannah Silva is overall a very confused sounding piece. It took me a while to grasp any kind of sense from it, until I came to the realisation that segments of the piece are split up and staggered to purposely cause confusion to the listener. Once I had been patient and listened through it all, I gathered that it is an intricate description of a man who is losing his mind, memory and speech losing the ability to execute certain skills such as playing the piano. Described as a dream overall, towards the end it becomes apparent that the snippets spoken and intertwined are actually some kind of attempt at remembering a very distant memory.

The Liverpool monologue by Chloe Moss is a story based on reflecting on a part of her childhood which was predominantly consumed by anxiety. This is highlighted in examples of her repeating mantras to herself under her breath and describing some of her worst fears to the listener. She reflects specifically on a time when she managed to walk out of school, heading towards the sand dunes that were all too familiar to her. She comes across an older lady walking her dog there, at first wishing that she could just be left alone, however the lady enlightens her on how her son passed away many years ago. My interpretation of this piece is that the lady opens the eyes of the young girl, making her realise that life is too precious to have such a negative outlook and live constantly in fear and wonder of things. This could be one of the reasons why the girl runs across wet sand to fetch a ball belonging to the dog, causing her to overcome her initial fear of quicksand and question everything she believed so strongly before.

The London monologue by Zia Ahmed is, again, quite a muddled yet descriptive piece. Incorporating rhyme, metaphors and lyrics, he tells a story of how he is heartbroken for reasons that seem to be out of his control. These reasons appear to range from family approval to his upbringing, religion and beliefs. The main theme that runs throughout is clearly that of discrimination, talking about how although London is his home, some people will never fully accept that, and also how he has to hide his true language to be able to fit in properly. He uses the fact that he cannot fully be himself and embrace his own background to emphasise to the listener that the issue or racism is still very much prevalent, however many people tend to overlook it.

The Cardiff monologue by Alan Harris is yet another piece highlighting the struggle people often face in trying to fit into society. This story is a rather short one, telling of how he has always been the type to get into a bit of trouble, saying it like it was something to be proud of. Alan goes on to describe getting far too drunk, struggling to find the correct way home and resulting in stumbling across a pushbike in a garden and using that to speed up the process. Unfortunately for him, a police car notices him and before he knows it he is being locked in a cell with what he describes as a duck staring at him from the toilet bowl. In what seemed like a very peculiar twist to a somewhat straightforward story so far, in a way he becomes the duck, being able to see the ducks life and memories through its own eyes. As quite an abrupt ending, the duck flies off and he is then released from the cell and instructed to find his way home safely. This made me question whether the ability of the duck to just fly off to wherever it wanted emphasised the man’s sudden claustrophobia of being locked in a cell and powerless.

What images/characters/monologues stuck out for you in any of the Paines Plough monologues and why?

The moment during the Liverpool monologue when the girl was sat in a random place with a random old lady talking about her life stuck out for me because it highlights how even complete strangers can all of a sudden change your life for the better. People who are struggling to fit in can surround themselves with all kinds of supportive and caring friends or family, but sometimes it just takes a completely unexpected encounter to make them see the world in a way they never normally would.

The image during the Manchester monologue when the man returns to his friends house with a golf club to find everyone asleep, only to continue to attack one of his friends in an eerily quiet room stood out for me as rather disturbing. It made me think specifically of how people may seem to have their lives together, with a wife and kids for example, but still abuse the effects of alcohol and drugs to put them in a different state of mind, possibly as some form of escape.

The character of the elderly man during the Plymouth monologue stuck out considerably for me, as I have witnessed through my own eyes a family member start to lose their mind. In particular, I found myself relating to the section where the elderly man is starting to remember parts of his past, even from many years ago. It was rather distressing to focus on how jumbled up certain sections were, constantly changing and overlapping each other. This made me wonder that is really what it is like to be in the mind of someone who has gotten to that level of confusion.

How were the National Theatre Scotland monologues using the frame (screen) to successfully tell a story?

The two monologues used the frame in very different and contrasting ways. For example, the first monologue was a plain screen used as the background with the actor entering the frame and taking a seat as if it were some kind of interview. The frame doesn’t change in any way throughout the entirety of the piece, apart from the occasional switch to show a historic clip linking to the actor’s reflection, making the actor the main focus to the audience.

The second monologue, however, used the frame in much more interesting ways. For example, the contents within the frame changes numerous times to show different scenes around the house. This automatically seemed to make me more relaxed and comfortable as it is more of a casual setting. Everything that was visible within the frame at all times was always relevant in some way to the story, having a clear purpose to be there, and gave an insight into the characteristics of the actor.

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harryseyebrows · 4 years

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Fine Line - Track-by-track rating

I’m in the mood to start shit. So here it is. My comprehensive album rating list. Rating subcategories should be self-explanatory, but I’m judging based on lyrics, how listen-able the song is overall, how interesting it is in terms of JUST sound, and crafting/production/my perceived idea of how well done the entire song is in terms of all the elements combined. Think about the effort that Liam put into his album vs. the effort Harry put into SOTT. What was written and created with intent and what was created maybe more for the sake of creating. Then, I did ACTUAL MATH and came up with an overall score out of ten. Read with caution and yell at me if you feel the need.

Golden:

Lyrics - 7/10

“I know that you’re scared because I’m so open” is fantastic and it’s great to see him literally being more open with his songwriting, but he loses some points for the general repetitive nature and more common turns of phrase.

General listen-ability - 10/10

It’s an easy song to listen to, whether you’re putting it on for background noise, listening while driving, or listening specifically with the intent of paying attention and enjoying.

Sonic intrigue - 8/10

The slower beginning and then the slam into the guitars and drums is great. It flows nicely and has a good pace/rhythm.

Crafting - 9/10

Overall: 34/40 = 8.5/10

Watermelon Sugar:

Lyrics - 6/10

Nothing particularly thrilling. It’s a generally fun song with some lyrics that are suggestive but not overtly so. Good to know that he’s enthusiastic about oral, but again, it’s not his finest lyrical work.

General listen-ability - 8/10

Another more easy listening track. Good for any time. A fun, sexy little bop.

Sonic intrigue - 7/10

The horns and bass line save this song from otherwise being a bit lackluster in terms of production, and make it interesting in a subtle, understated way that’s very enjoyable.

Crafting - 8/10

Overall: 29/40 = 7.3/10

Adore You:

Lyrics - 7/10

Kinda cliche and corny; “I get so lost inside your eyes”. Otherwise, very fun and leans heavily into a more pop lens. Makes up for it with “You don’t have to say you love me / You don’t have to say nothing / You don’t have to say you’re mine” and the “Oh honey”s.

General listen-ability - 10/10

I want to listen to this song all day every day. There has to be something in the soundwaves that’s brainwashing me. Can’t stop won’t stop.

Sonic intrigue - 9/10

At first glance (listen) it’s a very basic sort of pop song. But the more you listen, you realize that it’s rooted in a more funk-style guitar lick and utilizes synths in a way that doesn’t come off as too manufactured or ‘fake’. It’s layered; you find more and more complexity with each spin.

Crafting - 9/10

Overall: 35/40 = 8.8/10

Lights Up:

Lyrics - 8/10

The lyrical structure, if you look at it on paper, could easily be read as some type of poetry. The song opens with a question: ‘What do you mean?’ and then proceeds to offer fragments of sentences that aren’t necessarily connected, but somehow offer a cohesive picture — a message that’s still a little unclear but offers multiple interpretations in meaning.

General listen-ability - 9/10

It’s fun and boppy but also surprisingly mellow. For me personally, the tempo and bass mean that it can be hit or miss in terms of how/when I want to listen to it, but for the most part, I don’t skip it. This might also have to do with it being the first song we heard from him since HS1, and I might have overkilled it a bit.

Sonic intrigue - 8/10

It’s hard to not compare this song to his work on HS1, for the reasons above. HS1 was definitely more rock-oriented; more bare bones production and an ode to the more classic methods of music making ie singer, guitar, bass, and drums. Whereas with this song, it was essentially a complete 180 in style and production, with a little flair of R&B style music while maintaining his classic air of whimsy in both the lyrics and his less-frequently-used breathy head voice. Sometimes I still find it hard to believe that it’s a Harry Styles song.

Crafting - 8/10

Overall: 33/40 = 8.3/10

Cherry:

Lyrics - 8/10

One of Harry’s many talents is his ability to project tone with the combination of how he sings/emotes with his voice with the lyrics he’s singing. This song is no exception. It’s a sadder, more melancholic song, where he’s expressing some less-than-pleasant feelings, and you’re not only getting that from the words he’s singing, but HOW he’s singing it. It allows the listening to feel and empathize. It’s something he’s very masterful at. (See: the opposite would be something like Adore You, which under the guise of a more upbeat song, the lyrics are actually kind of sad and grovel-y)

General listen-ability - 7/10

I respect his artistic vision and the choice to include the voice note but as part of a general playlist, it can come off a little odd and out of place. Otherwise it’s very palatable. It just makes me sad, so I don’t often intentionally put it on to listen.

Sonic intrigue - 7/10

I liken this to a FTDT style song. Very raw. More singer-songwriter than pop. Some very lovely guitar playing and it’s nice hearing him sing in a register that’s been essentially neglected up until this album. But for the most part, I don’t think it’s his most interesting work. Very typical singer-songwriter guitar type song.

Crafting - 8/10

Overall: 30/40 = 7.5/10

Falling:

Lyrics - 7/10

I enjoy and appreciate his honesty, and perhaps there’s something to be said about the lack of flowery turns of phrase, but I just don’t feel like this is his most clever work. Again, great to see him being so honest, but it sounds like the extended version of If I Could Fly.

General listen-ability - 6/10

I can’t allow this to randomly come on shuffle without putting myself at risk of a depressive spiral. That’s where he loses points.

Sonic intrigue - 7/10

Every album has one, and this is it. The Basic Song. So widely palatable that it’s...boring. Shoot me, I know.

Crafting - 8/10

Overall: 28/40 = 7/10

To Be So Lonely:

Lyrics - 9/10

Currently, with just HS1 and Fine Line under his belt, THIS song is his lyrical Magnum Opus. It’s honest. It showcases an intriguing narrative. It’s clever. It’s fun. It’s a little sad. This is Harry and his amalgamation of musical influences mixed up in a bowl, poured into a pan, and baked into a perfect cake with frosting flowers.

General listen-ability - 8/10

This is another one of those songs that you can have on in the background and it fits into whatever you’re doing, or you put it on specifically to scream ‘arrogant son of a bitch’ back at him. It’s versatile.

Sonic intrigue - 10/10

The production on this song is clean but also a little rough around the edges, and I think it was done intentionally. You can hear the buzz of guitar and bass strings. There are peaks and troughs of volume. It has a sneaky little swinging beat that makes it impossible to not bop your head along with it. Again, it’s INTERESTING.

Crafting - 10/10

Overall: 37/40 = 9.3/10

She:

Lyrics - 8/10

I’m afraid to say anything negative about this song because I don’t want to be executed, but here goes. I think it offers a fun, interesting narrative on the first few listens. It’s a story; a little fantastical and sultry. But for me, it feels a bit like Woman 2.0

General listen-ability - 7/10

I have to be in the right mood to put it on specifically, so otherwise, it’s one that I won’t necessarily skip, but I prefer to have it on when I want to listen to slower music. Also kudos to Mitchell but the guitar wank at the end is just a little on the long side.

Sonic intrigue - 8/10

This is definitely a stylistic callback to the overall sound of HS1, and for that reason, I think it offers a nice bit of continuity.

Crafting - 8/10

Overall: 31/40 = 7.8/10

Sunflower Vol. 6:

Lyrics - 9/10

The story! The atmosphere! The pure, unbridled joy it offers! KISS IN THE KITCHEN LIKE IT’S A DANCEFLOOR!!!! I’m offended at how cute this song is. More men need to write songs like this.

General listen-ability - 9/10

This song instantly puts me in a happier mood. I don’t feel like a car ride is complete without listening to it at least once. It’s textural. I love it.

Sonic intrigue - 9/10

The backwards audio in the beginning. The weird bass. The vocal layering. The nonsense ad libs at the end!!!! FUN!!!!

Crafting - 10/10

Overall: 37/40 = 9.3/10

Canyon Moon:

Lyrics - 8/10

This song is deceptive — underneath the cheery, more jovial sound, it actually has some more echo-y melancholy notes — the ‘So hard to leave it / that’s what I always do’ and ‘I’m going home’s. It’s about reminiscing but still moving forward. Reflecting!!

General listen-ability - 9/10

Could easily fit in on a romcom soundtrack, and I mean that in the best way.

Sonic intrigue - 7/10

If I didn’t know that he specifically sought out Joni Mitchell’s dulcimers for this, it would feel just like any other upbeat guitar song, but I DO know his process behind it, so his score gets bumped a bit.

Crafting - 9/10

Overall: 33/40 = 8.3/10

Treat People With Kindness:

Lyrics - 7/10

Ohhh Harry Styles. He just wants people to be nice to each other! And maybe be a utopian society cult leader. It’s okay. We love him anyway. This song is full of idealisms; perhaps it’s a toe-dip into social commentary. Perhaps it’s a reflection of his own life, on dealing with friendships and loss and the overall nature of being a person. Who knows! It’s a batshit extravaganza in the best way.

General listen-ability - 8/10

If you can listen to this song without wanting to dance...you have a problem.

Sonic intrigue - 9/10

This song is all over the place but in a very thoughtful, cohesive way. It would not be the same if he sang the chorus; half of what makes it so charming is that he doesn’t, and instead, he sounds like some sort of unhinged ring-leader at the end, demanding ‘one more time’ and screaming. UNHINGED BUT MAKE IT JOYFUL.

Crafting - 9/10

Overall: 33/40 = 8.3/10

Fine Line:

Lyrics - 9/10

This song doesn’t have many lines, but the ones that do exist, are all purposeful and pack an incredible punch. It would be a disservice to him to try and pick a ‘best’ one, but ‘Put a price on emotion / I’m looking for something to buy’ and ‘my hand’s at risk / I’ll fold’ are up there as two of my favorite things he’s ever written. The repetitiveness of ‘we’ll be a fine line’ can be a little grating, but I find that to be entirely dependent on my mood, and not any fault of his own.

General listen-ability - 8/10

I put this on when I want to disassociate. Not ideal for when I’m driving down the highway, but what can you do.

Sonic intrigue - 10/10

One of the most, if not THE most, beautiful pieces of music he’s ever put out. Nothing more or less can be said.

Crafting - 10/10

Overall: 37/40 = 9.3/10

#this took me a long time to finish so you better appreciate it

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strawberryybird · 4 years

Note

Me sees the character songs post, immediately wants to know what character songs you have for the characters and why.

ok so. welcome to the rabbit hole that is my music taste and what is my no.1 most frequently done activity.. plastering emotions i have for fictional characters all over my music taste. I restricted myself to ¾ songs for each character & then to Edie, Hubert, Dorothea, Lysithea & Byleth because otherwise we’d be here all day (and those are the Primary Daydream Candidates rn)

under a rm because as im sure we’ve all seen.. i just don’t fucking stop.. also i got weirdly deep about some of these topics. i don’t know how to tag it. tread careful?

Here are some songs.. welcome to my (notoriously bad) music taste. alsoi go in Very heavy handed about it all. i make only a few apologies:

Edelgard:Everybody wants to rule the word - tears for fears. (ucan go with Lorde’s cover but i prefer the original bc im like that.) i meanit’s pretty heavy handed but it’s such an Edelgard song it !!!! fuels my ficwriting. if it’s not so very Edelgard’s relationship with twsitd then idk whatto tell you. plus it’s an iconic song

Medicine - daughter. (daughter is My Favourite Band. Ever. I cannot articulate how much ilove their (and ex:re’s) music!!) anway. this is a hegegard song & i don’ttake constructive criticism. I’ll reiterate this better in other descriptions,but please don’t take my inclusion of a song about such a topic as adevaluation of it in any way, that’s not my intention. The reason I go so feralfor Hegegard is because im no stranger to watching someone you care about hurt themselvesin a way you can’t stop, and that’s what the AM ending evokes in me. Hence: asong I love that one can read the same story in. And then the lyrics ‘You couldstill be / What you want to / What you said you were / When I met you” just !! parallelsEdge of Dawn’s lyrics about regret & overall I’m very feral about this.

(Don’t Fear) The Reaper - blue oystercult. this is PRIME Edelgard telling freshly-awokenbyleth she’s been waging war for 5 years. also !!!! “Seasonsdon’t fear the reaper / Nor do the wind, the sun or the rain, we can be likethey are” >>> “The Edge of Dawn (Seasons ofWarfare) (フレスベルグの少女～風花雪月～,lit. Girl of Hresvelg ~Wind, Flower, Snow, Moon~)” .. the link is tenuous but coincidence?? is it, fuck.

Seneca - Novo Amor. this is another one of those songs that could mean something different to everyone. very easy to project onto, is novo amor. I like the story of being prepared to run and break ties at any given moment, but ending up - emotionally or physically - in the same place one always was. apart from the glaring tie of how Edelgard returned to garreg mach, this song is a lot of me trying to repatriate Edelgard’s lack of emotional arc in the game by saying . well. this song.

You can call me Al - paul simon. am i projecting edeleth thoughts onto my favourite song? it’s morelikely than you think!!! but also i like the chorus and all the exasperating ‘call me el’jokes i can make.. i may be half writing a fic based on this song.

Dorothea:Agnes - glass animals. so i have significant emotions about edelthea at the best of times !! and this song !!! really bloody hits it home !! yes I knowit’s got a really heavy and real subject matter and I’m not trying to devalueit or minimise it.. but the story - about watching someone close to you hurtthemselves/get hurt, and doing so in ways you can’t stop them from - is adamn real one. And a Lot of why I love Dorothea’s character in the gamebecause she’s the one who can’t stop her friends from getting hurt – through exposureto warfare .. or stopping Edelgard becomingthe monster at the end of the story. Even though she’s one of the healers onthe beagle’s team. And I feel that.

Ex’s and Oh’s – Elle King. So you know that one spn fanvid featuringthis song about all of dean winchester’s relationships? That, but for my flirting Queen Dorothea Arnault. (and I have the dumbest most fun little headcanon thatonce Dorothea and Sylvain derailed a lgbt+ society meeting whilst Edie wastrying to go over the budget by blasting this song and dancing on the table.The idea makes me laugh)

Hold My Girl – George Ezra. The whole thing about wanting just that onemoment to cherish the people you love for one moment more before you have goout face the world? If that’s not the timeskip’d Dorothea Arnault Aesthetic, Idon’t know what is.

(Call Me Out – sea girls. On a much lighter note, this song is fueling the later half of mydrafts of road trip au. And it’s literally because of that one verse. im gayshut up.)

Hubert:Red Right Hand – nick cave and the bad seeds. Is it on the nose? Is itheavy handed? Oh u fuckin bet but that won’t stop me!!! A) it’s a good song. ItIs. B) I like narrative songs. C) Any ‘red right hand’ symbolism in Anycharacter has me love them immediately and also plonk this song in the middleof any playlist about them. sure, the artic monkeys version might be a bit more on hubert’s brand.. but my mileage varies about it lmao

I had fortress by bear’s den earmarked for Hubie, as I think it’s easilyread about boundaries and a one sided intense relationship & that’s! Hubiebaybee! But I can’t possibly cover unhealthy relationships without shoving thealbum Hospice by The Antlers into every which way of it. It’s by no meansdirectly translatable to Edelgard and hubert’s relationship and it’s arguable ifI should even mention it in the same sentence as a bloody fictional character… that beingsaid, I’ve been having emotions about:Shiva – the antlers. This song specifically reads to me to be a really goodarticulation of my own thoughts about Hubert’s perspective of Edie getting experimentedon. heavy but damn. I like that. I just see a lot of what their teen years togethermust have been like in Shiva.

Time – Pink Floyd. Ok so.. it’s like Hubert in parallel bc I think thissong is a lot about searching for a purpose/reason or a quote unquote bloodyred path in life. And I may have been listening to it when I watched Hubert/DorotheaA support & now it’s just permanently associated with it bc it complementedit so well. And I like it. So . it stays. It’s very much a beagles song to meas well.

Lysithea:The Beautiful Dream – George Ezra. Ok so I read this Edelysithea ficwith this on repeat bc the title reminded me of it, and then I stuck it onrepeat because it worked too well and now.. im crying.. and i like the inflection of Lysithea’s bitterness over the titular lyric. (but also, it remains one of my steadfast edeleth songs.. sorry lys)

Secrets (Cellar Door) – Radical Face. Another Edelgard&/Lysitheasong!! I really like their relationship ok. And given the song itself can beread straight or an allegory for whatever you particularly want, but the storyis just too on the nose for me not to mention it here.(also general advocation of listening to the whole of radical face’s musicbecause I’ve loved it for years now & the work is beautiful.) (also it’swonderful for fe awakening projection. Or ur own.)

Oh Children – nick cave and the bad seeds. there’s a million different interpretations of this song, but to try nail a few onto Lysithea.. there’s the harry potter use of making/finding a light in the depths of tragedy & i love that for Lys. there’s the whole ‘the kids aren’t alright’ theme and it’s various depths. and i like narrative lyrics to plaster my large fictional-character-caused-emotions onto, so make of this one what you will.

Marianne (and Lysithea too if you like)Bad Blood – Radical Face. Ok so. This is one of my favourite songs in bloodyexistence, and it’s so loaded with meaning & it has a metric tonne of it. Icould wax lyrical about how much I love Radical Face’s work. I don’t want myinclusion of this song (specifically this one) to in any way devalue it. Butmusic is ofc incredibly subjective, and so is my reading of a lot of threehouses – in case it’s not bloody obvious by now. There’s a Lot of stories onecould take from Marianne’s character (and none of them are More Valid^tm thanany other), and I do see a very personal story in her – as I do in this song. Hgghhghive just spent 10 minutes trying to find an impersonal way to talk about twovery personal and relative stories, which naturally doesn’t work. That, and theway I read her story is Real Fucking Dicey for tumblr.com. so if this song is about accepting rejection because of parts of yourself so deep they’re in your blood, i think.. y’all can see.. where my neurodivergent gay self is going with this..

Byleth:Something to Believe In – Tom Walker. Yeah. You’re bloody welcome. If this isn’ta completely on the nose Byleth song, I’ll eat Dorothea’s hat.

Don’t Let the Man – Fatboy Slim. ~ And the sign said green-hairedpartially possessed emotionally void mercenaries need not apply for aprofessorship at the country’s most prestigious academic centre… ~

Emigrate - Novo Amor. this just fucking Got Me in the ‘actively choosing crimson flower’ feelings. im an emotional wreak but its aight. the lyrics just matched up too well for me to let it go !!!

Alps - Novo Amor. this hit me in the ‘i miss the gremlin child sothis’ feelings one day and now it’s permanently stuck that way.

Make Them Gold – chvrches. (this is very much associated with awakening’sfuture past kids and also the Carmilla series in my mind But!!) I love a story about‘if we’re all falling, we’re going down together’ and the magical power of teamwork, and how it brings out the best in people.. & that’s what this song& Byleth kinda bloody stand for ya know??

woooh.. oh my god . i need another cup of tea.

#ask #birb says what //#fe meta #that tag's just for kicks and so i can find this again #oh my god i just don't shut up sometimes #but oh my god that was fun #easiest way to get me into a mouse trap or something is to tell me to make a character playlist i s2g #anyway. thank you for the ask!!!#apologies for the brick wall of text!!!#hope someone out there found at least one part of this they liked that'd be rad #but like. i do this shit for ME lmao #kalinary

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all-the-kookies-fall · 6 years

Text

A THEORY: Linear Timeline of reputation

This is going to be a very long read; but it may just include unlocking the 15 Taylor's from the LWYMMD MV so read on if you dare…

(OK it totally includes the theory, please read and tell me what you think!)

An Introduction:

I've been a casual fan of Taylor Swift since she started. Loved all her radio singles, listened to her albums (at my leisure upon release), and admired her platform and brand image. I guess I became a huge fan after 1989, but around the release of reputation, I realized just how much this woman's music has been there throughout my life and decided to fully stan her. As I fell down the rabbit hole of learning everything I could about TS as an artist, I became completely enamored with her wits & charms. However, the more I learned to love about her, the more I could feel just a slight inauthenticity; I was constantly thinking of the hypocrisy of how she "never names who her songs about" yet she created this scavenger hunt with her liner notes that seemed to point in an obvious direction of one of her "ex-boyfriends." It didn't align with how she presented herself in every other aspect. Then, I felldowntherabbithole for real and found all of the incredibly documented and organized realm of the Kaylor's, and everything was literally in screaming color.

reputation made even more sense with fresh Kaylor eyes and once I read this Taylor Swift quote:

reputation, in my mind, is an album that is very linear in it’s timeline. Meaning that it kind of starts out where I was when I first started making the record. The album ends more where I am now in my life. So this is more towards the end of the album, it’s called ‘Call It What You Want.’

my mind became OBSESSED with cracking this code. I had combed through all the kaylor blogs and while I had read everything I could, I still couldn't place it within any timeline. Then, Delicate came out and the code started to crack; I could peek inside and make sense of something, but was still unsure what it was. I put together a loose concept which had some plot holes, but it was when I remembered to revisit the 15 Taylor theory that everything completely revealed itself.

I would like to start with a disclaimer: I have never, ever actively participated more than lurking or even posted anything on Tumblr. I would like to fully acknowledge that there is a huge, fat chance none of this makes sense to anyone but me, but my husband was really getting fed up with me talking about it and I just needed to share. THANK YOUS to the Kaylor blogs I frequented with incredible analysis and POV of Tay in the media and her music- @all-my-possessions @howyougetthenerd @jennyboom21 @karlitakloss @kaydar @kaylorrepdetective @larrienation @out-of-the-klosset @paradisekisses @tallcurlygirl @taytaysbeard @that-curly-haired-lesbian @thoseflashinggreeneyes @whaler13bg to name a few. (Sorry, tumblr is not letting me tag a few of you.)

A lot of the information I am providing is not new and connects the dots from the amazing posts from this community. I tried as best as I could to cite all relevant posts - you can definitely let me know if I've made any errors. Please feel free to edit//contribute//comment because I have a feeling that a more seasoned eye would be able to expound on so many more clues and easter eggs!

Let the Games Begin!

Overall Concept/Themes

There are truly some insightful analysis of the overarching themes and concepts of the album already. Secrecy, partners in crime, forbidden love… In general there's a complex theme of Duality to the album; conflicting feelings, Brand vs Self, bad vs good, truth vs reputation etc. I think it's most important to note is that any analysis that views these tracks differently than listed below, can still be correct. Our Queen is a lyrical master plus there's that added layer of intentional dualities in her story telling; there's always at least 3 different meanings to her songs and that's one of the reasons we admire her wordsmith ways.

The Timeline!!!

…Ready For It? - So It Goes… 2012* - 2014

This has long been inferred in every side of the fandom to indicate this is Part 1 of the Story, implied by the ellipses as the beginning and end of the track names. All the timelines I've previously read started at either the introduction of 1989 or even later beginning with 2016/2017 events, but it didn't make sense applied to the album as a whole. Once Delicate MV came out, I began to notice that all of the nods to RED in all these MV's were not just for nostalgia. She is literally telling us that this part of the story was about the end of RED era leading into 1989 - not quite 1989 era just yet. ;)

*2012 is an estimate based on the beginning of the Delicate video; it's possible that TS & KK met before Swiftgron was officially over but who will ever know? Karlie's buzz cut was December 2011 (x). The first half of the album is difficult to theorize specific dates within this period because we really have no idea when KK & TS met.

LWYMMD - New Year's Day 2014 - 2017 (NYD)

I gotta tell you - immediately after reading this, go watch LWYMMD. It was (is?) literally hiding there in plain sight; it's a GENIUS video walking you through EXACTLY what she did (you could say from a satirical standpoint more how the media/GP thought she did) to prepare for this era! When she refers to the "Old Taylor," she's using the term in the exact way her fans have been using: to refer to Country Taylor. She is officially Pop; Look What We Made Her Do when RED, a pop-country album, "a patchwork of songs," didn't win the Grammy. She went full POP princess. This post in particular helped me remember that these songs are not fresh in regards to her life even though they are brand new to us. Part 2 of the story more clearly follows the events of the 1989 era through just before rep's release.

Track by Track // 15 Taylors

…Ready For It? Intro

I believe this is an introduction of what's to come, an overview of the story. Yes, she's definitely asking herself if she's ready to come out of the closet (x/x), if Karlie is ready to glass closet (x), is her beard ready for the consequences(x), and most specifically, are we, her fans, the GP, are we ready for her to come out and live her truth unapologetically? It's her laying the groundwork to prepare for 1989; her literally coming up with the concept for the whole era which is why we see the references to her 1989 MV's in the glass room. This post cites the connection to the Dykes on Bikes; are we ready to accept Taylor to not only come out, but be a strong voice and activist of the LGBTQ+ community?

End Game April 2013 - June 2014

I KNOW Taylor is singing to KK about them first meeting - and I KNOW we think they just met before VSFS 2013 (even though there are rumors that say they met sooner…) But, hear me out because this lines up way too easily with the information we get from the MV (x/x). Remind yourself… Who opened for Taylor's RED tour? That’s right, our favorite ginger. It's a nice additional nod with the callback of Everything Has Changed duet with Ed Sheeran. Miami (shoutout to my hometown even though I have no inkling to its significance) tour dates were 04/10/13, London was 02/01/14 (Did she really show us their first NYE together?!), and Tokyo was 06/01/14.

Irrelevant now but important for later (LWYMMD): And I bury hatchets, but I keep maps of where I put ‘em. This post highlights a cool interpretation of the line that applies to this whole post!

I’ve been doing some digging to try and somehow link Miami in this mix, and this is pure speculation but I feel like Future represents her bearding with Harry Styles. Karlie’s “buzz cut” was in December 2012, and shortly thereafter she was in Miami for a photo shoot. 1/4/12 marks the official break up of Haylor in the US Virgin Islands… it’s a stretch and I’m totally grasping at straws but they are geographically close and it’s all I got for now.

"Me, I was a robber first time that (s)he saw me…"

I Did Something Bad early 2013

So, I have to admit… IDSB and DBM were the two songs I was having the most trouble placing within the linear timeline; my initial thought was this must have been a metaphor for her confessing her "sins" a.k.a. bearding, to Karlie when they first started dating. This was the song that clicked once I looked through the lenses of the 15 Taylors and reaffirmed my thoughts with the visuals of this Taylor on the cross in LWYMMD. In digging a little deeper, I found a Vanity Fair article - one of the only cover stories found online about TS during 2013. I'm not as confident about my perspective on the linear timeline with this track, however I feel like it's a good start especially considering the next holy church track.

In regards to the "light me up" lyric, and clear visual reference in the …RFI MV as well as the crucifixion of Taylor in LWYMMD, I thought this answer she gave the 73 Questions With Taylor Swift | Vogue video was also interesting to note. The question was what is the one thing she wishes she would have known at age 19 (8:03)?

"Hey, you're going to date just like a normal 20-something should be allowed to, but you're going to be a national lightning rod for slut-shaming."

I'll leave this quote from the April 2013 Vanity Fair interview right here:

"But nobody calls them the kinds of names that get thrown at Swift. “They’re ‘playboys,’ ” Swift says wryly. “They’re ‘having fun.’ ”

By the way, in the Vanity Fair article there's an "authorized source" giving insight to what "really happened" to Haylor aka probably lies.

Every lie I tell them, they tell me three

Don't Blame Me early - mid 2014

I can really only hypothesize through the lyrics and the Taylor line up that this may be a reference to how the RED "media" circus (as quoted from the VF article cited above) literally made her do crazy things - maybe how her past experiences had caused her to react a certain way in an undefined relationship, maybe how the media circus in general had her guarding her heart, and of course the religious context of the song leads me to believe of course it is connected in that aspect to the confessing of her actions in the previous track. Big Sur trip also falls within this timeline. (x/x/x)

I once was poison ivy, but now I'm your daisy…

Delicate 2013 - 2014

I think this one has so many beautiful analysis with the music video that syncs perfectly with this time line with no need for additional explanation, and I think it's especially apparent why this Taylor represents TraKK 5 in the line up. (x/x)

It's interesting that Fearless Taylor and Red Taylor were the ones actually fighting on Taylor Mountain in the LWYMMD MV; this may be a reference to her insecurities and headspace during the RED media circus//break up anxieties fighting contrasting to her want to just dance in her best dress Fearless with KK with no inhibitions.

Dancing in my best dress, fearless

LWYMMD End of 2014

Has anyone noticed the crows in the beginning? It literally hit me as I was finishing this post - a group of crows is called a murder.

We see her Driving a new Maserati (well, car with significant meaning) down a dead end street and then crashes into the pole. (x) She literally killed the "Old Taylor" to get the Grammy - as well as set up clever disguises as red herrings* so that we missed the most obvious clue that this is about the release of 1989. I think even cleverer, how she walks away from the crash unscathed at the end of the MV to imply she rose up from the dead, she does it all the time (with each era release). (x/x/x/x)

*Red herring: something, especially a clue, that is or is intended to be misleading or distracting. In reference to the post regarding hatchets in End Game, she's definitely sending us on the hunt… remember that post above I asked you to note?

Then of course another hint to the timeline is in the lyrics and MV (look at the date of the tweet...)

I've got a list of names and yours is in red underlined

So It Goes… October/November 2014

This was definitely the most challenging to figure out, but there's definitely two clear ideas that are represented here - the linear timeline alludes to the HOT KINKY SEX our girls probably had after VSFS '14 (x/x/x) and the death of her 'innocence.' Coincidentally, I had read Slaughterhouse Five for the first time earlier last year and lurking around the Reddit TS community where they spent so much time trying to figure out how they could circle this back to Vonnegut. Unluckily for them, it is the most heteronormative//homophobic community where even Kaylor posts are censored/deleted/ridiculed etc so they weren't ever going to get it. This song represents a toxic relationship with CH in their eyes, and I can see that perspective… another Salute to the American Queen of Wordplay.

Anyway, here is a quote from a NY Times (https://www.nytimes.com/2011/12/18/books/review/and-so-it-goes.html)

That is, the constant repetition of “So it goes” makes readers ask themselves about the meaning of death (or its lack of meaning) and the incalculable human costs of war.

The 2009 VMA's Taylor is the epitome of everything her art, brand and music spoke to prior to 1989; and with the Pop princess she was no longer the relatable girl next door. She had gone full big-city, celebrity friends, glitz and glam - feeling so Gatsby for that whole year. With 1989, represented by the LWYMMD music video, that image was shattered, it was the death of her reputation but the true beginning of laying the groundwork for her and KK's future and she truly felt alive.

Not to mention a song about kinky sex is a huge step away from that image.

So it goes...

And so it goes, now Part 1 of our story is done.

Gorgeous Met Ball 2015

Part 2 moves into the 1989 era starting with the Met Gala. (x/x) I read a great analysis using the lyrics to prove why this song is not about someone you just met because of the intense conflicting feelings. (I have scoured Tumblr to find it and link it but can't rediscover it… sorry I explained I've been a noob and a lurker and I never liked or reblogged anything, I'll update with a link if I ever find it again!) That made me reevaluate my original thoughts of this track being Enchanted 2.0 and representing her meeting Karlie for the first time. This was the first public event Kaylor attended together; it must have been strong conflicting feelings of joy & giddiness of the relationship quickly overtaken by nerves, fear, and anger that she would be found out and/or couldn’t show any outward PDA towards KK at the event. I would imagine there was a lot of drinking that night to cope, thus the “drunk” perspective.

PS she probably didn’t go home alone that night (DING)😉

'Cause you're so gorgeous it actually hurts

Getaway Car May - August 2016

There are great analysis looking at this song from two main POV's- 1. the bearding CH-TH circus(x/x) and 2. a reflection of Swiftgron in hindsight (x). For the sake of the timeline/15 taylor line up, it was too coincidental that this was the Taylor snapping at the beards in I <3 TS shirts and from that perspective, fits perfectly into the linear timeline. It is suspect that TS went against her management in anger of how the "break up" with CH unfolded, and so it would make sense to be a little apologetic towards TH -- the one beard aftermath she may have regretted but that is just pure speculation.

And a circus ain't a love story, and now we're both sorry

*I JUST NOTICED! She POPS HER LEG for the 7th boyfriend in line - AKA CH. She is SO EXTRA!

King of My Heart August 2016

The below quote and Taylor line up don't need further explanation.

"I think it’s very interesting when people talk about their love stories. Like when you guys blog about, “my and my husband, me and my boyfriend” or just anyone talking about how they fell in love.

There seem to be these very definitive phases. It doesn’t matter how long that phase lasts. There seems to be a moment where you know it transitioned to the next phase. People will be like, “Oh my God, we were friends for six years and there was this moment and we knew and then it changed. Then there was a moment and it got even deeper. Then there was a moment and we knew” or like “I saw this person and there was this moment and we knew.” Everyone has a different story with how they connect with someone else and what i find interesting is the moment where it switches. You always hope that switch is going to move forward and not backwards because it can happen either way. I always wanted to structure the song where each individual section of the song sounded like a move forward in the relationship but still being listenable. So I wanted the verse to seem like it’s own phase of a relationship, the pre-chorus to sound like it’s own phase of a relationship, and the chorus to sound like it’s own phase of a relationship. I wanted them to all have their own identity but seem like they were getting deeper and more fast paced as the song went on. So finally I was able to achieve that in a song.”

Here’s a couple of my favorite analysis regarding this song. (x/x)

Up on the roof with a school girl crush

Dancing With Our Hands Tied Mid - End 2016

This analysis really explains the lyrics and matches the allusion of the Zombie Taylor to make it seem like it is a hindsight song about Swiftgron; however Out of the Woods is the last MV of 1989 era released the end of 2015 (aside from New Romantics your video) and this can perhaps be expressing the death of Taylor’s 1989 reputation after the slew of public feuds. It can also be interpreted as a hindsight song in regards to Kissgate in 12/2014(x/x); how she had found herself coming into 1989, but was a zombie version of that because she had to beard with CH and TH and it perhaps made her feel dead inside. Maybe she’s implying that she would have just taken the fall from grace then put herself through another (particularly long and grueling) fake relationship.

I had a bad feeling

Dress October 2016

Not only is Dress pretty frequently analysed, it's also the most obvious and blatant within the theory. I thought it was very cute that this was represented by the Ballerina in the line up as a not so subtle nod to Karlie. October 2016 was the infamous Golden Tattoos at Drake's birthday party. (x/x/x)

Made your mark on me, a golden tattoo.

Sorry I couldn’t help myself with this gif :P

TIWWCHNT November 2016

Originally, I thought this was the easiest one- yes, the Snake Queen is sipping and serving tea on her infamous feuds however it just didn't fit in the more transparent timeline of the second half. There's been a few posts that hint the track may be a slight diss to her fans. Once it hit me she was alluding to herself as our (the fans) American *dream* Queen, I realized: this song is not a slight diss - it is harshly directed to us, all of us. Hear me out: Just like KOMH is about a love that reflects back on different periods in life, this track also calls to a couple different conflicts with the relationship of TS and her fans. She's never enough for either aspect of the fandom.

I thought it was curious that she would have the "ET TU BRUTE" (x) as a reference to Kanye because let's be honest, she probably never trusted him after 2009 and rightfully so. "Et tu, Brute?" is a Shakespeare reference and a phrase that is now used to describe a friend stabbing you in the back. This would be more applicable to us, her fans. V1:

It was so nice throwing big parties

Jumping to the pool from the balcony

Everyone swimming in a champagne sea

And there are no rules when you show up here

Bass beat rattling the chandelier

Feeling so Gatsby for that whole year

This easily refers to 12/2014 - Kissgate. Feeling so gatsby for that whole year; throwing big parties. She had to close the gate before she was outed prematurely by the fans watching her during the concert. We were the last ones she ever expected having to protect herself from; she had been so open, glass-closeting, but the fans took it too far and crossed the line of her privacy. She was surprised by the network that had expanded to track her every move. A couple years pass, V2:

It was so nice being friends again

There I was giving you a second chance

Think back to the election of 2016; Taylor being back in the media and more open again with her life wasn't enough at this point. America had reached a boiling point and everyone had to pick a side; even Taylor's most dedicated fans were constantly expressing their disappointment at her so she changed her priorities and went into hiding.

As @paradisekisses once posted, “Not everything is about Kanye.”

Salute to you, our American Queen of Red Herrings

Because you break them, I had to take them away.

Call It What You Want End of 2016

The lyrics all harken to 1989 (x) and this is when her reputation has never been worse (again), but she’s stronger this time and it didn’t break her as much as post RED era. Not to mention, she’s madly in love and found her end game so nothing else really matters to her; her priorities have been shifted and she knows what truly matters in her life.

Call her what you want, she is Karlie's Partner in Crime. it's an obvious call to the gold cage, hostage to my feelings; she will jail herself once more with this ((hopefully)) last beard and that will be the official death of (2.0? 6.0?) Old Taylor. The best part is the BTS video showing how much fun she was actually having in the gold cage. There are beautiful analysis of this song (x/x/x/x/x) , and to me it's just the most real/pure love song. Love isn't just about all the good times, it's how your partner and you navigate the bad. Sometimes the worst moments in life show us just how strong our relationships are and bring us closer together.

Karlie what you want, call her what you want to (I can't unhear this in the background now <3)

New Year's Day January 1, 2017

This Taylor is hidden from us because she will probably never be as open with the GP, media, or her fans ever again. Who knows what to come in the future, but she actively tells us "don't read the last page" and to "hold onto the memories." Ugh, this is making me tear up -- I just officially joined the fandom!! Don’t tell me this is it already... (x/x/x)

This post highlighted the importance of the sunshine necklace with Taylor's obvious sarcasm in the BTS in saying “It’s really important to wear subtle jewelry in music videos, I’ve learned.” (If anyone can forward the gif I’d love to add it to the post :))

Sidenote: technically, isn't this another closet she's in during the rep era?

Wear you like a necklace…

And I will hold on to you...

I had so much fun putting this together and being inspired by all the amazing perspectives the Kaylor fandom has been churning! Hope you like it :) Let me know your thoughts!

#kaylor #gaylor swift #reputationtimeline

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peakatseven · 6 years

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TOP 10 ALBUMS OF 2017

#1 “Reputation” by Taylor Swift

#2 “Harry Styles” by Harry Styles

#3 “Divide” by Ed Sheeran

If you follow my blog and the top 3 of this list surprises you, you need to leave now. My love for all of these artists is no secret. But at the same time, all three of these albums include exactly what I look for in an album while also exceeding with my expectations. Let me warn you, this is the top 3 and I am about to write my detailed opinion on each one of the albums. Just a warning.

Starting with number 3, Divide by Ed Sheeran, there is no other way to describe the overall vibe of this than the word bipolar. The songs are intercalated between the ballads filled with emotion and the more upbeat tracks, but it all sounds cohesive somehow. Lyrically, Ed has kept it simple but relatable without branching out too much from his older work. It’s also a concise proyect who’s songs are perfectly executed in all aspects: the instrumentals, the vocals, lyrics and production. This was with no doubt one of the most expected albums of the year, and boy did it deliver!

I really had no expectations what so ever for Harry’s solo endeavour, since I’ve never been on the One Direction train. I thought it would just be another generic and surface-based collection of wannabe pop hits. There’s nothing I enjoy more than a surprise like this one. Harry followed his own rout here and went back to a sound that only finds it’s home within classic 80′s and 70′s rock. He’s got writing credits, which I didn’t expect at all to feel genuine, that set him to be something like the next Bryan Adams in the near future if he keeps this rout. I’ve turned into a fan because of this proyect, and I may even check the next One Direction album whenever that comes.

Finaly, the best album of the year for me, although it was a really hard decision to make at first, is non other than Reputation by Taylor Swift herself. It wasn’t hard to place this one on the top 13 at all, but it was har for me to place it on number one because of the perfection the last couple of albums are. But Reputation, in comparison to all the other perfect scores in here, is the only one to tell a concise, sonically cohesive linear timeline that can be interpreted as various different stories, depending on what the listener may be looking for. It resonates with each person differently, while also telling two or even three different stories relevant to Taylor’s expiriences on the past three years. There is no doubt this was the most unticipated album of the year, the one that sold the most even though it’s only been out for less than two months, and in a personal opinion, the best album of 2017.

#top 10 albums of 2017 #top 10 #albums #music #reputation #taylor swift #ts #harry styles #hs #self titled #divide #ed sheeran #es #ed #writing #taylor

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entertainmentculture · 7 years

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Beauty and the Beast

Beauty and the Beast; in live action. The heavily anticipated film marketed with 'Be Our Guest' plastered on every campaign. A clever stunt by the team behind the film. Furthermore, the casting of Emma Watson draws in fans of hers from Harry Potter. If, like me, you are one of those people; allow me to remind you: there's now a whole generation of children that will know Emma Watson as Belle. And not Hermione. Sitting down in the theatre, my first intentions were not to cry. This would later be broken; but it's the thought that counts. Beauty and the Beast has, and always will hold a special place in my heart. It was the character of Belle that taught me: it's ok to be different. As an avid book lover from a young age, growing up watching the original Beauty and the Beast really upped my self assurance. Upon hearing the film was going to be made into live action had me feeling a lot of things. I was excited to see the live interpretation, yet worried my childhood love would be destroyed. With the initial opening scenes, we're greeted with the backstory of the Beast. Showing off his wealth, his extravagant party and his intense greed. As the curse takes place, the entire ballroom setting darkens; the darkness of the Beast's personality manifesting into a physical form. There's fantastic use of camera angles and movement around this scene. They are used in a way that allows the audience to grasp onto the Beasts wealth, the shots focusing on pans and long shots. The castle itself seemingly getting larger and colder as the scene goes on. The castle physically takes on the weight of the curse. A permanent winter settles around the perimeter of the castle as his people are forced to scatter; their memory of the place lost. Then the audience is introduced to the ever-majestic, Belle. The village throughout Belle's introductory musical is accurately depicted. It's small, yet busy with both people and colour. The entire scene is made up of an extraordinary colour palette; this really capturing the attention of the audience. Furthermore, the camera moves rapidly, often following Belle as she spins in a circle. This dizzying movement playing off well for the production team. It draws attention to Belle whilst also showing the blurring, busy movement of the people around her. As per the songs lyrics, Belle is described by the townsfolk. The words 'beautiful', 'peculiar' and 'different from the rest of us' are heard various times. The townsfolk love her, yet hate her. Their opinions are heard in this, the audience now able to understand the awe mixed with distaste. Within this we meet Gaston; who comes across every bit as pig-headed as I remember. From this, we're introduced to our next central character; Belle's father. Our first introduction is him singing to himself about his dearly departed wife. This is a scene based on capturing emotion in the audience while also informing them; Belle's mother is gone. The next characters are introduced once Belle enters the castle. Of course, these characters are in the form of household objects. My favourite quote coming from Lumiere: "I have no taste buds but I can tell this is amazing". Another interesting aspect of this is Lumiere's remarkably human appearance; despite of course, being a candelabra. Overall, the FX of the items are utterly gorgeous. They all perfectly match the image I had in mind. I was blown away with it and they're involvement in the film. There's heavy traces of emotion in the film, along with light hearted humour. It's the perfect balance. My favourite shot from the entire film, however, is towards the end of the film. This shot is when the Beast sets Belle free to help her father. This shot tracks the Beast as he climbs a tower, so he can watch as Belle rides away. The final look we get at the Beast from his tower, the camera moves back to land in front of Belle. This really stood out to me. It's such a powerful shot, it captures his struggle with letting her go whilst we see her determination to help her father. The films conclusion ends with everyone living happily ever after. The Beast holds a ball for the townspeople, the entire place suddenly alight now that he has broken the curse of the enchantress. The Beast in this scene is dolled up in a blue suit, this calls back to Belle's signature blue dress. In conclusion, this movie had me laughing and crying all at once. I thoroughly enjoyed the film and I will happily watch it again. Between the acting, FX and SFX; the film is sophisticated, whilst maintaining the tradition Disney princess themes. I highly recommend you take listen to the marketing, and go be their guest. Rate: ★★★★★

#beauty and the beast #emma watson #film #movie #film review #filmreview #movie review #moviereview #Entertainment Culture #Entertainment #belle #beast #be our guest #beauty and the beast review #be our guest review #live action #remake #films

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supere1113 · 7 years

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Stuff I wrote down while making ‘Identity’

the following is some stuff I wrote down about the tracks on ‘Identity’ as I was making the EP. These were recorded between the months of October 2015 and probably January or February 2016.

Hey, guys! I know I put a lot of thought into the songs on "Identity", so I thought it best to give a rundown of each song on the EP so that everything is interpreted as intended and you guys get to know more about, and hopefully make a deeper connection with them! "Here we go..."

Not quite a hard-hitting b@nger, not quite a soft song, track 1 is an opener that strives to describe me in a radio-length pop song.

The title track of the EP, "Identity" is my attempt at fitting myself onto a song that people can listen to and get a good gist of me and who I am. I'm a child of God first, and also an artist with four main areas of specialty. My first interest was Architecture/Engineering and overall design, second is music, Third is writing and fourth is photography! I love to mix them up all the time, too! For instance, this song (and all the others I've written) is a result of my music skills intermingling with my writing skills. Outside of that, "Identity" sort of paraphrases my life and adventures up to now and what had allowed me to become who I am right now. I also elaborate on my musical identity, particularly in the bridge. I love so many different types of music that I have decided to identify as a "genre-bender" or "genreless" artist. For me, just about any musical style or influence is fair game in my recording process. These songs represent the first opportunity for me to experiment with the concept of blending genres! I wanted the production to be relatively uniform in tone, so I played the instrumental parts with the same effects but in varying styles within the given sonic arrangement. I was inspired by the flow of the amazing Alessia Cara's vocal delivery in songs like "Seventeen" and "Four Pink Walls", Ed Sheeran in general (but especially on "x"), as well as some smaller but still significant influences from Melanie Martinez, Halsey, Beck, The Notorious B.I.G. and Drake. Okay, I threw a little Justin Bieber and The Beatles in there as well! Lolz! I don't know how prevalent this is to other people, but the percussion part is probably the most dynamic element in the entire song as it not only changes styles within itself while complimenting the rest of the instrumental, but follows with the lyrical content and vocal inflections and volume changes. Because of its self-contained dynamic-ness, "Identity" took the longest time to produce and became the most thoughtful and intricate songs on the EP. Main message of the song: I am an artist of many disciplines, a loving soul and a musically eclectic individual; not to be categorized easily... And just trust God; The words I keep with me. I even have those words engraved on the inside of my "blue class ring"! Track 2 is simply, a lighthearted joke.

I was thinking of rhymes last summer and the two lines, "Got my pants ripped up, uniform like Goku/More fire songs than my Avatar Roku" ultimately evolved into "That Hype, Doh..." This song is really me showing my fun, seemingly careless side in a jokingly cocky, hip hop-based, hopefully mainstream-worthy song. I start by just spitting random rhymes and references (from Green Day to Harry Potter) laced with substance for a while before delving into a bit of real stuff. The chorus is meant to be laughed at and to "bring up that hype, doh..." at parties and stuff. The production has a lot of Beck influence as well as N.W.A. and alternative rock influence. New and old Taylor Swift influences can also be found in the chorus and super intricate drum beat. I used an array of different rapping styles to create something all my own. Main message of the song: There doesn't always have to be a point to things. It can be just for fun or just 'cause you want to. Jokes are almost always in style. With track 3, I wanted to put in a softer number because I am not all heavy and powerful on the inside.

There's a good amount of "softness", so to speak in my heart, and "The UnderLyer" really embodies that part of me for this EP. I often carry myself as a strong, pretty much invincible character; not to say that I'm not that way most of the time, but I am also not stone cold and apathetic in the least. Lyrically, the song takes a positive, adult stance on a lot of rather dark subjects that I and many others wrestle with in our minds. In terms of musical influences and production, "The UnderLyer" is essentially like The Red Hot Chili Peppers and Ed Sheeran made a live performance at a pub or a bar. It features loop-pedal-based sounds (a signature of Ed's) and live production techniques as well as a prominent bassline that (at least to me) is reminiscent of the groovy, laid back style and flow of the Chili Peppers. The title actually came from a phrase that the vibe of the original bassline evoked in my head; the type of atmosphere and persona that the song could take on. I also wrote the lyrics to the bassline and "The UnderLyer" is actually the only song on the EP that was written and produced this way. I obviously don't have the best time/content dial because the song was originally meant to be about 2 minutes and 34 seconds in my mind before I extended it to probably 3 minutes and 30 seconds, but it finally comes to an end at 4:27. I aimed for this time after I had fleshed out the lyrics because I have a weird relationship with numbers that evoke personas in them for me and those three just look really cool together; like Charlie's Angels or something (it also matches the exact song length of "Hotline Bling" by Drake almost perfectly). Now, wait, for the segue... Main message of the song: If you're going through rough times in your life, internally or externally, stay positive and keep going through until you get to the end. It will get better. Track 4 is a rebellious song about a rebellion that isn't really a rebellion. It's only meant to make a statement.

On "Y I Don't Care", the drum beat part at the beginning can be interpreted as us as a generation being steadily brought up in a good way I guess, before getting increasingly tripped up, hated on, desensitized or otherwise negatively affected before going into the main beat. When it hits, it can symbolize the collective members of Gen Y saying, "Enough is enough." Not really angrily, but forceful enough to push away all the opposition from those that find our differences from them unsettling. Honestly, the song only sounds menacing and fight-nightish because I'm trying to effectively get a point across and being seemingly aggressive unfortunately seems to be the language that most people understand best. "You mad, bro?" Hate to burst your bubble but I'm not even angry. I originally thought that "Y I Don't Care" would be no more than 5 minutes in length the way I wrote it, but the topics that I had put in it extended it to a near 6 and a half minute song! I even had to take a few lines out at the end because I thought the song was running too long and that I'd lose the interest of my listeners (so I definitely see myself revisiting and/or revamping this song in the future). But don't let the length drive you away; this song keeps you entertained from beginning to end! I'd say that all the songs are genre-benders in their own right, but this one is the genre-bender. Too many influences to count, but Linkin Park, Demi Lovato, Kanye West, KISS, Paramore, my man, Michael Jackson and the later work of the Jacksons are among the biggest. "Y I Don't Care" can actually be seen as an oddball anthem for Millenials. It's long and epic, brimming with strong messages that most younger people can relate to and a little chant-worthy at times! We are different and we force others to stretch their understanding in order to understand us. We "put their minds on the brink!" Main message of the song: We're gonna do what we want to do in life, and it doesn't matter if it's different from what's been done before. We are the future of humanity, so it's gonna happen either way. "Y I Don't Care" is actually my favorite song on the EP because lyrically, I feel it comes from the heart a bit moreso than the other tracks. It also has the coolest instrumentation of any of them in my opinion! "Identity" is probably my close second, though as it is a song all about me and who I am.

Track 5 is a closer, a reiteration and a thank you.

Crazy how many of these songs were written last summer! I wanted "What I Sound Like?" to be the closer, but it really acts as a dawning of my music career; a strong sign that much more is to come! Even if the song or any of my songs don't get really big, I'll still be making music because I honestly do it for me first; which leads me into even further elaborating on my musical identity. In addition, I want my songs to inspire people. If I can do it (as in whatever I set my mind to), than you, the listener, can do it too. "What I Sound Like?" also encourages the people of the world to learn and grow as people, while staying young at heart. There's a reason why Echosmith wants to be like the cool kids; 'cause being a kid is cool and everyone knows it. I also take some time to thank the listeners for checking out this music I've put out. Some of the bigger influences are the beautiful Tori Kelly, Linkin Park once again, 2Pac, Foo Fighters and... Ya know, after awhile, all the influences I was drawing from start to blur together and they ultimately evolve into the song that you end up hearing. Just about every aspect of "What I Sound Like?" was short and fast-paced. It was really the song that went from 0 to 100... real quick. 99.999 something% of the song was recorded and mastered in one sitting! (Most of the vocals were done in one take, as well) I finished the song in less than 5 hours in one night and it actually became the only real radio-length song on the EP at 3:21. I was happy about that because it shows the diversity of my music in the context of song length. Also, for the first time, I didn't feel as if I was over-writing song lyrics as much. I still filled the song with plenty of info though, so I'm also very proud of that! Main message of the song: I like all types of music and I like mixing them up together, you can do it too if you want, and it's okay to stay young on the inside.

Well, thanks for reading and thanks for listening if you have. Ask me any other questions you have using the hashtag #EvansIdentity and I'll try to answer them.

Thanks again, have a great day and good bye!

#EvansIdentity

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