#he can’t even think about taylor swift without associating her with me so i hope that he’s having a great time right now | Explore Tumblr Posts and Blogs

imaginedxlan · 3 years

Text

Drivers License (Ron Weasley)

a/n: have y’all HEARD drivers license by olivia rodrigo? sis DRAGGED joshua bassett, as she should have. Any who, I did this type of song based imagine with New Years Day by Taylor Swift and its still one of my absolute favorites I’ve ever written, so here we go

Y/N has cared for her best friend, Ginny Weasley’s, older brother Ron for as long as she can remember, but every time it he shows any sort of affection back, its not long before he moves onto the next girl.

warning(s): I don’t think any, please let me know if I missed any

Part 2

_____________________

I got my driver’s license last week Just like we always talked about 'Cause you were so excited for me To finally drive up to your house

Being muggle born, you always knew one day you would eventually have to get your license. Without the ability to use magic outside of school, driving a car was the second best way to get around. Last week, on the exact day of your sixteenth birthday, you finally passed your drivers test. You were ecstatic, you had been talking about finally being able to drive a car with all your friends, both muggle and magic, for years now, especially with the Weasleys.

You and Ginny had become friends during second year, both being in Gryffindor and all, but it wasn’t until fourth year that you realized how unlucky you were to have a best friend with such handsome brothers. Bill, Charlie and the Twins were far too old for you, so was Percy but your issue with him wasn’t so much age, rather how much of a priss he was. Ron was like god in your eyes. Only a year older than you and Ginny, but somehow he seemed to much more mature.

To be clear, you never used your relationship with Ginny to become close with him, he was more and added bonus to being friends with a girl like Gin. When Ginny and Harry became closer, it only made sense for you to spend more time with Ron, now that both of your best friends were occupied. He loved to listen about your life as a muggle, he heard a lot from Hermione, but your stories were just as interesting. When he found out you were to get your license this Summer, he wouldn’t stop talking about how you could just drive to The Burrow and visit them for days on end. It made you happy when he would seem so excited to spend time with you.

“Ron you do realize this is no more exciting than when my parents would drive me to your house.” You laugh at his planning for all that you’ll be able to do now that you have your license. You were in the common room just after dinner, trying to distract him from the fact that his sister and Harry had just snuck off to the astronomy tower. He hadn’t asked about either of them just yet.

“I know, I know. But you’ll be able to come whenever you want now, no one has to drive you to us, it’s all you.” He laughed with you, but slowly began to stop, looking almost out of breath. His eyes kept switching between your eyes and your lips, which made your heart catch in your throat. “Bloody hell, when did you get so gorgeous.”

This made your cheeks heat up, the thought of Ronald Weasley thinking his kid sister’s friend is anything other than just that. You don’t respond, feeling as though all the words you could’ve said were stolen from your vocabulary. His right hand reached out to grab your cheek, his thumb moving across the soft skin that was turning more and more pink by the second. You couldn’t help yourself from turning your eyes toward his lips, his tongue running across his bottom one.

“Ron,” You finally croak out, the only thing you could manage to say in your flustered state.

He doesn’t respond, only ducks his head down until you’re just centimeters from each other. You can feel his breath, hot against your skin. You couldn’t take it anymore, closing the gap between your lips. The first time you ever kissed Ron Weasley. Your heart was doing gymnastics as your brain was trying to comprehend what in the hell was happening. His lips were soft compared to his calloused hands. You had kissed other boys, plenty actually, but this wasn’t like any of the other kisses you’d ever had.

He pulls away from you, steadying his breath. He presses his forehead to your, staying like that for a while. “After you get your license you can come ‘round my house and we can do that for a minute before anyone even knows you’re there.”

And you're probably with that blonde girl Who always made me doubt She's so much older than me She's everything I'm insecure about

It wasn’t long after your kiss that Lavender Brown came into the picture. In the back of your head, you hoped that after what had ensued in the common room, he wouldn’t give the girl a second look. She’s beautiful, curly blonde hair, blue eyes, and more confident than you could ever dream of being. She started by complimenting Ron in the great hall, he didn’t think much of it until he realized just how much Lavender fawning over him boosted his ego.

The worst part is that she was his age. There was no chance of him thinking of her as just a child, just his sister’s friend. She was everything you wanted to be and more. It’s not that you didn’t think of him the way she did, you just didn’t have the nerve to say it to him. After you kissed in the common room, and in his room, and in your room, and in the random broom closet on your way back from class one day, you found yourself even more nervous around the ginger than before. You still felt the exact same way you did you years.

After Gryffindors win over Slytherin, all thanks to Weasley, the Gryffindor common room was absolutely buzzing. Screams and shouts about how Ron Weasley saved the day, chanting his name over and over. You and Ginny just watched from the side, letting him bask in his own glory before you went to say anything to him.

“You really like him don’t you?” Ginny asks, pulling you from your gaze. You looked at him with the biggest smile on your face, clapping along to all the chants. “And don’t lie to me, I know a face of a girl in love with one of my brothers when I see one.”

You could feel your cheeks turn red when she caught you, but still smiled as you couldn’t help yourself. “I guess I do. He’s different, you know? Never felt this way about anyone.”

Ginny just rolled her eyes, but you knew she was happy for you. She secretly had always wished you’d end up with one of her brothers so you could be sisters one day. Just as you’re about to make your way over to congratulate the boy, Lavender Brown, with all her confidence, pulls him down my his arm and plants her lips on his. You freeze in your place, heart dropping to your toes, hoping to every god there is that he doesn’t kiss her back. But he does. Just feet from where he first kissed you only months ago, he wrapped his arms around the blonde girl and you feel your chest burn. Ginny grabs your hand, forcing you to look away from the sight in front of you, and drags you down to your dorm. She doesn’t say anything, doesn’t make excuses for her brother, just strokes your hair as you stare at the wall in front of you. You don’t cry, you can’t bring yourself to do it. The beautiful things he would say to you over the past few months about how he felt when he held you or what you would do together when you could finally drive to the Burrow. The things that made you fall head over heels in love with him, all of it felt like a lie now. Because now he’s kissing that blonde girl in the place he kissed you for the first time as if you had been erased from his mind.

But today I drove through the suburbs Crying 'cause you weren't around

Yeah, today I drove through the suburbs 'Cause how could I ever love someone else?

You couldn’t avoid the Burrow forever, Ginny is still your best friend after all. She had sent countless letters in the weeks leading up to your birthday, begging you to come and see her so you could drive around like a bunch of muggle teenagers.

Your heart couldn’t quite take the idea of driving up to that house, the one where he lived, the one that he gushed about you driving to and kissing in the back seat of your car, but that didn’t matter. You thought forcing yourself to face what you didn’t want to see was the only way you could heal.

He isn’t with Lavender anymore, you half expected after their breakup that he would come to you and apologize, tell you he meant all the things he said to you and that he never meant to be with her. But he moved on quicker than you expected, and not to you. To Hermione. That hurt worse that seeing him kiss Lavender. Even when he was with Lavender, you would catch him in the common room and he would smile at you, touch your leg and say things that made your heart burst.

“I still think about that night, you know? In here.”

It felt wrong for him to be saying those things to you, especially while he was spoken for, but you never stopped him. It wasn’t until he fell ill after being poisoned that you realized he never loved Lavender. You, Ginny, and Hermione sat by his bed while he was unconscious. When Lavender came in carrying on about her ‘Won-Won,’ he began whispering Hermione’s name in his sleep, and you knew it wasn’t Lavender you had to compete with, it was Hermione Granger.

Ginny grabbed your hand like she did at the Gryffindor party and led you out of the hospital wing where you spent hours next to him, just for him to say her name. You cried this time, knowing now you weren’t his second choice either.

Now here you are, driving up to the Burrow with tears in your eyes because all you could associate with this place was how your heart would beat out of control when Ron would speak about you visiting him. You couldn’t bring yourself to hate him though, how could you? You spent years caring for him before he showed you even the slightest bit of affection, you were used to being disappointed by Ronald Weasley, it never made you love him any less. He stopped saying the types of things he used to now that he was with Hermione, perhaps you were just a place holder for her. He didn’t ignore you, which was actually worse, you wish he would just pretend you didn’t exist. Instead, he pretended like you never meant anything more to him than being just his sister’s mate, like you never kissed him, like he never told you how much you meant to him.

The house buzzes with energy and you fix yourself before getting out of the car. The twins are batting in the yard while Molly yells for them from the kitchen. You’ve always loved the Burrow, how much noise there is compared to your house, but today you dread walking in.

“Y/n!” Molly greets you, patting her hands against her skirt before pulling you in for a hug. “How I’ve missed you sweet girl. Come, come! I have a little something for you, I know its a week late but I couldn’t let your birthday pass with nothing!”

She pulls you into the living room where a tiny wrapped box lies next to the couch, next to Ginny, Ron and Hermione. Ginny smiles as soon as she sees you, jumping up to pull you into a tight hug. Ron and Hermione don’t get up, just say hello from their spots on the couch before going back to whatever they’re talking about. Your heart aches.

Mrs. Weasley hands you the small back, urging you to open it. Inside is a necklace with a small red gem and a lion pendant. You gasp at its beauty and its thoughtfulness. “Oh Mrs. Weasley! You shouldn’t have!”

“Merlin, y/n, how many times must I tell you to call me Molly!” She scolds you with a laugh. “It’s nothing, really dear. You’ve meant so much to this family for so long, it would be like not giving a birthday gift to my own child.”

You smile for a moment before remembering that Ron had forgotten your birthday. You got letters from Ginny, other friends from school, even the twins and Harry had sent you a short message, but not Ron. “Oi, is it your birthday?”

“Last week.” You correct the boy, not wanting to speak with him any further.

“Ah, sorry mate, I forgot.” He says nonchalantly. “You got your license, right? You get a car too?”

You simply nod and look toward Ginny for help, she immediately intervenes by saying, “Well, y/n promised she’d take me for a ride. Want to feel like a muggle teenager for once. See you all later.”

“Be safe you two!” Molly yells after you as you make your way to your brand new car. The twins shout about you ‘sweet wheels’ before you take off with Ginny.

“I’m sorry about him, y/n.” She apologizes for her brother as you pull further from the house. “He’s a real git sometimes.”

“S’alright Gin, I’m here to see you anyway.” You assure her, trying to hide that your heart breaks every time you see her brother. “Now where to?”

I know we weren't perfect but I've never felt this way for no one And I just can't imagine how you could be so okay, now that I'm gone 'Cause you didn't mean what you wrote in that song about me 'Cause you said forever, now I drive alone past your street

You truly thought he felt the same way you did about him. How could you not? The night after you kissed Ron Weasley for the first time, you found that you couldn’t escape him, not that you wanted to. You would see him in the great hall, in the common rooms, in the hallways, he was everywhere and gave you butterflies every time he looked your way.

He would pull you away from your friends to sneak a kiss in a broom closet or in his dorm, making you feel like you were in a movie. He said the most lovely things to you, telling you he wished he had fallen for you sooner, but he would never be so open around his friends. Around Hermione. You never minded, as long as you had him in some shape or form.You usually had higher standards when it came to liking a boy, but you’d never felt the way you felt about Ron with anyone you’d ever liked.

“I love the way your hair gets messy throughout the day,” He whispers to you after you had finished snogging in his dorm. “How do you look so beautiful, always.”

“I think you made it this messy you idiot,” You push his shoulder, trying to hide your blushing cheeks. “Now I have to fix it.”

“No, don’t!” He stops you, grabbing your hand, interlacing his fingers with yours. “Lay with me for a minute. I want to hold you for a while.”

Your heart was beating out of his chest for him and only him. As his arms snaked around your body, lips pressing to the skin of your neck, you never felt more content. “I feel at home when I’m holding you like this.”

When he said those things to you, how could imagine him ever moving onto someone else so soon. How could he say those things to you and so quickly be okay with losing you like that. You couldn’t wrap your head around how he told you that you felt like home just before kissing Lavender Brown right in front of you, then completely erased you from his past to date Hermione Granger.

Whats worse is whenever you go to the Burrow, you can always hear Ron playing his guitar, even from Ginny’s room. You think he does it on purpose, just hoping you’ll cry yourself to sleep or something. It brings back memories of the nights you spent in the boys dorm, drunk off fire whiskey, as he sang made up songs to you as he strummed along with his guitar.

“I want to hold you close forever, ‘cause you’re the kind of girl I’ve only dreamt of. And my heart burns when we’re together, can’t help but smile with you my darling love.”

He sang, very poorly, but still sang. Your heart skipped a beat when he sang those words. “Ronald Weasley! Did you just call me your love?”

“Shut up,” He teases, throwing a pillow toward you. “You know I don’t think before I speak when I’m drunk.”

And now he was singing words just like that to Hermione Granger as you sat in Ginny’s room, tears silently spilling down your cheeks. He obviously didn’t mean those words he sang to you not even six months ago, if he did he wouldn’t be singing them to Hermione. You obviously have two different meaning of forever, because hiding your relationship from his friends, only to turn around love two other women, doesn’t sound like your version.

As you drive back up to the Burrow, Ginny in the passenger seat of your car, you can’t help but hurt over the thought that he should be there with you.

#ron weasley #ron weasley imagine #ron weasley x reader #harry potter #harry potter imagine #gryffindor #gryffindor imagines #weasley imagine

161 notes · View notes

immaturityofthomasastruc · 4 years

Text

#4: There's totally character development, you guys! You just don't see it!

A common critique of Miraculous Ladybug is the lack of actual character growth and development in three seasons, a sentiment most of the fandom agrees with.

At the time of this post, Miraculous Ladybug has been through three seasons with 78 episodes, and nothing has really changed. Sure, by the third season, new villains were introduced, and the season finale shook up the status quo a little bit by exposing the identities of the temporary heroes as a result of Chloe's damnation arc that was obviously planned from the beginning, but despite one of the main plotlines being the relationship between the two, Marinette and Adrien are still at square one. She's still a stammering mess around him, he still doesn't get she has feelings for him, while Cat Noir still can't take a hint that Ladybug isn't into him.

Sure, you could make the argument that they're in relationships with other people now, but not even the show wants to acknowledge it, as a big part of the recent New York City special was about Marinette and Adrien's friends forcing the two to spend time together, even though Marinette said she was trying to move on from him. Even the synopsis for the fourth season says that Marinette still has feelings for Adrien, so now we're wasting even more time on this subplot that's starting to rival Ross and Rachel in terms of tediousness.

Honestly, a good representation of the writing process can easily be summarized like so:

youtube

But enough of my rant, what you're here for is what Astruc has said in response to this kind of criticism in this (now deleted) tweet.

Okay, first of all, who unironically uses the term “haterz” to describe someone who criticizes them? What is he, Taylor Swift?

Second, in order to properly analyze this tweet, I'm going to have to talk about Luka and Kagami first. They were introduced during the second season of Miraculous Ladybug to complicate the Love Square, sort of like Jackie and Tom during Star vs. the Forces of Evil. Their reception was... mixed, to say the least. Part of it had to do with how the show first portrayed them.

Now, I like both of these characters, as well as the ships associated with them, but I want to make things clear that this is based on fan interpretation of these characters. If you like Luka and Kagami, or the associated ships with them, that's fine. Same goes for the ships in the Love Square between Marinette and Adrien. While I will be criticizing the writing of the romantic subplots, I am not trying to start a ship war here. This is all about the way Astruc views the writing of Luka and Kagami. So let's please try to keep any comments here civil.

Luka first appeared in the episode “Captain Hardrock”, and was instantly infatuated with Marinette. Fans really didn't like the episode. In addition to the boring villain and horrible animation on display, some viewers simply found Luka to be a boring character. Don't get me wrong, there were still some fans who loved Luka in his first appearance, but for others, it took until his next appearance, “Frozer”, for them to warm up to Luka. The thing is that was because of how Adrien had been for some of the season.

See, mid-Season 2, people had started to question the way Adrien was being written. He had been much more assertive in his attempts to get Ladybug to fall for him, like setting up dates, offering flowers, and supporting the media shipping the two together, claiming they're “meant to be”.

This ties back into why people stated to like Luka more. Unlike Adrien, who was more intrusive of Ladybug's boundaries, Luka was much more calm and understanding of how conflicted Marinette was when she was caught between him and Adrien. By Season 3, a lot of fans found Adrien was only getting worse and basically abandoned ship (no pun intended) to start shipping Luka with Marinette.

While I believe there are some problems with the way Adrien is being written (which I will get into in a later entry), I don't think all hope is lost for the Love Square, as there are some generally cute moments between Marinette and Adrien, and there have been a lot of great fanfics featuring the two as a couple. So it's safe to say I don't think the Love Square is a lost cause.

At the same time, I can understand why people would start shipping Lukanette instead because of the way they viewed Adrien's behavior during Season 3. I also think they have some nice moments in the show, with one of the few good episodes in the garbage fire that is Season 3, “Silencer”, being all about Luka and Marinette growing closer.

Here's the thing. The way the fanbase perceived Luka? IT ISN'T CHARACTER DEVELOPMENT.

A big reason fans started to ship Lukanette because of how poorly the other romantic subplot with Adrien was going. Hell, people started to ship Marinette with Damian Wayne because of how much they hated Adrien. Some fans have also cited how Marinette looks much more comfortable around Luka compared to when she’s an anxious mess around Adrien, allowing for better interactions with the former.

And Astruc is acting like the fact that more people are shipping Lukanette like it's all part of his brilliant plan. It's hard to explain how ridiculous this sounds without starting a ship war across Tumblr, so let's move onto what he said about Kagami.

Kagami's first appearance in the episode “Riposte” didn't really give the audience a good idea of what she was like, as she was the Akuma of that episode. All we really knew about her was that she was a fencer, her mom was incredibly strict towards her, and she hit it off with Adrien. It didn't help that she didn't have another appearance for almost an entire year.

Her next appearance, “Frozer”, really didn't portray her in a positive light. Because Kagami had a crush on Adrien, she was a lot more cold to Marinette (even though they hadn't met before and when Adrien told her about her at the end of “Riposte”, she sounded eager to meet her) and basically told her to move her ass or Adrien was hers. Oh, you think I'm paraphrasing? That is literally what Astruc said when someone asked the meaning of that line.

Because all girls do is fight over cute boys, right? Such a good message for a “girl power” show.

Her next appearance in “Animaestro ”made her out to be the threat in the first half of the episode for the crime of hanging out with Adrien. This motivates Marinette to team up with Chloe of all people to embarrass Kagami in front of Adrien, and neither of them are ever called out for it. Yes, Marinette and Chloe both have a crush on Adrien, but the show is demonizing Kagami for daring to spend time with him when Adrien honestly looks much more comfortable around her compared to when Chloe or Lila (another character I'll talk about later) force themselves onto him.

So here's a fun fact: If you write a character as a threat to the protagonist in a completely irrational way, all while perpetuating the cliche stereotype of girls fighting over boys, people aren't going to like that character.

It wasn't until the episode “Ikari Gozen” that Kagami and Marinette finally became friends, and people actually warmed up to her because the show stopped trying to portray her as a romantic rival on the same level as Chloe and Lila.

So while you could call Kagami becoming friends with Marinette character development, it just comes right out of left field, I don't really think it was planned out. But even if, congratulations Astruc. You finally wrote some character development for two supporting characters. Now if only you could do it for your main characters too.

(Sorry if this isn’t my best work, I’ve been focusing on another entry that tackles an... interesting example of how poorly Astruc can respond to criticism.)

344 notes · View notes

engagedzukka · 4 years

Note

Ok so ur Taylor Swift Zukka playlist is *chefs kiss* and I need to add that my tears ricochet is 10000 percent about Zuko’s relationship with his family and no one can convince me otherwise

FIRST of all, thanks for listening!

SECOND of all, thanks for giving me a platform to ramble even MORE about this!

THIRD of all, about my tears ricochet.....

I know you said that no one can convince you otherwise, but have you considered the possibility that MTR is not about Zuko, but rather about Azula?

Because what is MTR about? It’s about stooping low, refusing to take the high road, and instead vowing to take revenge when someone you love, and someone who claims to love YOU, has hurt you. this is very in-line with Azula’s mindset around the time of the final Agni Kai against Zuko.

I think MTR fits much more with Azula’s perspective than it does with Zuko’s for three main reasons: 1) Azula’s attacker (Zuko) claims to act based on selfless motivation; on the other hand, Zuko’s attackers (Azula, Ozai) never claimed to act out of anything besides self-interest; 2) Azula’s attackers (Zuko, and to some extent Ozai and Ursa) claim to view her in a positive light, whereas Zuko’s attackers (Azula and Ozai) do not claim to view him that way; and 3) Azula lashes out against Zuko and the other people close to her out of anger and a desire to inflict pain and instill fear; Zuko is only the aggressor when defending himself or pursuing what he views as a higher moral ideal.

ANALYSIS UNDER THE CUT CAUSE THIS GOT LONG

1) Azula’s antagonists claim the moral high ground. Zuko’s do not.

Consider the following lyrics:

I didn't have it in myself to go with grace And you're the hero flying around saving face

I think this lyric really serves to capture Azula’s state of mind following the final Agni Kai. Zuko, after taking the throne, is the “hero,” pretending to save the Fire Nation from its past. Obviously, Azula fails to see or to accept that this motivation is genuine, because to her, being the Fire Lord is personal. It’s not about pursuing a higher ideal; it’s about securing power for herself (which in turn is a way of securing the affirmation she desperately craves from her father).

On the other hand, it’s highly unlikely Zuko would ever characterize Azula or Ozai as acting like a “hero.” He sees them for what they are, and they see themselves that way, too.

Additionally:

You had to kill me, but it killed you just the same Cursing my name, wishing I stayed You turned into your worst fears

You HAD to kill me. You had some moral OBLIGATION to kill me. Zuko’s abusers never felt the need to extinguish him, and this is borne out by the fact that they never actually did. He was never dangerous or important or powerful enough. But it’s different for Zuko - he HAS to put a stop to Azula’s reign, or countless people will be hurt. Thus, I think this line makes a lot more sense coming from Azula’s perspective, speaking to Zuko.

Also, Zuko doesn’t think Azula turned into her worst fears. He thinks she became exactly what she wanted to be, a dictator with unlimited authority. But Azula thinks Zuko became HIS worst fears by becoming an arbitrary, power-hungry leader, one willing to take out his own sister to get what he wants.

2) Azula’s antagonists claim to love her. Zuko’s do not.

It’s likely that Azula would disbelieve or mischaracterize Zuko’s mourning of her, as Taylor does in the following lines:

And if I'm dead to you why are you at the wake? Cursing my name, wishing I stayed

When Zuko defects from the Fire Nation, he has no expectation that anyone in his family will be “wishing he stayed.” There is no genuine mourning of the loss of Zuko, and he doesn’t think there will be. Neither Azula nor Ozai ever make any sort of public claim that they wish he stayed, not after Day of Black Sun.

On the other hand, Azula likely does hear Zuko mourning her loss, post Agni-Kai. I think we can all imagine that after Azula is committed for treatment and Zuko has ascended to power, Zuko will likely make clear that he is remorseful for what happened to Azula and expressly wish that things were different. And if you’re Azula, the person Zuko is “mourning” after he beat her and took away what was rightfully hers, how would you react to that? You would think it was disingenuous. You would ask, if I’m dead to you, why are you at the wake? If you’re the one who finished me, how can you despair that I’m finished?

And you can aim for my heart, go for blood But you would still miss me in your bones

In case it isn’t clear without the context of the song, in this line Taylor is basically saying: you can hurt me, but you’ll regret it, because you’ll be hurting yourself, too.

Now, after Zuko defected for the last time from the Fire Nation, I don’t think he has any fantasy that Ozai or Azula will be “missing him in their bones.” He has come to recognize their family dynamic for what it is, one based on manipulation as opposed to love. He doesn’t think they’ll regret the hurt they’ve caused him, and he accepts that.

But at the time of the final Agni Kai, Azula hasn’t had this revelation yet. She DOES think she will be missed eventually, either by Zuko or by Ozai. She does think that time will tell, and Zuko will come to regret hurting her, that he’ll miss her in his bones. And honestly, that’s probably an accurate assessment to some extent!

And you're tossing out blame Drunk on this pain Crossing out the good years

Azula sees Zuko as “crossing out the good years” of their childhood friendship, whereas Zuko has come to realize by now that there were no good years, not really. Thus, this line makes a lot more sense coming from Azula’s perspective.

Finally:

And I still talk to you When I'm screaming at the sky And when you can't sleep at night You hear my stolen lullabies

When Zuko has given up on his family, I don’t think it can be said that he’s still reaching out to them (”I still talk to you”) or trying to make himself heard by them (”when I’m screaming at the sky”). Nor does it seem like he expects for them to haunted by his memory (his “stolen lullabies”). It’s more likely he believes they will be apathetic.

On the other hand, I think it’s likely that Azula would continue lashing out at Zuko after she’s locked up - even if it will never really reach him. Even if it’s just screaming at the sky. And more importantly, I think that she would hope that he would be kept up at night thinking of what he did to her. She would want him to hear her stolen lullabies when he can’t sleep. She would want him to be haunted by his memory. She would EXPECT him to be. I don’t think Zuko ever wished anything like this on Ozai or Azula, and I don’t think he EXPECTED this from them, either, because he doesn’t believe either of them ever truly cared about him at all.

3) Azula's motivations are personal. Zuko’s are not.

THIS, the idea of taking revenge against a lost love who betrayed you, is at the core of my tears ricochet. And that’s the primary reason why I think this song fits Azula so much better than it fits Zuko. Zuko doesn’t fight Azula because he wants revenge; he does it because it’s what he thinks is right for the Fire Nation and the world as a whole. Azula is objectively dangerous and needs to be incapacitated for reasons that are not personal to him. On the other hand, consider these lines:

And if I'm on fire You'll be made of ashes, too

and

I didn't have it in myself to go with grace And so the battleships will sink beneath the waves

Both of these lyrics refer to the decision to commit a violent act, not to pursue some higher ideal (like ending a war), but out of anger for an act committed against oneself. I find that both of these lines go a long way to describe Azula’s mindset DURING that final Agni Kai, when she forfeits the fight and decides to aim for Katara instead of Zuko. At that point, Azula knows she’s losing. She knows Zuko has KILLED her, metaphorically, and maybe a literal execution is soon to follow. And what does Azula do in that moment? She doesn’t have it in herself to go with grace. She doesn’t accept that she’s lost. Instead she fights dirty. She makes it personal.

Zuko never goes there. Azula does. AZULA’S tears ricochet. Which is why I will always, more than anything, associate this song with her.

And if I'm dead to you why are you at the wake? Cursing my name Wishing I stayed Look at how my tears ricochet.

LISTEN FOR YOURSELF AND DECIDE.

#HI #I WENT A BIT PSYCHO AND WROTE THIS #i hate myself too #ask #anon

78 notes · View notes

iamthemoonsdaughter · 3 years

Text

I know no one asked for this but I feel like recommending songs I’ve been obsessed with for the last couple of weeks. So here they are:

“But my therapist says to just let light be light, so I’m letting him stay around” BITCH MY HEART CANT TAKE THIS.

I just think this “I hope he treats you better than I ever could, cause you deserve the world times two, and our simple Sunday afternoons. I hope he’s home for you even though I had to lose you, for you to find your heart, even if I’m not the one you choose” is beautiful. Also, his voice. Oh my fucking Jesus, his voice.

Yes I’ve talked about this one before but FUCK. I’ve never even had an actual relationship, nor do I relate to this song in any way but when he goes “I thought if I wanted I’d fall back in love. You said distance brings fondness but guess not with us. The only mistake that we didn’t make as run (now look what we’ve done)” I die. Also I have a thing for songs that talk about space idk.

Maybe it’s just me never having experienced a romantic relationship, but the idea of someone who I love with my whole fucking heart and that I think loves me just as much, suddenly falling out of love with me truly sounds like the worst thing in the world. Like, not even realizing it until one day they tell you they don’t feel anything for you anymore. My biggest fear probably. This song encapsulates the feeling, so yeah.

Joy is so fucking incredible and I don’t understand how is it that more people don’t listen to them. Her voice, their music, everything about her is so beautiful.

This song makes me feel so nostalgic yet happy, idk. I just want to be able to enjoy my twenties but I feel so trapped in my own head and like everything and everyone continues on without me and I’m just standing, watching it all go. So yeah, good song. Also I listen to this song while I ride my bike during the sunrise and it’s the most beautiful feeling in the world.

This song reminds me of every fucking ship rivals to lovers/enemies to lovers when they bicker a lot but there’s so much sexual tension and they are arguing but looking at each other’s mouth and they get closer and closer and ajshshsgs. And I love it so much. It’s just so fun, makes me wanna dance around in my room.

I could talk about Hozier for hours, no end. Truly. This man is so amazing. When he says “Id be appalled if I saw you ever try to be a saint, I wouldn’t fall for someone I thought couldn’t misbehave” I just can’t catch my breath. Pls hozier sing me to sleep.

Another person I could talk about for hours. Taylor, it’s your fault I’m such a hopeless romantic and a cynical bitch at the same time. I love songs about soulmates, yes I said it. Also, yes, because I have never felt anything remotely similar to this song for anyone ever I associate it with my favorite ships, and I’m a sucker for the whole “soulmates, meant to be” trope.

Okay that’s it for today but I liked doing this so I might do it again some time even if no one cares for this shit.

#Spotify #cami’s recs #music #songs #Taylor Swift #hozier #Alessia Cara #clinton kane #Conan gray #COIN #jordy searcy #joy oladokun #lizzy mcalpine #my favs

11 notes · View notes

tswiftdaily · 4 years

Link

In the 2010s, she went from country superstar to pop titan and broke records with chart-topping albums and blockbuster tours. Now Swift is using her industry clout to fight for artists’ rights and foster the musical community she wished she had coming up.

One evening in late-October, before she performed at a benefit concert at the Hollywood Bowl in Los Angeles, Taylor Swift’s dressing room became -- as it often does -- an impromptu summit of music’s biggest names. Swift was there to take part in the American Cancer Society’s annual We Can Survive concert alongside Billie Eilish, Lizzo, Camila Cabello and others, and a few of the artists on the lineup came by to visit.

Eilish, along with her mother and her brother/collaborator, Finneas O’Connell, popped in to say hello -- the first time she and Swift had met. Later, Swift joined the exclusive club of people who have seen Marshmello without his signature helmet when the EDM star and his manager stopped by.

“Two dudes walked in -- I didn’t know which one was him,” recalls Swift a few weeks later, sitting on a lounge chair in the backyard of a private Beverly Hills residence following a photo shoot. Her momentary confusion turned into a pang of envy. “It’s really smart! Because he’s got a life, and he can get a house that doesn’t have to have a paparazzi-proof entrance.” She stops to adjust her gray sweatshirt dress and lets out a clipped laugh.

Swift, who will celebrate her 30th birthday on Dec. 13, has been impossibly famous for nearly half of her lifetime. She was 16 when she released her self-titled debut album in 2006, and 20 when her second album, Fearless, won the Grammy Award for album of the year in 2010, making her the youngest artist to ever receive the honor. As the decade comes to a close, Swift is one of the most accomplished musical acts of all time: 37.3 million albums sold, according to Nielsen Music; 95 entries on the Billboard Hot 100 (including five No. 1s); 23 Billboard Music Awards; 12 Country Music Association Awards; 10 Grammys; and five world tours.

She also finishes the decade in a totally different realm of the music world from where she started. Swift’s crossover from country to pop -- hinted at on 2012’s Red and fully embraced on 2014’s 1989 -- reflected a mainstream era in which genres were blended with little abandon, where artists with roots in country, folk and trap music could join forces without anyone raising eyebrows. (See: Swift’s top 20 hit “End Game,” from 2017’s reputation, which featured Ed Sheeran and Future.)

Swift’s new album, Lover, released in August, is both a warm break from the darkness of reputation -- which was created during a wave of negative press generated by Swift’s public clash with Kanye West and Kim Kardashian-West -- as well as an amalgam of all her stylistic explorations through the years, from dreamy synth-pop to hushed country. “The skies were opening up in my life,” says Swift of the album, which garnered three Grammy nominations, including song of the year for the title track.

She recorded Lover after the Reputation Stadium Tour broke the record for the highest-grossing U.S. tour late last year. In 2020, Swift will embark on Lover Fest, a run of stadium dates that will feature a hand-picked lineup of artists (as yet unannounced) and allow Swift more time off from the road. “This is a year where I have to be there for my family -- there’s a lot of question marks throughout the next year, so I wanted to make sure that I could go home,” says Swift, likely referencing her mother’s cancer diagnosis, which inspired the Lover heart-wrencher “Soon You’ll Get Better.”

Now, however, Swift finds herself in a different highly publicized dispute. This time it’s with Scott Borchetta, the head of her former label, Big Machine Records, and Scooter Braun, the manager-mogul whose Ithaca Holdings acquired Big Machine Label Group and its master recordings, which include Swift’s six pre-Lover albums, in June. Upon news of the sale, Swift wrote in a Tumblr post that it was her “worst case scenario,” accusing Braun of “bullying” her throughout her career due to his connections with West. She maintains today that she was never given the opportunity to buy her masters outright. (On Tumblr, she wrote that she was offered the chance to “earn” back the masters to one of her albums for each new album she turned in if she re-signed with Big Machine; Borchetta disputed this characterization, saying she had the opportunity to acquire her masters in exchange for re-signing with the label for a “length of time” -- 10 more years, according to screenshots of legal documents posted on the Big Machine website.)

Swift has said that she intends to rerecord her first six albums next year -- starting next November, when she says she’s contractually able to -- in order to regain control of her recordings. But the back-and-forth appears to be nowhere near over: Last month, Swift alleged that Borchetta and Braun were blocking her from performing her past hits at the American Music Awards or using them in an upcoming Netflix documentary -- claims Big Machine characterized as “false information” in a response that did not get into specifics. (Swift ultimately performed the medley she had planned.) In the weeks following this interview, Braun said he was open to “all possibilities” in finding a “resolution,” and Billboard sources say that includes negotiating a sale. Swift remains interested in buying her masters, though the price could be a sticking point, given her rerecording plans, the control she has over the licensing of her music for film and TV, and the market growth since Braun’s acquisition.

However it plays out, the battle over her masters is the latest in a series of moves that has turned Swift into something of an advocate for artists’ rights -- and made her a cause that everyone from Halsey to Elizabeth Warren has rallied behind. From 2014 to 2017, Swift withheld her catalog from Spotify to protest the streaming company’s compensation rates, saying in a 2014 interview, “There should be an inherent value placed on art. I didn’t see that happening, perception-wise, when I put my music on Spotify.” In 2015, ahead of the launch of Apple Music, Swift wrote an open letter criticizing Apple for its plan to not pay royalties during the three-month free trial it was set to offer listeners; the company announced a new policy within 24 hours. Most recently, when she signed a new global deal with Universal Music Group in 2018, Swift (who is now on Republic Records) said one of the conditions of her contract was that UMG share proceeds from any sale of its Spotify equity with its roster of artists -- and make them nonrecoupable against those artists’ earnings.

During a wide-ranging conversation, Billboard’s Woman of the Decade expresses hope that she can help make the lives of creators a little easier in the years to come -- and a belief that her behind-the-scenes strides will be as integral to her legacy as her biggest singles. “New artists and producers and writers need work, and they need to be likable and get booked in sessions, and they can’t make noise -- but if I can, then I’m going to,” promises Swift. This is where being impossibly famous can be a very good thing. “I know that it seems like I’m very loud about this,” she says, “but it’s because someone has to be.”

While watching some of your performances this year -- like Saturday Night Live and NPR’s Tiny Desk Concert -- I was struck by how focused you seemed, like there were no distractions getting in the way of what you were trying to say.

That’s a really wonderful way of looking at this phase of my life and my music. I’ve spent a lot of time recalibrating my life to make it feel manageable. Because there were some years there where I felt like I didn’t quite know what exactly to give people and what to hold back, what to share and what to protect. I think a lot of people go through that, especially in the last decade. I broke through pre-social media, and then there was this phase where social media felt fun and casual and quirky and safe. And then it got to the point where everyone has to evaluate their relationship with social media. So I decided that the best thing I have to offer people is my music. I’m not really here to influence their fashion or their social lives. That has bled through into the live part of what I do.

Meanwhile, you’ve found a way to interact with your fans in this very pure way -- on your Tumblr page.

Tumblr is the last place on the internet where I feel like I can still make a joke because it feels small, like a neighborhood rather than an entire continent. We can kid around -- they literally drag me. It’s fun. That’s a real comfort zone for me. And just like anything else, I need breaks from it sometimes. But when I do participate in that space, it’s always in a very inside-joke, friend vibe. Sometimes, when I open Twitter, I get so overwhelmed that I just immediately close it. I haven’t had Twitter on my phone in a while because I don’t like to have too much news. Like, I follow politics, and that’s it. But I don’t like to follow who has broken up with who, or who wore an interesting pair of shoes. There’s only so much bandwidth my brain can really have.

It’s sort of an amalgamation of all of it. People who aren’t active fans of your music, who like one song but love to hear who has been canceled on Twitter. I’ve had several upheavals of somehow not being what I should be. And this happens to women in music way more than men. That’s why I get so many phone calls from new artists out of the blue -- like, “Hey, I’m getting my first wave of bad press, I’m freaking out, can I talk to you?” And the answer is always yes! I’m talking about more than 20 people who have randomly reached out to me. I take it as a compliment because it means that they see what has happened over the course of my career, over and over again.

Did you have someone like that to reach out to?

Not really, because my career has existed in lots of different neighborhoods of music. I had so many mentors in country music. Faith Hill was wonderful. She would reach out to me and invite me over and take me on tour, and I knew that I could talk to her. Crossing over to pop is a completely different world. Country music is a real community, and in pop I didn’t see that community as much. Now there is a bit of one between the girls in pop -- we all have each other’s numbers and text each other -- but when I first started out in pop it was very much you versus you versus you. We didn’t have a network, which is weird because we can help each other through these moments when you just feel completely isolated.

Do you feel like those barriers are actively being broken down now?

God, I hope so. I also hope people can call it out, [like] if you see a Grammy prediction article, and it’s just two women’s faces next to each other and feels a bit gratuitous. No one’s going to start out being perfectly educated on the intricacies of gender politics. The key is that people are trying to learn, and that’s great. No one’s going to get it perfect, but, God, please try.

At this point, who is your sounding board, creatively and professionally?

From a creative standpoint, I’ve been writing alone a lot more. I’m good with being alone, with thinking alone. When I come up with a marketing idea for the Lover tour, the album launch, the merch, I’ll go right to my management company that I’ve put together. I think a team is the best way to be managed. Just from my experience, I don’t think that this overarching, one-person-handles-my-career thing was ever going to work for me. Because that person ends up kind of being me who comes up with most of the ideas, and then I have an amazing team that facilitates those ideas.

The behind-the-scenes work is different for every phase of my career that I’m in. Putting together the festival shows that we’re doing for Lover is completely different than putting together the Reputation Stadium Tour. Putting together the reputation launch was so different than putting together the 1989 launch. So we really do attack things case by case, where the creative first informs everything else.

You’ve spoken before about how meaningful the reputation tour’s success was. What did it represent?

That tour was something that I wanted to immortalize in the Netflix special that we did because the album was a story, but it almost was like a story that wasn’t fully realized until you saw it live. It was so cool to hear people leaving the show being like, “I understand it now. I fully get it now.” There are a lot of red herrings and bait-and-switches in the choices that I’ll make with albums, because I want people to go and explore the body of work. You can never express how you feel over the course of an album in a single, so why try?

That seems especially true of your last three albums or so.

“Shake It Off” is nothing like the rest of 1989. It’s almost like I feel so much pressure with a first single that I don’t want the first single to be something that makes you feel like you’ve figured out what I’ve made on the rest of the project. I still truly believe in albums, whatever form you consume them in -- if you want to stream them or buy them or listen to them on vinyl. And I don’t think that makes me a staunch purist. I think that that is a strong feeling throughout the music industry. We’re running really fast toward a singles industry, but you got to believe in something. I still believe that albums are important.

The music industry has become increasingly global during the past decade. Is reaching new markets something you think about?

Yeah, and I’m always trying to learn. I’m learning from everyone. I’m learning when I go see Bruce Springsteen or Madonna do a theater show. And I’m learning from new artists who are coming out right now, just seeing what they’re doing and thinking, “That’s really cool.” You need to keep your influences broad and wide-ranging, and my favorite people who make music have always done that. I got to work with Andrew Lloyd Webber on the Cats movie, and Andrew will walk through the door and be like, “I’ve just seen this amazing thing on TikTok!” And I’m like, “You are it! You are it!” Because you cannot look at what quote-unquote “the kids are doing” and roll your eyes. You have to learn.

Have you explored TikTok at all?

I only see them when they’re posted to Tumblr, but I love them! I think that they’re hilarious and amazing. Andrew says that they’ve made musicals cool again, because there’s a huge musical facet to TikTok. [He’s] like, “Any way we can do that is good.”

How do you see your involvement in the business side of your career progressing in the next decade? You seem like someone who could eventually start a label or be more hands-on with signing artists.

I do think about it every once in a while, but if I was going to do it, I would need to do it with all of my energy. I know how important that is, when you’ve got someone else’s career in your hands, and I know how it feels when someone isn’t generous.

You’ve served as an ambassador of sorts for artists, especially recently -- staring down streaming services over payouts, increasing public awareness about the terms of record deals.

We have a long way to go. I think that we’re working off of an antiquated contractual system. We’re galloping toward a new industry but not thinking about recalibrating financial structures and compensation rates, taking care of producers and writers.

We need to think about how we handle master recordings, because this isn’t it. When I stood up and talked about this, I saw a lot of fans saying, “Wait, the creators of this work do not own their work, ever?” I spent 10 years of my life trying rigorously to purchase my masters outright and was then denied that opportunity, and I just don’t want that to happen to another artist if I can help it. I want to at least raise my hand and say, “This is something that an artist should be able to earn back over the course of their deal -- not as a renegotiation ploy -- and something that artists should maybe have the first right of refusal to buy.” God, I would have paid so much for them! Anything to own my work that was an actual sale option, but it wasn’t given to me.

Thankfully, there’s power in writing your music. Every week, we get a dozen synch requests to use “Shake It Off” in some advertisement or “Blank Space” in some movie trailer, and we say no to every single one of them. And the reason I’m rerecording my music next year is because I do want my music to live on. I do want it to be in movies, I do want it to be in commercials. But I only want that if I own it.

Do you know how long that rerecording process will take?

I don’t know! But it’s going to be fun, because it’ll feel like regaining a freedom and taking back what’s mine. When I created [these songs], I didn’t know what they would grow up to be. Going back in and knowing that it meant something to people is actually a really beautiful way to celebrate what the fans have done for my music.

Ten years ago, on the brink of the 2010s, you were about to turn 20. What advice would you give yourself if you could go back in time?

Oh, God -- I wouldn’t give myself any advice. I would have done everything exactly the same way. Because even the really tough things I’ve gone through taught me things that I never would have learned any other way. I really appreciate my experience, the ups and downs. And maybe that seems ridiculously Zen, but … I’ve got my friends, who like me for the right reasons. I’ve got my family. I’ve got my boyfriend. I’ve got my fans. I’ve got my cats.

#taylor swift #interview #billboard #women in music #woman of the decade

451 notes · View notes

transgenderstreetlegend · 3 years

Text

@rushpartyofcanada tagged me so I will try even though I do not know if I will be able to come up with 13!

rules: list 13 songs you're currently vibing with, or favorite songs!

1. Holy Moment by WOW OK

This is one of me & my partner’s main Songs. Nearly every fucking line applies to our relationship so well. It’s such a happy, hopeful song and it makes me so emotional. It was the first song they played when we got in the car after they picked me up from the airport, and I commissioned a @snazzystarlight painting of the song for them, and it’s on the wall above their bed now :)))

2. there is a place for you here. by Left At London

This song makes me fucking CRY. It’s about a fucking CAT. NAT’S CAT TÍMIDO. BABY BOY. BEAUTIFUL. It’s about how taking care of her cat who’d been abused before helped her to feel more hopeful in her own life and about how they’re going to make it through together. It’s such a fucking beautiful song. GOD. And it reminds me of being at my partner’s house too bc I was there with them when I first heard it and when I found out it was about her cat. I listened to it at work today and just wished that instead of being at work I could be laying on my partner’s bed blasting this through their speaker, crying and staring at the ceiling. Damn

3. Michelle by Sir Chloe

This song, despite not actually specifying what exactly makes Michelle a monster from hell, is sung in a way that is very vibey and sexy and I enjoy singing along to it.

4. Cloud 9 by Beach Bunny ft. Tegan and Sara

“But when she loves me, I feel like I’m floating.” That’s me with my partner so much. The og version of this song without T&S uses he/him pronouns throughout, but this one uses she/her in the second chorus and they/them in the third, which is why I prefer this one since I am dating a she/they.

5. Ohio River by Caroline Says

This song is basically a meme in our friend group now because I made it @coolthxmcdoom’s nickname in the meetup planning server because their name is Caroline and they live in Ohio, but before I introduced it to the friend group it was just an extremely vibey song that came up on my local college’s radio station and I should probably smoke weed to it at some point. And now that it’s also relevant to the meetup memories, it has added significance to me.

6. idolize by Ace Smith

Ace Smith is my good friend! I heard a short clip of this song probably a year or so ago, or something like that, when it was unfinished, and thought “ooh this is cool I can’t wait for the full release.” It’s released now! It’s def Ace’s best song, both in my opinion and in Ace’s. Makes me really emotional, I highly recommend it. Please listen to my friend’s music y’all he puts so much work into it and it’s so well made I have so much love and respect for this person it’s insane

7. peace by Taylor Swift

This is another song where every line just punches me in the fuckin chest. Gets me in the fuckin insecurity. Perfectly puts into words feelings that I struggle to convey. I feel so seen.

8. New Year’s Day by Taylor Swift

I made a slight reference to it in a song I recently wrote.

9. anthems by Charli XCX

Another song that Jax played a lot in the car during my trip. They told me then that when they were first crushing on me, this song reminded them of me. I’d never known that before. Now every time I listen to it or it gets stuck in my head I think of this moment in the car when they were singing along to it and I happened to take the selfie at the exact moment they pointed at me at the line “wanna wake up with you.”

10. forever by Charli XCX

This is yet another song that I heavily associate with Jax, and have from the start of our relationship because they put it on the playlist they made me, and it’s always made me cry.

11. Divine by Jordana

This song is so catchy. I’m not fully sure how it’s supposed to be interpreted and rn I’m a bit too high to do too much analysis but regardless I vibe with it. And I like her vocals.

12. i hope she loves me back by boy pablo

This is another one that I found from my college radio station. It’s sort of corny but in a cute way, and the sound is really cool. I like it. I listened to some more of boy pablo’s music because of it, and he seems to have a very soft sorta vibe/aesthetic that I really like.

13. If We Were Vampires by Jason Isbell and the 400 Unit

This guy has the same last name as some people in my family and is from my state! I haven’t looked up if there’s a relation, but I wouldn’t discount the possibility. This song is really pretty I can’t think of anything else to say about it I haven’t listened in a bit

BONUS IM DOING A #14. (FOREVER!!!!!!!!!) [WOW OK Remix] by glass beach

God i love WOW OK. I know they’ve only got two releases out but I love Holidaykiss and i love Left At London and i LOVE how their skills combine together. I can’t wait for more from these two.

—

So as it turns out, I’m very gay.

I don’t know who is and isn’t comfortable being tagged in tag games, so if you see this and want to do it, consider yourself tagged!

#🌌

3 notes · View notes

path-of-my-childhood · 4 years

Text

Billboard Woman of the Decade Taylor Swift: 'I Do Want My Music to Live On'

By: Jason Lipshutz for Billboard Magazine Date: December 14th issue

One evening in late October, before she performed at a benefit concert at the Hollywood Bowl in Los Angeles, Taylor Swift’s dressing room became - as it often does - an impromptu summit of music’s biggest names. Swift was there to take part in the American Cancer Society’s annual We Can Survive concert alongside Billie Eilish, Lizzo, Camila Cabello and others, and a few of the artists on the lineup came by to visit.

Eilish, along with her mother and her brother/collaborator, Finneas O’Connell, popped in to say hello - the first time she and Swift had met. Later, Swift joined the exclusive club of people who have seen Marshmello without his signature helmet when the EDM star and his manager stopped by.

“Two dudes walked in - I didn’t know which one was him,” recalls Swift a few weeks later, sitting on a lounge chair in the backyard of a private Beverly Hills residence following a photo shoot. Her momentary confusion turned into a pang of envy. “It’s really smart! Because he’s got a life, and he can get a house that doesn’t have to have a paparazzi-proof entrance.” She stops to adjust her gray sweatshirt dress and lets out a clipped laugh.

She also finishes the decade in a totally different realm of the music world from where she started. Swift’s crossover from country to pop - hinted at on 2012’s Red and fully embraced on 2014’s 1989 - reflected a mainstream era in which genres were blended with little abandon, where artists with roots in country, folk and trap music could join forces without anyone raising eyebrows. (See: Swift’s top 20 hit “End Game,” from 2017’s reputation, which featured Ed Sheeran and Future.)

Swift’s new album, Lover, released in August, is both a warm break from the darkness of reputation - which was created during a wave of negative press generated by Swift’s public clash with Kanye West and Kim Kardashian-West - as well as an amalgam of all her stylistic explorations through the years, from dreamy synth-pop to hushed country. “The skies were opening up in my life,” says Swift of the album, which garnered three Grammy nominations, including song of the year for the title track.

She recorded Lover after the Reputation Stadium Tour broke the record for the highest-grossing U.S. tour late last year. In 2020, Swift will embark on Lover Fest, a run of stadium dates that will feature a hand-picked lineup of artists (as yet unannounced) and allow Swift more time off from the road. “This is a year where I have to be there for my family - there’s a lot of question marks throughout the next year, so I wanted to make sure that I could go home,” says Swift, likely referencing her mother’s cancer diagnosis, which inspired the Lover heart-wrencher “Soon You’ll Get Better.”

Now, however, Swift finds herself in a different highly publicized dispute. This time it’s with Scott Borchetta, the head of her former label, Big Machine Records, and Scooter Braun, the manager-mogul whose Ithaca Holdings acquired Big Machine Label Group and its master recordings, which include Swift’s six pre-Lover albums, in June. Upon news of the sale, Swift wrote in a Tumblr post that it was her “worst case scenario,” accusing Braun of “bullying” her throughout her career due to his connections with West. She maintains today that she was never given the opportunity to buy her masters outright. (On Tumblr, she wrote that she was offered the chance to “earn” back the masters to one of her albums for each new album she turned in if she re-signed with Big Machine; Borchetta disputed this characterization, saying she had the opportunity to acquire her masters in exchange for re-signing with the label for a “length of time” - 10 more years, according to screenshots of legal documents posted on the Big Machine website.)

Swift has said that she intends to rerecord her first six albums next year, starting next November, when she says she’s contractually able to - in order to regain control of her recordings. But the back-and-forth appears to be nowhere near over: Last month, Swift alleged that Borchetta and Braun were blocking her from performing her past hits at the American Music Awards or using them in an upcoming Netflix documentary - claims Big Machine characterized as “false information” in a response that did not get into specifics. (Swift ultimately performed the medley she had planned.) In the weeks following this interview, Braun said he was open to “all possibilities” in finding a “resolution,” and Billboard sources say that includes negotiating a sale. Swift remains interested in buying her masters, though the price could be a sticking point, given her rerecording plans, the control she has over the licensing of her music for film and TV, and the market growth since Braun’s acquisition.

However it plays out, the battle over her masters is the latest in a series of moves that has turned Swift into something of an advocate for artists’ rights, and made her a cause that everyone from Halsey to Elizabeth Warren has rallied behind. From 2014 to 2017, Swift withheld her catalog from Spotify to protest the streaming company’s compensation rates, saying in a 2014 interview, “There should be an inherent value placed on art. I didn’t see that happening, perception-wise, when I put my music on Spotify.” In 2015, ahead of the launch of Apple Music, Swift wrote an open letter criticizing Apple for its plan to not pay royalties during the three-month free trial it was set to offer listeners; the company announced a new policy within 24 hours. Most recently, when she signed a new global deal with Universal Music Group in 2018, Swift (who is now on Republic Records) said one of the conditions of her contract was that UMG share proceeds from any sale of its Spotify equity with its roster of artists - and make them non-recoupable against those artists’ earnings.

During a wide-ranging conversation, Billboard’s Woman of the Decade expresses hope that she can help make the lives of creators a little easier in the years to come - and a belief that her behind-the-scenes strides will be as integral to her legacy as her biggest singles. “New artists and producers and writers need work, and they need to be likable and get booked in sessions, and they can’t make noise - but if I can, then I’m going to,” promises Swift. This is where being impossibly famous can be a very good thing. “I know that it seems like I’m very loud about this,” she says, “but it’s because someone has to be.”

While watching some of your performances this year - like SNL and NPR’s Tiny Desk Concert - I was struck by how focused you seemed, like there were no distractions getting in the way of what you were trying to say. That’s a really wonderful way of looking at this phase of my life and my music. I’ve spent a lot of time re-calibrating my life to make it feel manageable. Because there were some years there where I felt like I didn’t quite know what exactly to give people and what to hold back, what to share and what to protect. I think a lot of people go through that, especially in the last decade. I broke through pre-social media, and then there was this phase where social media felt fun and casual and quirky and safe. And then it got to the point where everyone has to evaluate their relationship with social media. So I decided that the best thing I have to offer people is my music. I’m not really here to influence their fashion or their social lives. That has bled through into the live part of what I do.

Meanwhile, you’ve found a way to interact with your fans in this very pure way - on your Tumblr page. Tumblr is the last place on the internet where I feel like I can still make a joke because it feels small, like a neighborhood rather than an entire continent. We can kid around - they literally drag me. It’s fun. That’s a real comfort zone for me. And just like anything else, I need breaks from it sometimes. But when I do participate in that space, it’s always in a very inside-joke, friend vibe. Sometimes, when I open Twitter, I get so overwhelmed that I just immediately close it. I haven’t had Twitter on my phone in a while because I don’t like to have too much news. Like, I follow politics, and that’s it. But I don’t like to follow who has broken up with who, or who wore an interesting pair of shoes. There’s only so much bandwidth my brain can really have.

You’ve spoken in recent interviews about the general expectations you’ve faced, using phrases like “They’ve wanted to see this” and “They hated me for this.” Who is “they”? Is it social media or disparaging think pieces or... It’s sort of an amalgamation of all of it. People who aren’t active fans of your music, who like one song but love to hear who has been canceled on Twitter. I’ve had several upheavals of somehow not being what I should be. And this happens to women in music way more than men. That’s why I get so many phone calls from new artists out of the blue - like, “Hey, I’m getting my first wave of bad press, I’m freaking out, can I talk to you?” And the answer is always yes! I’m talking about more than 20 people who have randomly reached out to me. I take it as a compliment because it means that they see what has happened over the course of my career, over and over again.

Did you have someone like that to reach out to? Not really, because my career has existed in lots of different neighborhoods of music. I had so many mentors in country music. Faith Hill was wonderful. She would reach out to me and invite me over and take me on tour, and I knew that I could talk to her. Crossing over to pop is a completely different world. Country music is a real community, and in pop I didn’t see that community as much. Now there is a bit of one between the girls in pop - we all have each other’s numbers and text each other - but when I first started out in pop it was very much you versus you versus you. We didn’t have a network, which is weird because we can help each other through these moments when you just feel completely isolated.

Do you feel like those barriers are actively being broken down now? God, I hope so. I also hope people can call it out, [like] if you see a Grammy prediction article, and it’s just two women’s faces next to each other and feels a bit gratuitous. No one’s going to start out being perfectly educated on the intricacies of gender politics. The key is that people are trying to learn, and that’s great. No one’s going to get it perfect, but, God, please try.

At this point, who is your sounding board, creatively and professionally From a creative standpoint, I’ve been writing alone a lot more. I’m good with being alone, with thinking alone. When I come up with a marketing idea for the Lover tour, the album launch, the merch, I’ll go right to my management company that I’ve put together. I think a team is the best way to be managed. Just from my experience, I don’t think that this overarching, one-person-handles-my-career thing was ever going to work for me. Because that person ends up kind of being me who comes up with most of the ideas, and then I have an amazing team that facilitates those ideas. The behind-the-scenes work is different for every phase of my career that I’m in. Putting together the festival shows that we’re doing for Lover is completely different than putting together the Reputation Stadium Tour. Putting together the reputation launch was so different than putting together the 1989 launch. So we really do attack things case by case, where the creative first informs everything else.

You’ve spoken before about how meaningful the reputation tour’s success was. What did it represent? That tour was something that I wanted to immortalize in the Netflix special that we did because the album was a story, but it almost was like a story that wasn’t fully realized until you saw it live. It was so cool to hear people leaving the show being like, “I understand it now. I fully get it now.” There are a lot of red herrings and bait-and-switches in the choices that I’ll make with albums, because I want people to go and explore the body of work. You can never express how you feel over the course of an album in a single, so why try?

That seems especially true of your last three albums or so. “Shake It Off” is nothing like the rest of 1989. It’s almost like I feel so much pressure with a first single that I don’t want the first single to be something that makes you feel like you’ve figured out what I’ve made on the rest of the project. I still truly believe in albums, whatever form you consume them in - if you want to stream them or buy them or listen to them on vinyl. And I don’t think that makes me a staunch purist. I think that that is a strong feeling throughout the music industry. We’re running really fast toward a singles industry, but you got to believe in something. I still believe that albums are important.

The music industry has become increasingly global during the past decade. Is reaching new markets something you think about? Yeah, and I’m always trying to learn. I’m learning from everyone. I’m learning when I go see Bruce Springsteen or Madonna do a theater show. And I’m learning from new artists who are coming out right now, just seeing what they’re doing and thinking, “That’s really cool.” You need to keep your influences broad and wide-ranging, and my favorite people who make music have always done that. I got to work with Andrew Lloyd Webber on the Cats movie, and Andrew will walk through the door and be like, “I’ve just seen this amazing thing on TikTok!” And I’m like, “You are it! You are it!” Because you cannot look at what quote-unquote “the kids are doing” and roll your eyes. You have to learn.

Have you explored TikTok at all? I only see them when they’re posted to Tumblr, but I love them! I think that they’re hilarious and amazing. Andrew says that they’ve made musicals cool again, because there’s a huge musical facet to TikTok. [He’s] like, “Any way we can do that is good.”

How do you see your involvement in the business side of your career progressing in the next decade? You seem like someone who could eventually start a label or be more hands-on with signing artists. I do think about it every once in a while, but if I was going to do it, I would need to do it with all of my energy. I know how important that is, when you’ve got someone else’s career in your hands, and I know how it feels when someone isn’t generous.

You’ve served as an ambassador of sorts for artists, especially recently - staring down streaming services over payouts, increasing public awareness about the terms of record deals. We have a long way to go. I think that we’re working off of an antiquated contractual system. We’re galloping toward a new industry but not thinking about re-calibrating financial structures and compensation rates, taking care of producers and writers. We need to think about how we handle master recordings, because this isn’t it. When I stood up and talked about this, I saw a lot of fans saying, “Wait, the creators of this work do not own their work, ever?” I spent 10 years of my life trying rigorously to purchase my masters outright and was then denied that opportunity, and I just don’t want that to happen to another artist if I can help it. I want to at least raise my hand and say, “This is something that an artist should be able to earn back over the course of their deal - not as a renegotiation ploy - and something that artists should maybe have the first right of refusal to buy.” God, I would have paid so much for them! Anything to own my work that was an actual sale option, but it wasn’t given to me. Thankfully, there’s power in writing your music. Every week, we get a dozen synch requests to use “Shake It Off” in some advertisement or “Blank Space” in some movie trailer, and we say no to every single one of them. And the reason I’m rerecording my music next year is because I do want my music to live on. I do want it to be in movies, I do want it to be in commercials. But I only want that if I own it.

Do you know how long that rerecording process will take? I don’t know! But it’s going to be fun, because it’ll feel like regaining a freedom and taking back what’s mine. When I created [these songs], I didn’t know what they would grow up to be. Going back in and knowing that it meant something to people is actually a really beautiful way to celebrate what the fans have done for my music.

Ten years ago, on the brink of the 2010s, you were about to turn 20. What advice would you give yourself if you could go back in time? Oh, God - I wouldn’t give myself any advice. I would have done everything exactly the same way. Because even the really tough things I’ve gone through taught me things that I never would have learned any other way. I really appreciate my experience, the ups and downs. And maybe that seems ridiculously Zen, but... I’ve got my friends, who like me for the right reasons. I’ve got my family. I’ve got my boyfriend. I’ve got my fans. I’ve got my cats.

Taylor Swift Discusses 'The Man' & 'It's Nice To Have a Friend' In Cover Story Outtakes

Billboard // by Jason Lipshutz // December 12th 2019

During her cover story interview for Billboard’s Women In Music issue, Taylor Swift discussed several aspects of her mega-selling seventh studio album Lover, including its creation after a personal “recalibrating” period, her stripped-down performances of its songs and her plans to showcase the full-length live with her Lover Fest shows next year. In two moments from the extended conversation that did not make the print story, Billboard’s Woman of the Decade also touched upon two of the album’s highlights, which double as a pair of the more interesting songs in her discography: “The Man” and “It’s Nice To Have A Friend.”

“The Man” imagines how Swift’s experience as a person, artist and figure within the music industry would have been different had she been a man, highlighting how much harder women have to work in order to succeed (“I’m so sick of running as fast as I can / Wondering if I’d get there quicker if I was a man,” she sings in the chorus). The song has become a fan favorite since the release of Lover, and Swift recently opened a career-spanning medley with the song at the 2019 American Music Awards.

When asked about “The Man,” Swift pointed out specific double standards that exist in everyday life and explained why she wanted to turn that frustration into a pop single. Read Swift’s full thoughts on “The Man” below:

“It was a song that I wrote from my personal experience, but also from a general experience that I’ve heard from women in all parts of our industry. And I think that, the more we can talk about it in a song like that, the better off we’ll be in a place to call it out when it’s happening. So many of these things are ingrained in even women, these perceptions, and it’s really about re-training your own brain to be less critical of women when we are not criticizing men for the same things. So many things that men do, you know, can be phoned-in that cannot be phoned-in for us. We have to really — God, we have to curate and cater everything, but we have to make it look like an accident. Because if we make a mistake, that’s our fault, but if we strategize so that we won’t make a mistake, we’re calculating.

“There is a bit of a damned-if-we-do, damned-if-we-don’t thing happening in music, and that’s why when I can, like, sit and talk and be like ‘Yeah, this sucks for me too,’ that feels good. When I go online and hear the stories of my fans talking about their experience in the working world, or even at school — the more we talk about it, the better off we’ll be. And I wanted to make it catchy for a reason — so that it would get stuck in people’s heads, [so] they would end up with a song about gender inequality stuck in their heads. And for me, that’s a good day.”

Meanwhile, the penultimate song on Lover, “It’s Nice To Have A Friend,” sounds unlike anything in Swift’s catalog thanks to its elliptical structure, lullaby-like tone and incorporation of steel drums and brass. When asked about the song, Swift talked about experimenting with her songwriting, as well as capturing a different angle of the emotional themes at the heart of Lover. Read Swift’s full thoughts on “It’s Nice To Have A Friend” below:

“It was fun to write a song that was just verses, because my whole body and soul wants to make a chorus — every time I sit down to write a song, I’m like, ‘Okay, chorus time, let’s get the chorus done.’ But with that song, it was more of like a poem, and a story and a vibe and a feeling of... I love metaphors that kind of have more than one meaning, and I think I loved the idea that, on an album called Lover, we all want love, we all want to find somebody to see our sights with and hear things with and experience things with.

“But at the end of the day we’ve been searching for that since we were kids! When you had a friend when you were nine years old, and that friend was all you talked about, and you wanted to have sleepovers and you wanted to walk down the street together and sit there drawing pictures together or be silent together, or be talking all night. We’re just looking for that, but endless sparks, as adults.”

Read the full Taylor Swift cover story here, and click here for more info on Billboard’s 2019 Women In Music event, during which Swift will be presented with the first-ever Woman of the Decade award.

[link to this tweet]

Was there ever a part of you that was like, “Oh shit, I like this darker vibe, let’s go even further down that path?” I really Loved Reputation because it felt like a rock opera, or a musical, doing it live. Doing that stadium show was so fun because it was so theatrical and so exciting to perform that, because it’s really cathartic! But I have to follow whatever direction my life is going in emotionally... The skies were opening up in my life. That’s what happened. But in a way that felt like a pink sky, a pink and purple sky, after a storm, and now it looks even more beautiful because it looked so stormy before. And that’s just like, I couldn't stop writing. I’ve never had an album with 18 songs on it before, and a lot of what I do is based on intuition. So, you know, I try not to overthink it. Who knows, there may be another dark album. I plan on doing lots of experimentation over the course of my career. Who knows? But it was a blast, I really loved it.

I mean, look, a Taylor Swift screamo album? I’ll be first in line. I’m so happy to hear that, because I think you might be the only one. Ha! I have a terrible scream. It’s obnoxious.

Why Taylor Swift's Lover Fest Will Be Her Next Big Step

Billboard // by Jason Lipshutz // December 11th 2019 - [Excerpt]

On why she chose to put together Lover fest: “I haven’t really done festivals in years - not since I was a teenager. That’s something that [the fans] don’t expect from me, so that’s why I wanted to do it. I want to challenge myself with new things and at the same time keep giving my fans something to connect to.”

300 notes · View notes

linphd · 4 years

Text

katsuki x villain!reader | you belong with me

katsuki bakugou x reader

female reader

U.A students are targeted by the League of Villains, once again, else there is a familiar new member with them.

warning : mention of death, kinda angsty

the lyrics are from you belong with me by taylor swift but here listen to the punk goes pop cover

youtube

And I know your favorite songs.

And you tell me about your dreams.

Izuku was the only one who knew about this, only because he had gone to the same middle school as them. Katsuki and (Y/N) used to date. Well, they would surely still be dating if (Y/N) hadn’t run away. They had started to date during their 3rd year of middle school, and the girl had also planned to go to U.A, she wanted to be a hero. The boy couldn’t even tell how she was able to make Katsuki soft for her.

He was actually very happy that she was going to U.A with him, but it was until her dream got crushed. Her parents got killed by villains. Because some heroes were too late to save them. They didn’t do anything for her. They just saved whoever was still alive and put the villains to jail, but they didn’t look for her nor help her. They didn’t try to know if the dead couple had a family. ‘’Those were shitty heroes ! If it was All Might, he would’ve done anything he could-‘’ Katsuki would try to tell her. But she wasn’t listening. She seemed like she wasn’t able to. Her jovial attitude was gone.

‘’You could stay at my place, my mom really likes you.’’ The blonde would continue. But she couldn’t stay at the Bakugou household forever. For days, he tried to talk to her, text her, go to her house since she wasn’t going to school anymore. But she only sent him a single text : ‘I’ll go somewhere else. I’m sorry but don’t follow me cause you’ll get in trouble.’ Izuku had received a shorter text, as they were still friends. Indeed, despite dating the blonde, (Y/N) was actually friendly towards the boy.

I think I know where you belong.

I think I know it’s with me.

Katsuki was mad, no- enraged. Izuku knew it was only to hide his sadness and desperation. He even knew that once the blonde got closer to All Might, he confessed about his girlfriend being gone suddenly, without anyone looking for her but him. The number one hero had promised him he was going to do anything to find her. But it seemed like she had disappeared. And even if now the blonde was at U.A and his girlfriend had disappeared some months before graduating middle school, he was still thinking about her. All the time. He knew she would love his hero costume.

But actually, (Y/N) wasn’t that far. After finding some villain associations here and there -since the villains seemed actually more caring than the heroes- she found the League of Villains. She actually saw that Katsuki had been missing on the news, and as a villain, she had some contacts and relations. But when she finally found the League, the blonde had already been rescued. ‘’Did he fight you well ?’’ She asked Toga, who was now her best friend. ‘’Yes ! He avoided all of our attacks !’’ She said, (Y/N) nodding and smiling at the thought.

However, she was going to finally see him again, after so many months. She hoped he didn’t have a new girlfriend. He was hers, after all. She had maybe run away and become a bit crazy in the process, but she never stated that she wanted to break up with him. Even if some villains gave her some boosting drugs to make her quirk evolve and train her as she was still young, she still was sane enough to know that Katsuki was obviously meant to be with her. She was the one who knew everything about him, who was making him open up.

Can't you see that I'm the one,

who understands you.

(Y/N) had seen him again, actually. He just didn’t know. So many times, she checked his house, waiting outside, only to see the light of his room on -until he moved to a dorm. Indeed, she knew he was at U.A now, so how couldn’t he notice her stalking ? But it wasn’t a problem anymore ; she was going to see him again in person now, with him knowing ! She was so excited.

The League of Villains was attacking U.A, once again targeting the 1A students. They had been training in a forest this time -as if they could hide from them. And it was the perfect moment to strike again. The girl was still hiding in the forest, somewhere, waiting only for her boyfriend to show up. He had his hero costume on -weirdly, weren’t they training only ? And how handsome he looked !

He was with a bunch of his classmates when she attacked one of them. He recognized that quirk. Izuku did too. ‘’Hi, Kacchan.’’ She almost whispered, her voice creeping out the students. The said boy jumped at the voice, his eyes widening when he saw her. ‘’(Y/N) ?! (Y/N), you’re ba-‘’ he cut himself off. She was wearing a shitty version of the hero costume she had designed, surely because since she hadn’t made it to U.A, she couldn’t ask for professionals to design it and had to do it herself with anything she could find. And the look in her eyes had changed. Her smile was creepy. Her voice was creepy. Everything about her felt creepy to Katsuki.

Standing by and waiting at your back door.

All this time, how could you not know ?

Baby you belong with me.

Still, she was so beautiful. She had dyed her hair a different color, and Katsuki could tell she had become a bit older, despite only it being a few months. ‘’Where did you go ?!’’ He shouted, furrowing his eyebrows -maybe it was that blonde villain that had taken his former girlfriend’s appearance. ‘’I don’t know, I just stayed here and there. But then I knew the League of Villains caught you, so I joined them. You escaped, so I’m taking you back.’’ She said, walking towards him.

‘’Be careful ! She just attacked Kaminari !’’ Izuku shouted, making the girl arch an eyebrow. ‘’Deku-‘’ (Y/N) sang. ‘’You’re not included in the conversation.’’ she continued, her tone changing drastically. She turned her head towards the blonde once again, and smiled. ‘’Your hero costume is so cool ! You’re intimidating -like you wished, right ?’’ She asked, but it only made Katsuki gulp, his palms emitting tiny explosions at his panic.

Of course he was panicking. She was obviously a villain and there was something wrong about her. He had to attack her, but how could he attack his missing girlfriend ? Her quirk started to show up as Sero tried to make a move towards her. She sent him away quickly, making him yelp in pain. The blonde got even more panicked now. ‘’You’re stronger.’’ He muttered. ‘’Of course I am !’’ She replied, giggling. ‘’The villains did a lot of things to me so I could get stronger... but now I can protect myself when the heroes don’t help me ! Aren’t you proud, Suki ?’’ He gulped, not replying anything.

Have you ever thought just maybe,

you belong with me ?

‘’What do you want ?!’’ He finally shouted, holding his hand in front of him so he could attack her if needed -she was very close now. But she stopped when he asked, giving him a genuine smile. ‘’I want to take you home with me.’’ She said. He frowned. ‘’I won’t be a villain, (Y/N) ! You don’t have to be one neither !’’ He said. ‘’Come with us, (Y/N) ! Our teachers will help you to get healthy and safe !’’ Izuku shouted, wanting to help Katsuki by catching the girl’s attention. She became mad at this point. ‘’This... isn’t... about... YOU !’’ She yelled, using her quirk and giving the boy the same treatment she had given Kaminari and Sero.

Katsuki started to attack her, though, despite her being as fast as him, maybe even faster now. He had a plan ; kidnap her and get her safe and sane again. She mostly avoided him, not wanting to attack him. However, as he exploded whatever she wa sudoku to attack him -that was a part of her quirk- she lost it and attacked back. However, she smirked, finally having someone who she could struggle to fight with. ‘’You’re so strong ! You’re so strong, Suki !’’ She was very proud of him.

The ‘Kacchan’ was already something very intimate -and irritating when it was Izuku- to say, but the ‘Suki’ was too much. And once again, the blonde preferred to get enraged instead of showing his sadness. ‘’You won’t follow me, right ?’’ He asked, before throwing an attack the girl easily dodged. ‘’Not if it’s to talk to heroes.’’ She replied, throwing an attack back, with him only using explosions to counter-attack.

Oh why can’t you see,

you belong with me ?

Seeing how powerful the fight was, the students decided to get deeper into the forest, but still close enough to see Katsuki if he needed help. But Izuku told the boys their story, and they had decided they couldn’t step into their fight. After getting hurt enough to actually bleed, (Y/N) got angry. ‘’Can’t you see that I’m doing all of this so we can be together ?!’’ Katsuki frowned, once again. ‘’I do that too ! But you’re too stubborn to come with me !’’ He replied, still fighting. ‘’You’re too stubborn to come with me !’’ This time, she threw him in the air. Bad idea. Katsuki had developed a special attack throughout time ; the Howitzer Impact.

Once she saw she couldn’t avoid it, (Y/N) smiled, almost tearing up. ‘’You’ve gotten so strong, Suki ! I’m so proud of you !’’ She said, before being crushed by the impact. He surely didn’t hear her, though. Katsuki landed a few meters away, breathing heavily with his mask torn in half, looking at her -he still wanted her to be okay enough to follow him.

She was laying, but she turned her head towards him and smiled when she saw him. ‘’Why do you do all of this, (Y/N) ?! Why can’t you just... come back ?’’ However, the said girl didn’t really reply to his question. Still, it seemed that to her, she did. ‘’Cause you’re the only thing from my previous life that I still love.’’ He gulped, his eyes widening. She seemed so sad !

You belong with me.

He was about to cry. He could see the sadness in her eyes. A single tear was rolling down her cheek. ‘’I do all of this because you belong with me, and nobody else can understand you like I do. They don’t know everything about you.’’ She said, her voice fading a bit due to her lack of energy. Suddenly, a purple portal appeared, right beside her. But Katsuki was far enough to be out of reach. The scarred villain came out of it. ‘’Dabi.’’ (Y/N) whispered, reaching for him with her arms -she couldn’t walk, her legs were so bloody. Surely that Katsuki’s attack had landed more on her lower body.

The brunette sighed and carried her, looking briefly at the students. ‘’You’re lucky this time, kids. The boss wants us to go back home.’’ He said, not even wanting to be here in the first place. They didn’t have a proper plan ! Why did they even attack them ?! He settled the girl in his arms -they needed her, but they needed to fix her legs- and started to walk towards the portal, again. Still, (Y/N) looked at Katsuki, her arms sneaking around the villain’s neck so she could be more comfortable. Her chin was resting against his shoulder.

Seeing the blonde’s expression -fear, sadness, despair- she smiled at him, but it was actually a sad smile. Maybe she was showing compassion ? However, quickly, her smile turned back into a casual one. ‘’I love you.’’ It was a whisper, but Katsuki could read her lips. And even if she was a villain, even if she was changed, he still replied : ‘’Me too.’’ unsure himself of if it was right. That said, the girl rest her cheek against the villain’s shoulder, as if she was now contented, as he walked into the portal and they disappeared.

#bnha #mha #boku no hero academia #my hero academia #katsuki bakugou #bakugou katsuki #katsuki bakugou x reader #bakugou katsuki x reader #katsuki x reader #bakugou x reader #angst

316 notes · View notes

onisiondrama · 4 years

Photo

“Onision Interview With Attorney” April 27, 2020 Speaks

Apparently the attorney is Vincent’s sister. If that’s true, I’m guessing he didn’t have to pay for this interview because she already has a bias against Chris Hansen. (Vincent hijack Hansen’s website and publicly announced he sold it to her. They turned it into a website advertising her attorney services. She also helped Vincent filed a lawsuit against Chris Hansen, but Idk if it went anywhere. It looks like the site has since been reverted back to Hansen’s.)

Notes:

Greg / James announces they are going to talk about online culture and how people are impacted by social media.

He asks a really wordy, broad question. I’m not exactly sure what he’s asking, but I think he’s trying to ask how private people can stay safe on the internet? She says with the pandemic attorneys are using the internet more. She says cancel culture is very dangerous.

(Wait- why is there a picture of James as a teenager on screen? I just noticed this. I’ll add it to the top of the post. Sorry, that distracted me.)

She gives an example of a couple going through a divorce and one of them uses their big social media presence to damage the other. She said that makes the attorneys think if they should keep representing someone when their ex could inflict damage to them (the attorney) with things like negative reviews. (People left negative google reviews for her law firm after she got involved in Vincent’s online feud with Hansen. It looks like they are all gone now. From what I saw, it was complains of unprofessionalism with the website situation. People may have left false reviews as well, but I did not see them. I only looked very early on.)

James says this is the opposite of the justice system where everyone has a fair chance. Public opinion controls right and wrong.

Attorney says public opinion is a myth because most people don’t know the laws or have been to law school. That’s why they have lawyers.

She talks more about how scary it is for lawyers, to risk their livelihood. People can put them out of business with negative reviews who don’t even live in the same country.

James asks what she thinks the general legal repercussions could be for trying to destroy someone’s private life on social media. She says there’s options, but they’re difficult. You could sue for defamation, but you’d have to prove the statement is false and defamatory, you’d have to locate them, you’d have to prove loss of money, and the defendant would need the ability to pay.

James asks if he’s been right when he said it’s not worth going after someone with no money or if you could claim their future assets. She says it could be a thing, like in the state she practices a judgement is good for 20 years and in some states it can be renewed for longer. You’d have to check the state. She says if they’re a minor, the parents could be held responsible.

James asks if there will be a legal shift to protect people from baseless cancel culture. He uses Taylor Swift and Johnny Depp as examples. She believes there will be a shift. She says there should be responsibility on providers that allow negative comments that enable cancel culture.

James asks if someone could be punished for unknowingly telling a lie about someone. He uses the example that he said someone was a murderer, then later finds out someone else was found guilty. Yet he doesn’t remove his initial statement and doesn’t make a public correction. She asks isn’t that why the news publishes retractions? James says people act like the news, but don’t do that. He says everyone wanted to interview him, but when they realized everything they wanted to interview him about was false, they suddenly didn’t want to interview him anymore. They publicly ignored the issue instead of publishing a retraction. He says if you pretend to be a newspaper or journalist, you have to hold yourself to the same standard. Attorney agrees and says everyone needs to be careful with what they say as facts.

She says people shouldn’t be afraid to interview someone in fear of the online effect it might have. She asks where the great interviewers like Oprah, Lisa Ling, and Barbra Walters would be. James says this is black and white mentality, if you’re not with us you’re against us. You can’t have an impartial opinion. He gives an example, if weren’t against Johnny Depp when everyone was angry with him, then you’re an abuser. He says you can’t even have a dialog or find out the full story without people trying to cancel you. He says it converted the media into pandering to their audience.

Attorney asks if now we have to not watch Woody Allen movies because of what he was accused of? James says he stopped watching Johnny Depp movies for a while and that was wrong because he let society and popular opinion control him. He says we want to be with the in-crowd, so when someone is cancelled, we want to go along with it to go with the flow. We’re afraid to admit when we’re wrong or that will be one more reason to be cancelled. He says it’s a complex social structure.

He asks for advise for public figures and private people trying to recover from being canceled or if their ex ran a humiliation campaign online. Attorney says she has a website because all attorneys need websites now. She was dragged into it and everybody started posting really negative reviews because the person that started this cancel culture stated what her familial relationship was. No one has any knowledge of that before they said it. (Dude... when I went to “HansenVSPredator dot com”, your face and name showed up. You have the same last name as Vincent. His last name was on every Hansen stream. Your law firm is across the river from where Vincent said he lived. Vincent tweeted your full name when he announced he sold the site. It wasn’t that hard to figure out. At the time I assumed she was either Vincent’s cousin or sister. I’m not a Hansen stan, but Jesus. Blaming him for all of the negative attention she received is a stretch. If anything I blame Vincent for even suggesting selling her a hijacked website from a high profile person to use for her business. Especially after Vincent got twitter totally pissed off at him. Terrible idea. I remember at the time thinking this poor woman doesn’t know the shit show she just walked into.)

Then her rating, which was really good, went down. She says profanities started being used and it was disturbing. She says she has her own harassment suit. (oh so it wasn’t Vincent’s) The platform got rid of the reviews and she was able to find out the identity of some of the individuals. This all caused loss of sleep, not being able to work, headaches, being afraid and worried for the people she’s working for. She wanted to protect them and was able to file a harassment charge and those are hard to get filed.

He says she’s a private citizen and when someone with a social media presence goes after you makes it difficult to work at your job and function as a human being. Online community doesn’t understand there’s the real world, then there’s the online community. The real work is mostly rational people working jobs with other people. There are consequences for their actions. Online you can be extreme you can act like there’s no law, until reality hits and they’re sitting in court. When people irl agree with you, when police agree with you, when people in court agree with you, it’s important to bring people to the real world so they can’t destroy your life more.

Attorney says people contacted the Bar Association on behalf of the person they’re following. She said it brought harm to the person who started the cancel culture. He made false statements about her. Because of her familial association, she should be banned. People going to the Bar Association inspired her charges against him.

James says we need to be held accountable when we drag people who are entirely private, people who never had a Youtube channel, for bringing negative attention to them. (Like the underage fans you insulted in your body ratings videos?) There’s no reason for us to inspire people to go after private people. His own family members were targeted. They have no association with his channels. (They were on his channels though. Not saying they deserve negative attention, just pointing it out. His mother acted in a number of his skit videos and she has her own channel. He also did a collab with one of his sisters to promote her channel.) He says they were entirely innocent.

He says he hopes the world we’re approaching is one where there is an anti virus for the virus, which is cancel culture. He says we keep acting like heroes by hurting people who are not involved.

He says, like in the attorney’s case, you can’t involve people who are not involved. Says you can’t take someone from a platform they are on and attack them on a platform that they are not on. He gives the example of someone cutting him off the highway, he can’t take out a camera and stalk them to humiliate them online. He should handle it with the police. She agrees and says the authorities are the ones that can do investigations.

James asks for a closing statement from the attorney. They promote her new channel and she says she would like to talk to Cher one day.

She says if something isn’t fair to share, don’t share it. James says you should think about if what you’re going to share will hurt a private citizen. He says he understands public figures, like himself, are different. When you involve family members and private citizens, you become legally accountable for what happens to them.

29 notes · View notes

jlf23tumble · 5 years

Note

Agree so much with your post about the teams and fan engagement ! And love the way you articulated all of that. Although now I definitely am interested in knowing what your notes about the specificity of each team/artist cause I feel like they'd be fascinating to read. Hope you'll post them some day, and thank you for sharing your thoughts with us ! 😊

Awwww, that’s very kind! It’s definitely head canon city, I litcherally have ZERO clue what goes on behind the scenes (and I can’t stress this enough, none of us do), so this’ll look hilariously dated when we find out that blah woof was true all along, lmao (me @ myself, thinking of some random Grimshaw interviews from last fall, oh, bless). Let’s dig in!!

For those of you who just stumbled upon this post, it’s related to the one I made last night about how I think the management teams of all these men (mid-20s means = you’re a man, not a boy) are not, in fact, sabotaging them. They negotiate a lot of tricky interconnected arrangements that none of us are privy, to, plus they’re at least trying to achieve the goals their clients are going for. And they’re doing it—the trick is these goals are highly individual and not 100% sensical (at least given our own view from the afternoon, Arctic Monkeys ref, holllllllah!!!).

In addition, these goals constantly shift, as does the music industry itself—I drive my own self loony when I lurk on blogs that are seemingly broadcasting from 2012, confused by why xx’s team is so “terrible” because they aren’t throwing good money after bad to get on a radio playlist, or why they haven’t announced yy “properly,” as if they’re being paid to worry about this level of shit (which fires me up on about five levels, deep breaths in, deep breaths out). I’m much nosier about the signals we’re getting when we hear them talk in their beautifully media-trained way about their musical interests, when we get some of that sweet, sweet fan service with a Gallagher or a Capaldi, when we get that heads up about who’s attending what concert, stuff like that. These signals don’t necessarily indicate future collaborations, but they DO indicate what kind of image these guys want to have, the kind of music they want the public to associate them with.

Anyway, I’m getting ahead of myself…their personalities and goals at the moment are all so vastly different, and I truly do love seeing how their teams are workin’ it accordingly. Again, please @ god, don’t @ me…opinions, massively unpopular opinions, dead ahead!

* Zayn. My read on Zayn is that he enjoys the creative process, loves writing and singing, digs collabing with people, but he doesn’t seem to give two shits about the biz side (and why should he? that’s called living the dream at this particular point in his career). His website recently added “tour,” which EYEBALL EYEBALL, but he doesn’t seem to be all that interested in putting himself back out on stage or into radio/print/etc. anytime soon, and again, why should he? His numbers are HUGE without pushing himself through the anxiety-provoking churn he endured for four years, so there’s no real drive for him to do any promo if he doesn’t want to (see: the netflix-like binge dump of Icarus Falls, which could be “sabotage,” or it could just be, “fineeeeeeee, here’s some stuff for you, enjoy”). What other artist gifts his fans with gorgeous covers of such a wide variety of songs that indicate he’s more interested in sharing them than selling them. Accordingly, his fan interactions seem fairly pure and not all that promo-y: he has a keen interest in fanart, he’s done some fan pop-ups/listening parties that are pretty low-key and *seemingly* fan-focused, and recently (with zero anything to really promote), he’s been posing for cute pics and chatting with randos on the streets of NYC. I recently read that his mgmt team is no longer with him, but that sort of folds into my feeling that he’s not pursuing anything biz-wise, hence no need to jump through those particular hoops (I think he’s also struggled with a lot of demons, so yeah, why add one more). Could he be adrift? Maybe, but the next guy is the posterman for lack of focus….

* Liam. Honestly, I worry about Liam most of all. His post-1D career seems very much adrift, and I like to joke that he’s giving me that tell-all about the D one sentence at a time, but goddamn, are people listening? The struggles with alcohol, the lack of focus on every level, the reliance on his dad’s career advice (which more clearly reflects his dad’s financial class, background, and history than it does Liam’s), and the overall confusion about look, sound, and direction also flow back directly into his team. I get the feeling that they aren’t sure what to do because LIAM isn’t sure what to do or what he wants, so they follow in his wake. He’s agreeable to a fault, so seeing him at a meet-and-greet at an HMV in Birmingham last week felt like a step back into 2010 for no real reason, just like hearing that he was more or less coerced into full nude photoshoots for an underwear ad (the decisions to say yes to both of those—who’s steering this ship? If it’s Liam, he needs to tell the team his overall goal, so they can plot a course he and his fans can follow; if it’s the team, ditto). Like Niall, Liam’s actually pretty good at the SM game: lots of selfies, snapchat filters, outfits, gym service, twitter interactions. But generally speaking, his promo is confusing, and that’s probably because there isn’t much *to* promote at this point, other than a mix of collabs, clothing endorsements, spon con, horse farms, and an album that’s always on the horizon. This might be tied to the general post-1D jolt they all went through, like a plane coming off autopilot and into the hands of someone who’s just learning how to fly it. Zayn debuted at number one, so his bump wasn’t as harsh, but the others are slowly, steadily finding their footing after taking some time to find themselves and their sound, releasing songs/albums, performing (or in Louis’s case, going through unspeakable tragedy). Liam’s still adrift…and somewhat admittedly, which is kind of telling in its own way. Just know that my nervousness on his behalf ratchets up every time he feels the urge to assure us all that he’s happy.

* Niall. Truly the one following the original 1D template, right down to working with most of the same people but with more of the overall control in his hands instead of a faceless management squad. Of any of them, he seems the most ambitious, the most scientific about the sound he’s after and how he’s gonna get there. His promo is a mix of new and traditional—radio shows, talk shows, podcasts, special events, twitter interactions with fans, twitter interactions with entertaining celebrities—and it’s all hustle hustle hustle, build build build, as if he were a new ingenue instead of coming up hard on solo album number two. He’s explicit in his goals, which is refreshing, but it means he walks a weird line with fans: on one hand, he’s done with their bullshit, get ready to get rekt if you start commenting on his boring food seasoning or home décor. But on the other hand, he fully recognizes how much he needs them, which is why we get so many peeks into his “normal” life (yet zero percent of his actual personal life). It’s also probably why the blatant tweets of the last two days seem so jarring to me (I might be alone on this one, but I’m not a fan of directives in general, and asking me to call radio stations on behalf of a rich white man to become even richer just rubs me the wrong way, same with asking me to stream stuff to get you to number one…you’ve been there, buddy, how about you calm down and build some character at number 51). And speaking of calming down, it does fascinate me that both Niall and Louis namecheck Taylor Swift as someone who gets the whole fandom push/pull thing right, so watching them try to reverse-engineer her secrets is fun. Louis nails it (that hotspot treasure hunt: chef’s kiss), but Niall’s heavy-handed easter egg dump in NTMY, she would never!! I think Niall’s team needs to watch “Calm Down” about five more times before they try that again.

* Louis. I think Louis honestly has an AMAZING team in place, and they’re all clearly on his side, which makes for a refreshing change. Like Niall, he has publicly praised Taylor Swift for how she engages with her fans, but I think he’s missing a key point: she doesn’t let her fans dictate strategy, and I HOPE that’s the case for Louis, too. His old team *was* shit, so yeah, encouraging people to do fan projects to get the word out was a good idea, but turning that spigot off to let a good (paid) team step in and take over has been, uh, challenging. He’s dealt with more than his fair share of personal tragedy, but every time he gets some momentum going, it feels like something bts pushes him back off track, and he tends to keep it private, which only makes his hardest-core fans scream “sabotage.” Rightly so, he’s focusing on his personal life, and rightly so, his team is giving him the space to do that, even when it costs cash money and throws a lot of shit seriously for a loop. It makes my heart soar to see the potential of what his team can do/is doing, how much space he’s being allowed to process what he needs to process. Weirdly, that’s an unpopular opinion, and a lot of people want to indulge in an angst wank fest where Louis’s the victim of a terrible team that won’t DO anything (nevermind the fact that he’s probably ASKED them not to do anything), so they undertake a tremendous amount of performative unpaid labor that ends up being counterproductive on just about every front. Even worse, most of them can’t seem to process the fact that losing your mum is a blow, losing your SISTER is a blow, juggling other siblings or close friends handling some serious demons of their own in the aftermath of all of *that* is a blow, let alone handling your own personal coping mechanisms, nope, they want Louis to release release release, perform perform perform, c’mon, what’s holding him back, he *said* he wanted to release an album this year, there’s “no reason” for a delay, gotta be his shitty team, free him. It drives me ‘round the bend because it’s the same talk from late last year, you know, when we later found out that at least one family member was losing a fight with drug addiction. Louis’s fan engagement/promo is therefore hella fraught: he has to balance LouisTM on twitter (Mr. Donny, he’s hard, mate), his werk IG posts, and his constant edging because nobody can remember or trust that he’s got this, that multiple things are in play. But he also knows his fanbase, knows that it’s resistant to any kind of change, so I hope he pushes through and stays true to what he wants to do. I was really encouraged with his last promo round because he seems to have narrowed in on a something solid, he’s got a plan, and it’s not, “hey mr dj, put my record on,” it’s getting his fans to trust that he and his team know what the fuck they’re doing, and spoiler alert, it ain’t radio, but go ahead and keep pissing off djs by sending angry tweets their way. (Related: why is it so bad to avoid the radio when all of us admit that radio music is garbage? Is it because it’s more about you than him? Much to think about.)

* Harry. My very favorite head canon is that Harry is Jeff’s nightmare client: what was perfection at first because the Azoffs are old-school promo all the way (no SM, baby, gimme that sweet, sweet paper), and that dovetailed nicely with post-1D Harry, but it quickly veered into mulish teeth pulling. Low profile can quickly spin into no profile, and that really doesn’t work too well when you’re trying to sell sell sell, even if your brand is Harry StylesTM. HS1 and Dunkirk in their own separate ways worked VERY hard to push past the still-persistent way the general public views Harry as boybander Harry Styles, or more accurately, former boybander Harry Styles who dated Taylor Swift (if you venture out and ask someone who’s not a fan), but what I love about Harry is that much like Zayn, he doesn’t seem to be too bothered by all that. Sure, he’s ambitious, he wants to challenge himself and do things, but he’s no Niall Horan. He’s put in his time! If he gets a number one, then cool, but he’s not gonna chase it. And this is where Harry’s team really reflects his goals and energy: sure, they want him to do some promo (that “Do” tweet, the entire bit about the fan in Australia and Harry Lambert’s follow, goddddd, I loved it, petty Harry, resigned Jeff), but they clearly aren’t forcing him. He drops a song that makes a HUGE splash, and the follow-up is…liking some tweets and going to a John Mayer concert (not a John Mayer fan, so that wouldn’t be my first choice, but I respond to the zero fucks given about the whole thing). The music industry has changed a LOT in just two years, so it’s kind of cool to see team Harry pivoting a bit, seeing more SM interaction, the kindness generator, etc., but that said, the team takes their cues from him, and he clearly doesn’t want to do a whole promo circuit beyond persons a, b, and c, and magazine R, F, and A. Does it make sense to have Rob Sheffield write a profile about Stevie Nicks-blessed shroom-eater Harry Styles when his new song sounds like the Zarry combo of my dreams? NOPE, but that’s okay, Harry wanted to talk to Rob, so that’s what happened. The new song is more streaming friendly, and thank CHRIST, a lot less crusty white dude stuck in the ‘70s, so I can only hope that the rest of the album is thus, but we shall see! We’ll also see if Harry’s fan engagement shifts any further into the active zone…so far, it’s been “I’m gonna follow some larries, like these fun generator posts, check out a few dads” and staged photo ops with the same familiar faces, but I think he’s dealing with his own major bts issues as well (album delayed at least twice; that entire stalking situation). I still contend the album’s coming in the next few weeks, so it’ll be interesting to see if/how any additional promo rolls out in this new world order post-gryles landscape, how many interviews he’ll do, but I like that there’s a strategy that seems less stodgy…kudos to the new SM team, at least!!

Oh man, that got really long! Hope you enjoyed, and YES, opinions opinions opinions, and they’ll be stupid in about three weeks’ time, thanks for coming to my already dated buzzfeed article

#so many long-winded opinions #one direction #yeah #and shout out to kim for always checking my work!!!

67 notes · View notes

praphit · 4 years

Text

Gretel & Hansel: White people, hear me!

I know, I know, some of y'all were hoping that my next review would be Taylor Swift's "Miss Americana".

I'm sorry to disappoint you. Why and how is she still making movies anyway? I thought that everyone associated with "Cats" had been banned from Hollywood.

Now, it WOULD be cool, if Taylor got involved in Horror. I'm thinking that a bunch of horror monsters could get together to track her down; kinda like a contest. They would, you know... do their thing to her, and then bring her back from the dead in the sequel, and repeat the process. Every now and then, they could throw in Justin Bieber or someone else with his same level of annoyance. BOOM! Franchise! So, donate to Praphit Productions (millions), so I can make that happen. I'll just CG Taylor Swift in, if I have to; I'm sure she'd be ok with that.

Just picture Jason Voorhees or Kanye West chasing her.

No, people, I'm here to talk to y'all about Hansel & Gretel!

No, no, no, I'm sorry! "Gretel and Hansel!"

I almost forgot about that blow up in their studio. Y'all remember that?

Sophia Lillis' (who plays Gretel - SHE’S GREAT IN THIS-BTW) first day on the set was raw!

She walked up to the director and was like "Bleep this bleep! Who is Hansel? Who the bleep is he?! No one knows that actor! What is he, like 5 years old? Bleep him! How is his name first?! So, a woman can't lead a man, huh??! It's always gotta be Hansel first, right?! And what always happens?! That witch bitch always tries to eat them! Bleep that! Y'all know who I is! I'm Sophia bleeping Lillis! I was in "It" one AND two. What has "Sammy Leakey" (playing Hansel) been in??!

Not a damned thing! I want my name first! You will put it first or so help me God, I will UNLEASH THE FURY!"

Director (Oz Perkins): "I actually like that idea"

SL: "I don't give a bleep what you like! Just make it happen!"

Then, she went to her trailer, and when she came back out, it was "Gretel & Hansel".

(Hansel’s not even in the shot. Lillis was too raw for him.)

Let's see if Gretel fairs better in this story, now that she's getting the chance to lead.

We all know this Brothers Grimm story. There's a family (I don't know what Gretel & Hansel's last name is... we'll just say "Shakur"). So, the Shakur Family was struck by a famine in the land. Stuff happens, and G & H end up off on their own, in the woods, and eventually meet up with a witch, who later tries to eat them.

White people, hear me! Are you listening? STOP GOING INTO THE WOODS! Seriously, STOP! I'm trying to save you. Black people know better, but y'all... smh. I know y'all like to go hiking, and camping, and taking selfies on mountain tops and shit, but PLEASE... STOP! Nothing good is waiting for you out there!

Quit going into the woods to get footage of alleged monsters/spirits. Quit going into the woods to spend the night in cabins. Quit going into the woods to party on the anniversary of the night that 12 people were mysteriously murdered in those same woods. STOP!

JUST STOP! DAMN!

Some of you might be thinking, "Well maybe Gretel will make it. Maybe now that she's leading the duo, things will be different." Nope, she's white... *sigh* so we all know what she and Hansel did... went right into the woods.

This movie is mainly from Gretel's perspective. Right from the jump, we see Gretel being pimped out by her mama. Gretel of course declines to become a professional hoe, but when she comes back to her mama for a possible different direction in life, Mama is like "Would it have killed you to get on your knees for your family?! We're starving!"

I know - Mom of the Year.

Dad isn't even around. I may have missed something, but I don't remember where he was, or if maybe he ran away, a long time ago. One of those "Daddy went to get a pack of cigs, and never came back" scenarios. He may be off in a land flowing with Big Macs and Fries, Idk. Or maybe, being that his "selfish" daughter wouldn't put-out, he decided to get to work on the corner himself. Who knows where he was in this movie??

Gretel was def tough though. And she loved her brother! She was very protective of him. There is a scene where there's some sort of vampire creature chasing down Hansel, and Gretel stands up to the creature. That's the type of character that she is in this movie. She's smart, tough, and though sometimes hard on her bro, she loves him very much.

Hansel on the other hand is annoying as shit. And Dumb! Man, is he dumb! I'm surprised that we never see Gretel slap him. But, she is always able to compose herself in the midst of her annoying brother, and keep the journey going. She even calms him down at one point with some drugs. They end up eating some shrooms on their trip. Now, THAT'S love, people! Seeing someone in need of calming the bleep down, and offering them some good shit. What's a road trip without a moment when the group gets high??

There's a Lando-looking character that they meet along the way.

He doesn't have much of a role in this movie. I'm not saying it's because he's black, BUT he's a fascinating, noble character, who's black and barely in the movie. And they do not trust him at all. I'm not saying it's because he's black... you know what?? - YES! Yes I am saying that!

He saves their lives, offers them food and shelter, and gives them specific instructions that will keep them safe. But, after that (the only character so far that has had G & H's best interests in mind), Gretel immediately questions his motives. White women, hear me! If a black man willingly sticks out his neck for you, IN THE DARKNESS, in order to save YOUR life, that's a man that you can trust. Cuz we (black men) all know, that if we try to save a white woman out in public (even if we succeed), there's a good chance that the cops will still swing by to shoot us. They're thinking just like Gretel is in this movie - "I know it LOOKS like they saved her, but... can we really trust him? - let's shoot him just in case." Granted, this Landoish character sends them off (again with instructions for their safety). They had no quarrels about leaving (and quickly).

So, they runaway from the compassionate black man, who just saved them, and they meet an old lady (the witch) who has black fingers, and house smells a lil like death... and they say to themselves "Let's sleep here!" Ain't that some shit??!

White people, HEAR ME!

STOP!

They don't even question her black fingers, they just let her handle their food. I question people of whom I don't know, with normal fingers, handling my food, but... I guess that's just me.

Then, the rest of the story is legend.

The production design in this movie is absolutely amazing! If this film had no dialogue, and was just silent, it still would have been a beautiful movie (despite the cannibalism:)

The plot, I felt, was secondary to the cinematography.

Some of you might say, "Well that's nice and all, but is the movie scary? Does the witch, at some point, rev-up a chainsaw, and chase the two kids around her house?" No. "Ok, but does the movie, at some point, have little, pale Asian kids making creepy noises at H & G while they're trying to sleep?" NO! "Yeah, but is there some sort of human centipede action happening in the basement of the witch, and she tries to..."

NO! NO! HELL NO! What's wrong with y'all?!

No, none of that. The story that The Brothers Grimm have painted is horrifying enough. Famine and crappy parenting, leading to witch who wants to eat you... I'd say that's all that's required; the director knows this.

They don't need to use any gimmicks, just the same story (pretty much), a lil dark magic, the mentioned cinematography, and well-placed spooky music keep the movie in a consistent place of dread.

I think RT got this one wrong (59%). I don't have much bad to speak of, concerning this movie. I can't give it an A grade, due to it being a copy of a story that we've seen copied many times before. Plus, there are some ending issues I have with it, that I'll get to in a sec. BUT, this film is a hell of a B grade :)

SPOILER ALERT!!!!!!

SPOILER ALERT!!!!!!!!!!!

SPOILER ALERT!!!!!!!!!!!!!!

I WARNED YOU!

A few things:

Soooooo, Gretel has some sort of connection to the witch that is never explained. Apparently, she has within her, the same powers as the witch.

She ends up sending her bro off to Lord knows where. She sends him off on a horse that she says she SPOKE TO, and he (the horse) will get Hansel there (where? who knows??) safely. So, she's talking the animals now?? When did she pick-up that skill? And where the bleep did she even get a horse?

There's some super grease that her and the witch use to do magic, that is never explained.

Now, none of this took away from my enjoyment of the film, but... still though.

There's a message of false empowerment at the end. Like I said, she abandons her brother, so that she can... fulfill her destiny or something. She has dark magic in her, but she is convinced that she'll use it for good. Like I said, Gretel is a SMART character... what happened to all of that smart? It's like saying "Hey, I have this STD, but instead of tending to it, I'm going to use my STD for good. It's going to be hard, but I've gotta be strong."

WHAT?!

I said "false empowerment". The movie isn't painting a picture of this being a good thing, but the "false" part is subtle enough to where people could walk away thinking it's an empowering message.

You abandoned your brother to become a witch! But, maybe I'm not being fair. Perhaps Gretel will be just fine. Throughout the history of human beings, we've had many people who were in power, and who thought that not allowing their power to be checked was the brave and noble thing to do. I think those times in history all worked out well right??

I could have added some pics to accentuate my last statement, but I feel it might have been a little too real:)

So, instead I'll leave y'all with this slightly less horrifying pic

... and bid you adieu.

STAY OUT OF THE WOODS!

#gretel & hansel #john praphit #praphitproductions.com #movies #Movie Reviews #Horror Movies #praphit #taylor swift #miss americana #sophia lillis #oz perkins #hanselandgretel #witches #cats #black people #white people

8 notes · View notes

katebeckets · 5 years

Text

Lover track by track

SO. I’m currently out of the country and it took me awhile to finish this, but I’m sharing my thoughts for anyone who cares to read it. There’s SO much more to say and I wish it was better written because I like when words are nice and convey exactly what you want to say (I’m doing this all on my phone) but you get the general feel and that’s what’s important, the emotions. Come talk to me if you want!!!!

I tried to put a read more but I’m not sure if I can on mobile? Because mobile is its own special nightmare so I’m soRRY

I Forgot That You Existed | The way this song starts (and the whole thing) reminds me a lot of a Lauv song. Something about it just does. It’s a wonderful start to the album, I think, because it IS her moving on, but it isn’t yet the level of “step into the daylight and let it go.” It’s the first step; it’s realizing that not everyone deserves a place in your life, but closer to Reputation than other songs on the album (like the “so... yeah” which I LOVE but, I think, has a slightly different attitude than she ends with). I love her delivery of different lines in this song; you can hear the freedom in her comments, giggles, and speaking.

Cruel Summer | I saw a post that said fans of “Getaway Car” would like this one and I GET IT now. It’s inexplicably tied to that song in my mind, something about the production and melody and everything, even the ending on the third beat. And I love it. One thing I’ve missed about pre-1989 is her lyrics; not to say any album of hers doesn’t have insanely clever and meaningful lyrics (because they all do), but I think there is just something so incredible about her Speak Now and Red lyrics especially. It’s part of why pop music in general isn’t my main genre. But this early on and I knew Lover was everything I have ever wanted in a pop album. “Taylor Swift” is its own genre, and will always be my favorite genre, but this song just... so perfectly marries her older songwriting with her newer song production. Her voice when she calls him a devil oh my that was god tier I swear—and lines like “devils roll the dice, angels roll their eyes” and “in these trying times we’re not trying” are so clever and akdjslsjsk I love Taylor Alison Swift.

Lover | She mentioned that the album was almost called Daylight and even though I might’ve preferred that (lover is still not my favorite word), I’m so happy that “Lover” is the, as she calls it, flagship song. There is a palpable warmth and security in the tone of the song, and you can hear her smile as she sings. She is in love—a real, steadfast, quiet love. A love that isn’t composed of extraordinary moments that her younger self fantasized about in songs, but of little details and daily routines and the way love’s presence pervades every aspect of life.

The Man | Ugh she IS a fearless leader, she IS the alpha type—to write a song with as much BDE as this you have to be. She is the shit and she knows it, and I love the lyrics and vocabulary of the song! Like how she talks about being able to separate behavior from ideas and accomplishments or actions from character—it’s such a difficult thing to really work into a song as seamlessly as she does. Also, THE BRIDGE. Holy moly. I think it’s one of my favorite bridges on the album. I had no idea how badly I needed to hear her say “bitch” like this. I love her.

The Archer | I SEE RIGHT THROUGH ME! I SEE RIGHT THROUGH ME!!!! Also, the transition into “you could stay...” is just so beautiful. And I think it’s such an interesting choice that she doesn’t end it there, that she goes back to combat. It echoes what she says in “I Forgot That You Existed,” that she would’ve fought the whole town for them. She’s opening herself up to someone new and asking them to stay, but saying that if they do, she’s ready to fight for this love.

I Think He Knows | “Boy, I understand.” That’s it that’s the whole tweet. (Not). But also the snaps and “we can follow the sparks, I’ll drive” is just ?!?!!! Mind blowing. She’s incredible.

Miss Americana and the Heartbreak Prince | Okay... this was the most unexpected love for me, even though I know titles don’t mean anything, I was so surprised how much I love this one. I love the “okay!” and the way she yells different words, it really echoes the sounds of a high school sports game and that’s just so smart because that’s the theme of this song. I don’t know it’s just SO GOOD. And there are some really heartbreaking lyrics (“you are the only one who seems to care,” “no cameras catch my pageant smile/muffled cries”) where you just get this sense of loneliness and fear and in its own way it reminds me of “Safe and Sound,” when she says “don’t you dare look out your window.” The five of this song feels like her holding her lover’s hand and running behind him with their heads down through the storm of a high school hallways—“now the storm is coming but it’s you and me, that’s my whole world.”

Paper Rings | For whatever reason, this song gives me major “The Middle” vibes. I saw someone say that it’s “‘Stay Stay Stay’ 2.0” and it makes it even more adorable because then she was daydreaming about real love again... and now she’s here. The prechorus is everything, so much of this album has left me incoherent with its sheer perfection and genius honestly it’s so hard to comprehend... her MIND. It’s so cute I hate I can’t believe I literally could cry and also there’s one part where she says “I’m with YOU!” and it made me think she’s saying “YOU!” in the way she says “ME!” with that pure celebration and joy and loving him because he’s the only one of him, too. I’m with YOU like ME also that sigh and how she says she wants ALL of it, the complications and dreary Mondays and to have him in ALL her dreams, good, bad, and in-between. Just like she wants his midnights... she wants all the midnight moments, the celebrations, the magic... but ALSO wants to be around for absolutely everything, cleaning up bottles on New Year’s Day. The everyday, quiet moments of companionship.

Cornelia Street | Oh... this one is surprisingly hard for me to listen to. When I first heard “Lover,” I brought up this Brené Brown quote about rehearsing tragedy—she talks about how joy is the most vulnerable emotion we experience. It’s so hard to immerse ourselves in joy because of how fragile it feels (she says it more eloquently), and that’s where this song hits for me. “Lover” is her being able to experience joy and contentment and let go of the need to prepare for the worst while “Cornelia Street” references the pull to dress rehearse tragedy. The song captures the risk of opening up to happiness, love, joy, any good feeling... because how could you survive if you lose that? Isn’t it better if you never feel so deeply and don’t have to worry about what’ll happen if you lose it? And she talks about that fear, about not wanting to open up and risk being hurt or made a fool of when she says she left Cornelia Street... but then he showed his hand (don’t even get me started on that line oh my heart). That song walks that delicate line of not dress rehearsing tragedy, but really conveying the vulnerability in finding any kind of love. And I love that she ties it to a street, to this concrete place that is nothing spectacular but for her is associated with her most cherished memories. Because that’s the other thing about love and loss—it’s not only extraordinary moments that matter. Love touches every part of your life.

Death by a Thousand Cuts | What a METAPHOR. Like holy shit. “Flashbacks waking me up,” “looking through the windows,” “can’t pretend it’s okay when it’s not.” It’s death by a thousand cuts. It’s prolonged and painful and persistent. It lingers. Ugh her MIND is just so brilliant and I feel so lucky that I happen to be alive at the same time as her? Like how wild is that???? “Paper cut stings from my paper thin plans” is so clever?? The way she says “lawless” is so good???? And the LONELINESS of asking a traffic light if it will be alright... of hoping for a sign, any kind of sign. And rather than saying she found comfort or affirmation, she says their answer was “I don’t know.” The courage and loneliness and fear and heartbreak of living with that uncertainty... this is So Much™

London Boy | This song is so Pure 🥺 Like... that’s it that’s the song it’s so fucking cute and simple and sweet, using all these London terms... it is Soft and Pure there is no other way to describe this song.

Soon You’ll Get Better | I knew as soon as I heard about this song that it would be one of my favorites because it’s just who I am... but this song is so beautiful and reminds me of her older work because of how simple the production is. I think a lot of why I love this song is the same as why I love “You Learn to Live Without” and my analysis would be similar—the chorus is so simple and repetitive because she’s repeating it to herself, to her family, to anyone. “You’ll get better soon... because you have to.” It’s like telling someone, promising them, that it’ll be okay; you can’t know, you can’t ever know. But sometimes you say it because you have to. Because there’s no other option. In “You Learn to Live Without,” it’s a similar situation... almost every line starts with what “you learn” how to do. It’s repetitive and she relies on that when she falters. It feels like there’s no way to survive such a devastating loss, but you learn, because you have to. There’s no other option. The song is so simple and the lyrics are everything that makes Taylor Swift music so special. Personal, specific, and yet relatable in, even because of, its specificity. You can hear her shaky breaths, which is always devastating. The bridge took my breath away because I’ve expressed those exact feelings before, and it hurts my heart that she’s felt it but it also is why I love her so much, because it connects so deeply.

False God | Going from “Soon You’ll Get Better” to this is a LOT (to be fair, anything would be) but it also reminds me of desperation and makes sense in that way—how you turn to anything at all, even a false god, if it will help you make it through. And that line about daring him to leave her... what a mood. But also bless Joe Alwyn. Also we neED TO TALK ABOUT THE FLAWLESS TRANSITION INTO YNTCD THAT WAS SO SATISFYING HER M I N D.

You Need to Calm Down | The “oh-oh” totally gets to me because when she was about 12-14 months, my focal child used to go “uh-oh” in almost the exact same way, so I always hear it in her voice. I love these lyrics because they’re just... so fun?? To shout???? And SHADE NEVER MADE ANYBODY LESS GAY SO

Afterglow | I had no idea what to expect from this song, but I love it. The connection she makes about fighting because there’s “chemistry until it blows” is so good because then you can really picture and understand what she means when she says “meet me in the afterglow.” It’s the quiet after the storm, when things are calm and hazy and you can take a step back and reflect. You can truly listen. And if you stay, like she asks him to, you can survive it. You may even have a stronger relationship because of it. And she wrote this song about taking responsibility and the messy parts of a relationship and how hard it is when you hurt someone you love and it’s just so beautiful that she allows us into this process, all the messy and flawed lessons in learning how to heal and forgive and love.

ME! | I’m so proud of her for reaching this point because it’s true, she’s the only one of her. There will never be another Taylor Swift... her incredible ability to write songs, to make music, to connect, her generosity, her love, everything about her... she is SO special.

It’s Nice to Have a Friend | I’m going to give this one a little more time because I love the idea of the song, the lyrics, the simplicity, but I need more time to really decide how I feel.

Daylight | This song makes me so emotional in the way I always get when I listen to “Call It What You Want” and hear how happy she is, she’s doing better than she ever was... she’s so happy and I love her so much and this is all I wanted for her agh but also this song, what a beautiful song. “I’ll tell you the truth but never goodbye” is just... unconditional love. I’m in love with the way she sings “daylight,” it echoes the entire song. Something about it is just lighter, louder in a soft, airy, ethereal way. It gets lighter, like you can hear it take on the quality of daylight. There’s so many things calling it back to old songs, too. I kept thinking about “this love is glowing in the dark” because this song is about how love, true love, is golden like daylight. It glows. And how she’s been sleeping in the darkest, longest night, but now all she sees is daylight. This love glows in the dark and glows so bright that it overcomes it. And then she so explicitly calls back to “Red” and how she used to think love would be burning red, but she’s realized instead that it’s golden. Red love is so fiery and passionate in all its emotions, and the idea of something being fiery means that it could, occasionally, be golden, when it’s glowing bright. But that’s an intense golden... this golden is soft. Ethereal is the best word I have for it. She sings of golden daylight, and this song is that—daylight. It’s true gold; it isn’t burning red because it’s softer. It’s warmth, not heat. It’s contentment, it’s quiet, it’s safety, it’s trust, it’s reconciliation. It’s illuminating, but not blinding. I just... this song is bursting with warmth and softness and light and I can’t get over it or put it into better words.

tl;dr I love Taylor Swift with my whole heart and Lover is simply incredible and, quite frankly, THAT bitch. 💘💕✨

#taylor swift #lover #lover album #taylor nation #ANYWAY who wants to converse

47 notes · View notes

ebola-kun · 4 years

Text

L.A.'s Music Industry Women Are Sick of the Same Old Song When It Comes to Equality | L.A. Weekly

"Threats, hate accounts, weird fan interactions, being hacked several times over the last year — reporting harassment and blocking just became a part of life as I now know it," Addams says. "For some fans it became their life's mission to watch my every move via social media, create false narratives, all in order to let people know that I am not perfect. The same fake accounts of online detectives trying to prove by my actions that I might possibly be lying. They suggested I deserved what happened to me. They questioned why after 20 years would I destroy a man's life? I did not destroy anybody's life. The man who did what he did to me and many other women destroyed his own life by his egregious actions."

Courtesy Purple Crush

Women in the music industry who come forward with similar stories can expect just as much harassment, judgment and doubt online as support, and probably more of the former because "sex, drugs and rock & roll" is built into its mystique. It's expected. Still, some have been brave enough to speak out regardless. In the pop world, Taylor Swift and Kesha were the biggest names to call out behaviors ranging from inappropriate to abusive. And in R&B and hip-hop, the list of men accused of varying degrees of assault goes on and on: Russell Simmons, R. Kelly, L.A. Reid, Chris Brown —all of whom seem to have been for the most part, unscathed professionally. Indeed, the inherent rebelliousness and seduction of the music world makes for a slippery slope. While I spoke with women in indie and rock music for this story, there are so many more to talk to and the problem is far-reaching. The L.A. Weekly will continue to explore these issues within other genres and L.A. nightlife environments on a regular basis next year.

The dance music world for example, is particularly troublesome. Isla Jones of the electro-dance group Purple Crush and promoter of L.A.'s Banjee Ball parties recalls how she found herself the target of cyberbullying via DJ/producer Diplo's Hollertronix message board. "There was this 'dude bro' persona that Diplo iconified, which legions of internet DJs emulated. Being the outspoken woman that I am, I became an easy target for them and was clowned on a weekly basis," she says. The clowning translated into physical violence a couple times, and Jones, who is known in L.A. for her inclusive LGBTQ events, says that it was celebrated online. "It felt like digital rape."

Alice Glass, former frontwoman of Crystal Castles, is one of the few indie artists who came out with a story similar to Addams', accusing her ex-bandmate and beau Ethan Kath of physical and sexual abuse in October 2017. He denied it and filed a defamation suit against her, which was later dismissed. She has gone on to make some of the most powerful music of her career and now is seen as an advocate for victims of assault. In general, though, women who want to prove they can rock with the boys seem more likely to suck it up. As one rock legend tells it, it's hard enough getting acknowledged as a musician in the first place.

"The Go-Go's had been together for three years and could sell out any club we played on the West Coast," recalls guitarist/songwriter Jane Wiedlin, "yet not one major label was interested in us. The attitude was, there'd never been a successful all-female band and so there never would be. There was even an article on the front page of the L.A. Times' Calendar section: 'Why Can't The Go-Go's Get a Record Deal?' It was very frustrating. Finally, a new and tiny label, I.R.S. Records, came to see us, loved us, and offered us a record deal."

Brit Witt at Coachella

Zane Roessell

Though I.R.S. was small, it cared about the band and supported them irrespective of sex, which put The Go-Go's on a successful, hit-packed trajectory. Still, when Wiedlin forged a career on her own years later, she was not immune to vulturous actions. "When I first went solo, in 1985, I took a dinner meeting with a record producer who claimed he wanted to work with me," she recalls. "He ended up trapping me in a room and wouldn't let me leave until I 'put out.' I ended up giving in because I didn't know what else to do. For decades I thought it was my fault, because I hadn't fought back. Now I feel differently about it. Now I know I was assaulted by a sexual predator."

Wiedlin's story is not revelatory but it does reflect how women who accepted these behaviors back then view their experiences now. And whether onstage or off-, the challenges remain the same. Even when women seemingly are in control, they often have to deal with limitations that hinder their success if they don't act a certain way. Men in power were — and are — allowed to wield it without judgment; women, not so much.

Michelle Carr at Jabberjaw

Courtesy Jabberjaw

Britt Witt has made a name for herself booking and running the Hi Hat in Highland Park, but it didn't come easy. "I think I was in denial. I think I still am because I've always just focused on getting the job done rather than why I can't," she explains. "I [used to] attribute being dismissed, ignored and underpaid to just not being good enough. Nowadays, I realize that I'm constantly overcoming the challenge of being considered intimidating, brash or bitchy just because I put my foot down in the same places men do. Encountering skepticism with ideas and facts where a man repeats the same statement minutes later to celebration."

From management to booking to being a club owner, the frustrations I've heard from women working in the music biz over the years have played like a badly broken record. "Owning a music venue with a guy was very frustrating in that I was never taken seriously," says Michelle Carr, proprietress of legendary '90s music venue Jabberjaw, where Nirvana famously first played L.A. "Most would not take my word. They more often than not would seek out Gary [her former partner] for any wants or needs — he was the default. What was most surprising was when even the Riot Grrrl contingent would treat me as such."

Dayle Gloria, who booked the legendary L.A. club Scream, helping to discover bands like Jane's Addiction in the process, and later the Viper Room, echoes Carr's complaints about being taken seriously. "In order to do that I had to really 'man up,' leaving so much of my femininity behind," she admits. "I was always a tomboy but had to be harder than that. If I asked for something once, it was never enough. It was getting to the point where to be heard I had to yell and scream. To get things done. It's not a great way to live."

"I wanted to be seen as a professional manager and executive, and not looked upon as a groupie, girlfriend or disposable mommy," echoes Vicky Hamilton, known for her work managing Guns N' Roses and Poison in the '80s. "To be treated fairly and paid equal to a man for the work done. I have a much better track record then many of my male counterparts, and the bands I have worked with have sold over 250 million records collectively, but I feel it is much harder to get financial backing for my new record company than it would be for a white male with lesser achievements."

Dayle Gloria with Scott Weiland

Courtesy Dayle Gloria

Witt books some of the hottest shows in L.A. right now, but Gloria and Carr are happily out of the music and club business (though Carr is working on a documentary about Jabberjaw). Hamilton soldiers on with a new label, Dark Spark Music, even after years of not being acknowledged for her contributions. "[When] I was an A&R person at a major label, the executive who was supposed to be mentoring me, who took full credit for a band that I brought to the label, told me that my snake in the grass was about recognition and credit. My response was, 'No shit, since I never seem to get either around here.' A month later my contract option was not renewed," she recalls.

Fear of not being seen as a team player or even losing one's job has been a factor for many women in terms of the varying levels of bad treatment they might accept. It's one of the reasons the news about FYF Fest founder Sean Carlson took so long to surface. Nobody wanted to be the first one, possibly standing alone against a powerful man, to put the truth out there. But as detailed in a 2017 Spin magazine article, Carlson's misconduct was "an open secret" for quite some time. Though the Spin piece featured all but one woman sharing stories anonymously, the tales of assault at FYF-associated parties were corroborated by many on social media afterward, and Carlson himself issued a statement to Spin acknowledging his behavior. "I acted inappropriately and shamefully, and deeply regret my actions," he wrote, though the end of the statement went for the all-too-common "blame it on the alcohol" type of excuses that some felt were disingenuous.

Goldenvoice severed all ties with Carlson just before the story broke around this time last year. Soon after, in what should have been a validating and somewhat victorious moment for women, Goldenvoice announced that FYF would go on, unveiling a female-heavy lineup minus Carlson's input, curated mostly by women at the company, including Goldenvoice vet Jennifer Yacoubian, who previously booked the El Rey Theatre and the Shrine Auditorium. The lineup, one of the best FYF would ever see, included Janet Jackson as headliner along with Florence + the Machine, St. Vincent, The Breeders, The xx, U.S. Girls, My Bloody Valentine, Charlotte Gainsbourg and more. But a few months later the entire fest was canceled, reportedly due to low ticket sales. Many journalists, including this one, were dumbfounded that a lineup like that could fail, and a fair share wondered online if there was more to the cancellation. Many of us are hoping that FYF will try again for a similarly gender-equal lineup next year. We'll see.

Vicky Hamilton with Bret Michaels

Courtesy Vicky Hamilton

Festival culture has in many ways become a microcosm of the music world these days, reflecting sexual culture and pop culture in general. The biggest, Coachella, also put together by Goldenvoice/AEG, has made some strides in representing the concerns of women onstage and off-, but for many of us more is needed, and all the major promoters could do better. Warped Tour brought in a group called Safe Spaces to monitor safety for young girls at the event, and even amidst controversy concerning the group's tactics, it was a signal for change that had a positive impact. Unfortunately, Warped is now kaput.

Warped vet Monique Powell of the ska-punk outfit Save Ferris has used her social media to call out the disparities she's seen as a performer on the festival circuit for years, such as flyers, posters and advertisements that belittle female performers by putting them at the bottom of the bill, even when their bands have bigger followings. She also has told the world about the outright sexism she's encountered on tour from promoters, other bands and even her own bandmates. Like Addams, Powell became the victim of brutal online harassment after a legal battle ensued over use of Save Ferris' name when she sought to forge a comeback after a long hiatus. It got worse when she won the case.

"People didn't like that I was bringing it back and I was doing it my way," she says wearily. "I was trolled. I got death threats. And the commonality was unmistakable: They were all young men, 25 to 35 and they all liked a specific band from Orange County."

Powell stops short of naming the band but says a long-held rivalry with a male singer in the scene has led to her feeling unsafe and targeted in recent years, even by the media (TMZ, Perez Hilton and O.C. Weekly's reports about the lawsuit all seem to subtly villainize her). Powell, who lives in L.A. now but grew up in Orange County, says she became "a punching bag. I believe that in Orange County, and in L.A. as well, there's still an accepted underlying misogyny, where strong women who have a voice are not considered ladylike, and therefore not to be trusted."

Save Ferris' Monique Powell

Josh Coffman

To counteract this perception, Powell is shining a light on it, sharing her experiences online and hashtagging them with #dontskirttheissue. She hopes to take the conversation that has emerged and turn it into something bigger, with meetups and a bona fide watchdog group that points out women in music being overlooked and judged by their gender unfairly, in promos, media and more.

Mobilization is coming from all fronts right now, and speaking out is only the beginning. Like the women mentioned thus far, Daisy O'Dell, Ana Calderon, Michelle Pesce and Kate Mazzuca are all names known in local music circles nightlife and beyond, the first three as top L.A. DJs and music curators/supervisors and the latter as a marketing and events entrepreneur. Last year, around the same time that #MeToo started building steam, they sought to make change for women in nightlife by creating a group called, fittingly, woman. The collective grew out of a weekly lunch gathering of female DJs, and its goals were many, but the main one was to create welcoming and safe environments for women in a music and club scene where objectification and discrimination had become commonplace and stories of assault and druggings at venues, some where the gals spun, had started to become more frequent. The women of woman. realized that it was the mindset — of venue owners and promoters, who were all male — that needed to change.

Calderon recalls her aggravation sitting in on club meetings. "We would hear some of the most obscene discussions that you would never expect to hear today about women and women attending venues," she reveals, going on to recount the conversation that made her quit doing clubs in bottle service–driven West Hollywood. "I was brought in to bring more interesting people to the club, and it was a lot of Eastside creatives and LGBT, but at one particular meeting a promoter said he appreciated the mix I brought in but he wondered if I could 'target prettier trans people.' I walked out. I was sad and grossed out and felt like something needed to be done. We couldn't have clubs owned and run just by men anymore."

"What's interesting is that these feelings of unrest, of wanting to take action in terms of sexism and misogyny — even though we were all somewhat isolated from each other — happened simultaneously," interjects O'Dell, who encountered a lot of both as a touring DJ for concerts and in clubs. She realized it was embedded into the system she was a part of. "We were all coming to the same realization that, as veterans in this industry, we had to do something because the younger generation kind of looks to us to lead anyway."

Courtesy woman.

Earlier this year, the ladies pulled together their resources and sought to open an all-female-run nightclub. But as fate would have it, on the day they were going to sign the lease for the perfect Hollywood space, an accusation of abuse emerged against one of the building's owners by his former girlfriend. Though he was a male ally to their vision, they opted not to move forward. Hesitant to qualify the allegations as true or false (charges have since been dropped), they admit there was internal conflict. "It was a very difficult decision to make because we had worked so hard and we had come so far and we had gotten so close," O'Dell says. Adds Calderon, "It was heartbreaking."

O'Dell and Calderon say they will open up a club one day but in the meantime they are channeling their energy into initiatives: The first is a list of guidelines for the nightclub industry touting inclusion and equality; and the second is an even bigger objective that goes beyond clubs and into events, including the all-important music festival arena.

soteria.

Named for the Greek goddess of safety and salvation, "soteria." is a designated safe space and service hub at music events created to ensure "the safety and well-being of any visitor experiencing trauma trigger, harassment, sexual misconduct and/or assault."

If you like this story, consider signing up for our email newsletters.

You have successfully signed up for your selected newsletter(s) - please keep an eye on your mailbox, we're movin' in!

They already instituted soteria. (which they stress is for everyone who might feel vulnerable at music events, not just women) at the Form festival in Arizona and the Summit LA18 event last month in DTLA with great success, providing safety ambassadors and crisis managers on the ground as well as a private "sanctuary room" and lounge area. They promise much more to come, changing the game for people who love music and those who make it at events.coalition

Sadly, Addams is not making music any longer, but for those who are, like Glass, and new female artists, establishing boundaries is key so that the various forms of mistreatment outlined here will no longer be normalized. Despite the challenges, more women than ever are out there rocking, and in L.A. acts like Starcrawler, Deap Vally, The Regrettes, Cherry Glazerr, Kate Crash, Beck Black, Feels, Dorothy, War Paint, Best Coast and so many more are re-defining the roles, audaciously and unapologetically, scoring huge opening-band tour slots and higher rankings on festival lineups in the process. Local female ground-breakers like L7, Allison Wolfe, Abby Travis, Alice Bag, and Miss Wiedlin herself, are still at it too.

In addition to woman. other groups are providing even more platforms: the Women of Rock project has been collecting stories for some time now, and there's the Girl Cult coalition (which has an event this weekend). There's also Women in Music L.A, and the new book Women Who Rock has spawned an activist group as well. Private women's groups on Facebook have been a resource for women from all walks of life (the music world included) such as "Girls Night Out" and "Binders Full of Women Writers," both of which throw events in town. The latter has led to a popular annual event called BinderCon in various cities.

Beyond supporting each other and holding certain men responsible for their actions, the cultural reckoning happening right now is about finding power in numbers. In the L.A. music scene, it's transcending talk, taking action and hopefully transforming old norms so that real change can occur and everyone, no matter what gender they identify with, can unite and celebrate life. "Solutions are the future of the conversation," O'Dell says hopefully. "It's so exciting to see what was born out of women in nightlife and music holding space for each other."

This content was originally published here.

1 note · View note

stateofgrace-acoustic · 6 years

Text

Why Speak Now is a lyrical masterpiece: an essay.

//it’s here!! i really wrote a 6000 word essay on Speak Now. yep, I’m a nerd and also slightly crazy. have been working on it for the last two weeks. i am really proud of this and i’m excited to share it, even if not many people read it.

Special thanks to @bridgesburn-i-neverlearn who encouraged me to write this and also is an angel in general. Thank you for being excited about it as much as I am - I hope you enjoy! //

Speak Now is a fan favorite among Taylor Swift’s albums, even though it has always been painfully overlooked in the mainstream. It is undoubtedly amazing on more than just one level - musically, it is diverse, uniting not only country and pop but bringing rock into the mix as well; the songs are confessional, heartfelt, each one telling a different unique story. They feel almost theatrical at times, which the Speak Now tour with its musical appeal - the elaborate stage design, background dancers, and dramatic performances incorporated into the songs - capitalized on in captivating fashion.

What has made me fall in love with this album most of all, though, has always been its storytelling - and I’m sure most fans will agree with me here. In this essay I want to highlight what I believe to be a central reason behind the charm of Speak Now: its thematic cohesion, exploring the intricacies of confessions through songwriting, and of speaking - or not speaking - in the right moment. I will go through the songs on the album looking for these thematic ties, while highlighting what makes each song special in my eyes, pointing out subtle subversions and added subtext that make the songs more complex than they might seem on the surface. I’ll argue that these little subversions are what situate Speak Now in an in-between stage between naivety and maturity - between idealism and realism. It is this space of being in-between, on not quite having arrived at a specific point, but trying to make sense of the world through storytelling, that make the album so compelling.

Taylor talked about the central idea behind Speak Now being confessions. ‘Each song is a different confession to a person.’, she stated before the album came out. ‘In the past two years, I’ve experienced a lot of things that I’ve been dying to write about. A lot of things I wanted to say in the moment that I didn’t.’* In the album prologue, she mentions specific, crucial moments where the decision between speaking or not speaking up can make or break a situation - situations in which she could have spoken up, but didn’t, and so she wrote songs about them. Songs that are, by nature, retrospective - confessions kept past the time that they should have been said, emotions bottled up from the moment they were felt. And retrospection always has something wistful about it, the knowledge of not being able to turn back time, even if your reflections may have made you wiser in time.

This idea is central in Back to December, an apology to a lover she mistakenly let go. The progression of the relationship, but also her different states of mind associated with it, are symbolized by the different seasons - starting off light and sweet with ‘then i think about summer, all the beautiful times’, turning to the realization of love in fall, until ‘the cold came, the dark days when fear crept into my mind’. Here she directly references her fear keeping her from holding onto the relationship. Now, the constant urge to relive the mistakes she made keeps her from moving on: ‘staying up, playing back myself leaving’. But she pushes the message of the song further than regret and apology - she knows that, as much as she would want to, she can never ‘go back in time and change it’, and as much as she loves daydreaming about it, that will never make it real. With that in mind, she tells him, ‘so if the chain is on your door, I understand’. She accepts that her apology might not be enough, that she might not be forgiven; she knows she needs to make her peace with that. This sense of acceptance not only shows maturity, but gives the song an undercurrent of sincerity; otherwise it could have been perceived as manipulative, an apology constructed to win back someone’s heart. Instead, it expresses an earnest sense of regret, and at the same time, the heartbreaking realization that regret is not always enough, and fixing the past is something beyond our control.

The pain of reflections bringing back detailed memories of something that is forever lost is also a central focus on Last Kiss. One of Taylor’s biggest strengths in her songwriting is her focus on detail - rather than talking about the relationship in general terms, she evokes specific images of ‘the smell of the rain, fresh on the pavement’ and ‘that look on your face, lit through the darkness at 1:58′. Playful moments in the relationship and traits of her former lover that she found endearing earlier - ‘you’re showing off again’, ‘you kissed me when i was in the middle of saying something’, have now become bitter as she misses not only the big emotions, but the little quirks and small moments that made her fall in love. The chorus shows the pain of having to face dreams shattering; ‘I never imagined we’d end like this’. The way she continuously recalls beautiful moments from the point of view of her naive, lovestruck side, and crushes them with questions - ‘why did you go?’- and pain from the present, gives the song a structure that parallels the repeated, sinking feeling of heartbreak. This is brought to its most unfiltered expression on the bridge, where his current life and distance from her is directly contrasted with the intimacy they used to share: ‘so I watch your life in pictures, like I used to watch you sleep. And I feel you forget me life I used to feel you breathe.’ As in Back to December, she also dedicates the bridge to a central message to the person the song is about - but it is ultimately not only one of hurt, or even anger, but of being lost: ‘I never planned on you changing your mind’. The central idea of the song is that she feels deeply insecure because she does not understand why she was left. It becomes clearest when she expresses the hope that he might feel the same longing for their times together as she does: ‘I hope it’s nice where you are [...] and something reminds you, you wish you had stayed.’ This is not the scathing goodbye to an old lover that she can master just as well on many of her other songs; its heartbreaking nature lies in the simple, evocative way it talks about the pain of being left alone without knowing the reason.

If the communication on Last Kiss is one-sided, as her former lover is long gone, on The Story of Us, it is dysfunctional and characterized by the growing divide between two people - another variation of the topic of speaking and confessing that ties together the album. Besides the many metaphors related to stories themselves - ‘i don’t even know what page you’re on’ - the clear structure stands out here the most. The first verse recalls the effortless chemistry they had at the beginning - ‘we met and the sparks flew instantly’ - and the dreams of the time when everything seemed stable. But soon the distances are too far to cross, at least for one person alone - ‘so many things that I wish you knew, so many walls up I can’t break through’. She now desperately wants to know how the other person feels, but has no way of knowing: ‘I’m dying to know, is it killing you like it’s killing me?’ The disconnection is illustrated in the second verse as the actions of both people are separated and contrasted - “see me nervously pulling at my clothes [...] and you’re doing your best to avoid me.’ and ‘how I was losing my mind [...] but you held your pride’, unlike the first verse where the ‘we’ was central. In the middle of the isolation, she feels the weight of the things that are unsaid: ‘I’ve never heard silence quite this loud’, and perhaps also the weight of her own inability to articulate her thoughts and emotions: ‘I don’t know what to say since the twist of fate when it all broke down’. The song illustrates the difficulties of communicating once misunderstandings and emotional walls are built between people. She realizes that to break down these walls, both partners would have to put in effort - “I would put my armor down i you said you’d rather love than fight’, and recognizes that she is likely not the only one who has things to say that she cannot put into words: “There’s so many things that you wish I knew’. At the same time, the issue can never be resolved if her partner is not willing to take a step forward, and so, the relationship is breaking apart without either of them finding a way back to each other.

Instead of real life issues with communication, the idea of speaking up in a crucial situation is taken to the realm of daydreaming where situations play out perfectly on the title track, Speak Now. It presents itself innocently - the speaker being an uninvited guest at a wedding, secretly having a crush on the groom. And in fact, at the beginning, the speaker illustrates herself as the total opposite of trouble: ‘I am not the kind of girl who should be rudely barging in on a white veil occasion’. However, from verse one, a sense of cheekiness runs through the song - ‘her snobby little family all dressed in pastel’ doesn’t make the bride look too appealing, and ironic remarks like ‘it seems that I was univited by your lovely bride to be’ makes her seem quite a bit more feisty than she makes herself out to be. And indeed, at the end of the second verse she directly tells him , ‘You wish it was me, don’t you?’ It is still sweet, but also slightly taunting - he is the one who should have known better, and he picked the wrong girl. The part of the wedding ceremony where guests are allowed to speak up one last time, gives the song, and the album its name: ‘Speak now or forever hold your peace’. Even in a song as generally lighthearted as this one, the sentiment itself is quite serious, and runs through the sadder songs on the record as well - the fleeting nature of chances and opportunities to speak up, and the possibilites of regret if you let it pass. It is a challenge, in the moment, to raise your voice, but - as Taylor says in the album prologue - ‘if there’s something you should say, you’ll know it. I don’t think you should wait.’ In her daydream, she doesn’t wait, and speaks up despite of her nervousness to a happy ending - and the guy in the song eventually thanks her: ‘so glad you were around when they said speak now’ - suggesting that he was actually unhappy with the situation as well and was too afraid to speak up himself. Even though it is, of course, not a line that is supposed to be taken too seriously and is simply the fulfillment of her romantic fantasy, him echoing her words, it can also be seen as a reaffirmation of raising your voice, as you might not only change your own life to the better, but effect others with your courage, too.

Even when Taylor sings about stories of love in a light of positivity and liberation, she inserts more complex emotions into it than obvious on the surface. On the opening track Mine, she recalls the classic narrative of two lovers meeting, falling in love, fighting and finally reconciliating with a happy ending, but gives it a few subtle but meaningful twists that sets it apart from her earlier, more simple and naive stories in the like, as Love Story. Suggestions that the speaker of the song had to witness love breaking apart in her childhood and grew up not believing in ideals of happily ever after are woven through the song - lines like ‘wondering why we bother with love if it never lasts’ seem upon focused listen, quite dark and uncomfortable in a song this upbeat and optimistic, even if the story does get a happy ending. And the central fight that occurs in the bridge of the song is directly followed by the insecurities boiling back up and threatening to end what both of them have built. At the end, the song is about the power of love to set you free and make you believe that stories of happily ever after are possible - but it does not happen on its own. The repeated mentions of ‘hold on, make it last’ at the end of the song suggest that only if both partners continuously put work into it, the happy ending is truly possible. A subtle sense of maturity that the simple ‘baby, just say yes’ at the end of Love Story does not carry.

Enchanted may be seen as the most straightforwardly romantic song on the album, but there are undercurrents of darkness here as well: the entire first verse speaks of being in a situation of loneliness and alienation from all the people in a room: ‘walls of insincerity, shifting eyes and vacancy’. It is a deeply sad image that is relieved by meeting the one person the speaker does have a real, intimate connection with. And while it is sweet and beautiful, the loneliness from the beginning of the song never vanishes entirely, as the entire song is a daydream - it is left open how the person that she has caught feelings for actually feels and responds. The sense of agitation that comes with overwhelming happiness is never really resolved - she expresses it in ‘dancing around all alone’ and daydreaming about a happy ending - but the song is never grounded back into reality, which gives it its momentum - it exists and stays in its own sphere of joy and hopefulness.

In this song, as in so many others, the important, revealing emotions occur at specific nighttime hours - here it is the anxious reflection on who the other person might love, in Mine it was the crucial fight between the lovers, in Last Kiss a remembered moment of intimacy. It is at these hours that emotions are most raw and unfiltered - which ties into the confessional nature of the whole album.

Taylor explores the intricacies of love further on songs like Sparks Fly, which, in its lyrical themes, can be seen as a predecessor to her album Red, as she talks about falling for someone that might not be the best choice, infatuation taking away her capacities for rational thought - ‘my mind forgets to remind me you’re a bad idea’, a recurring idea on her fourth LP. As happy and liberating as the song is, there is a certain danger to the attraction that Taylor is aware of - it could all end up badly, but she is too caught up to care. She paints herself as helpless to the feelings at first - comparing herself to a house of cards and saying ‘you’re the kinda reckless that should send me running, but I kinda know that I won’t get far.’ However, this simple image of total helplessness that does not give her any agency in instigating the relationship is subtly challenged on the bridge: ‘Just keep on keeping your eyes on me, it’s just wrong enough to make it feel right’, she sings, suggesting that in some capacity she simply does not want to think about the possible results of giving into her feelings - she is aware there is something off, but prefers not to follow the thought further. It is a moment of almost conscious self-denial that not only draws strong parallels to songs such as I Knew You Were Trouble, but to another song on Speak Now that dramatizes the opposite of falling in love: a relationship falling apart - Haunted.

Haunted with its deeply dramatic presentation gives the impression of Taylor being caught up in memories and feelings she cannot escape or move on from. More straightforwardly than on Sparks Fly, however, she states right at the beginning that she could see the damage coming: ‘I have known it all this time, but I never thought I’d live to see it break’. A small part of her held onto the hope that is might still work out. However, after everything is inevitably broken, she cannot find consolation or a sense of stability anywhere: ‘It’s getting dark and it’s all too quiet and I can’t trust anything now’. Her sensation of having lost her partner to a mysterious force that made his ‘eyes go cold’ perfectly fits the gothic atmosphere of the song, and the chorus shows that she is still to a certain extent in denial and shock as she pleads to him to come back to her - ‘something’s gone terribly wrong’ she sings, completely lost as to what caused him to turn away after she thought she knew him so well. The amount of shock she is still in is powerfully illustrated in the second verse as well: ‘Something keeps me holding on in nothing’. She is self-aware enough to know that it is senseless to keep coming back to a broken thing, but her emotions keep pulling her in. Finally, denial takes over again during the bridge as she repeats to herself: ‘I just know you’re not gone, you can’t be gone’. The song illustrates the precise state between realizing something is over, and dediding to move on. It’s the state of lingering for a while longer, being pulled from either side and being unable to let go - being ‘haunted’.

These same emotions of denial and helplessness are central in the next song as well, but it discusses many more emotional states, too- Dear John, which might be the center point of my analysis, as I consider it to be one of the most complex and impactful songs Taylor has ever written. It is a song about the dynamics of an abusive relationship and about heartbreak that gradually turns into self-empowerment.

Taylor uses a wide array of images to convey her feeling of being trapped in the relationship in the first verse, always feeling like the weaker partner at the mercy of the other - she compares herself to a chess figure being rendered powerless by constantly changing rules, and evokes the image of a blue sky being turned into rain. At the same time, she discusses the anxiety that comes with being so powerless and being the subject of constantly changing moods - ‘counting my footsteps, praying the floor won’t fall through again’, as well as bringing up the already mentioned self denial that she is now aware of and that her worried mother brought to her attention.

In the prechorus she frames the song as an explanation as to why she walked away from the relationship: ‘This song is to let you know why’. Then the chorus turns reflection of her emotional states into accusation, the first step on the song’s way toward empowerment. ‘Don’t you think I was too young to be messed with?’, she asks her partner to evaluate his own consciousness. But eventually, the chorus ends on a somber note as the accusation is directed not at him, but herself: ‘I should’ve known’. She regrets her denial in retrospect and blames herself for the way he treated her, a common reaction in emotionally abusive relationships.

The second verse, then, takes the next step: she examines the reasons behind the relationship not working out, and explicitly incorporates both partners into the conversation. However, while she accuses herself of naivety, the majority of the blame lasts on him this time, presenting him as having ‘a sick need to give love and take it away’. She further disects his personality, stating that he would not actually listen to her criticisms - or anyone else’s -, but simply think of her as misunderstanding him, refusing to see any position but his own- everyone else is on his ‘long list of traitors who don’t understand’.

Finally, on the bridge, she takes the crucial step up: instead of remaining a passive marionette in his hands, she takes back her agency, escapes his influence and therefore takes away his power: ‘took your matches before fire could catch me’, and, with her life back in her own hands, she is not only free, but a better person with a brighter life than his will ever be: ‘I’m shining like fireworks over your sad empty town’. It is the central climax of the song, but I would argue that it has a second, just as important one, as the central moment of subversion is reached at the end of the song. She turns the last lines of the chorus on its head: ‘cried the whole way home’, an image of humiliation, sadness and brokenness, is turned into the triumphant ‘wrote you a song’. And instead of the self-accusing ‘I should have known’ comes one small, but immensely weighted comment that not only makes him look like the naive fool instead of her, but places her in a position of strength on the basis of her songwriting: ‘You should’ve known’. It carries a double meaning - he should have known not to mess with her that young, but he also should have known that she would fight back by writing a song. She uses her own public image as a weapon in a line that manages to both be slightly self-deprecating, and ridiculing her former lover for underestimating her. He might have broken her heart, but she can write about it and find protection and self-worth through her art - here, Taylor discovers the power of the song as a weapon, a concept she would later bring to heights of success on mega hits like Blank Space.

Thus, Dear John takes the journey from a place of complete helplessness to strength and empowerment through art, and it chronicles the variety of emotional states on the way with captivating precision.

As multifaceted as Taylor’s songs about love on Speak Now are, it is not the only topic she sings about, so for the last section, I’ll take a look at the songs that illustrate topics of empowerment, revenge, and forgiveness, as well as the overarching theme of growing up.

Mean might be seen as just one of the many Taylor songs about getting back on a hater, but it is a truly special one, as she grounds the song in different emotions that all play together; a confronting attitude, making her critic responsible for his words and actions, a sense of the cheekiness from Speak Now, and genuine expression of the effect his words had on her wellbeing. She is not afraid to call out his behavior as hypocritical and unfair - ‘switching sides, wildfire lies, humiliation’, the accusatory ‘you’ hanging over the beginning of every verse. At the same time, ‘you have knocked me off my feet again, got me feeling like a nothing’ opens up a complete insight into the devastating effect his comments had on her. At the end, ‘you don’t know what you don’t know’ is her way of telling him that as long as he does not actually know her and makes up accusations, his words do not have legitimacy at all. She even searches for roots to his actions - ‘I bet you got pushed around’ before stating that she will not stoop so low to use his own methods: ‘the cycle ends right now’. Following up on this idea, the chorus is her big, triumphant refusal to further engage with him at all, saying that some day, she will be so big, he will not even be relevant enough to hurt her. It is a much more scathing comment than actually directly getting back at him would be, completely stripping him of any relevance. Toward the end of the bridge, she seems to leave it at ‘all you are is mean’, but then fires off some more accusations: ‘and a liar, and pathetic, and alone in life...and mean’ It is intentionally slightly petty, playing with restraint before she gives into her desire to express herself honestly and to get a bit of revenge, after all. She is having her fun with the rebuttal as much as she is genuinely expressing her emotions and making a mature statement about taking the higher road. She proves, on the song, that these do not have to be exclusive attitudes - you can send an important message while still having fun with the song.

But as effective as Taylor can be at balancing revenge and forgiveness, she can dive deeper into either side of the scale as well if she wants to. On Better than Revenge, she fully embraces her anger and fury to call out both her ex boyfriend and his new girfriend. She paints him as a possession of hers that was unrightfully stolen, and equates her rival to a child that hasn’t learned proper manners when she lectures her that ‘stealing other people’s toys on the playground won’t make you many friends’. Thus, in the word choice alone, she takes the conflict to a childlike level. Taylor shows herself as a person with mature attitudes who has to teach the other girl about proper behaviour - and she does have real points to make: ‘sophistication isn’t what you wear or who you know’ - but at the same time, her wilingness to engage in the battle and her desire to ‘always have the last word’ reveal her own motivations which come from a place of impulsive emotions and wounded pride, too. The triumphant and gratified way she sings ‘Let’s hear the applause, come on, show me how much better you are’ shows her taking pleasure from the fact that her rival was, after all, not worth it anyway - an attitude that is very much not mature, but she knows it, and she embraces it fully in the song, which no doubt felt cathartic to write. And here, again, we have the function of songwriting reflected in an actual song. It is only implied, but after all, the titular revenge she gets is the song itself - even if she could not win him back, she can make sure that she has the last word.

Innocent can be seen as the opposite twin of Better than Revenge - even though they are about different issues - when it comes to attitude. The song is all about giving a person who slighted you a second chance, the reasoning for it being that stumbling at a point in life is an experience everyone shares, and so everyone deserves a fresh start at one point with no past baggage keeping them down - ‘who you are is not what you’ve been’. She expresses sympathy in the verses, comparing adult life to easier days of childhood when a sense of safety and security was taken for granted, and you had people to look up to and guide you in life - ‘always a bigger bed to crawl into’. The line ‘wasn’t it beautiful when you believed in everything and everybody believed in you’ expresses both a sense of disillusionment that comes with adulthood and the loss of the support structure that seemed completely self-evident for all of childhood - being left alone, knowing that no one will be there to catch you once you fall, is a terrifying situation. Adulthood is the time when ‘the monsters caught up to you’, a simultaneously sinister and sad image for everything that caregivers cannot shield from us anymore after a certain age. And as this is an experience we all share, Taylor implies, we need to look out for each other instead, and give each other second chances when needed. She talks about regret, too, an idea that was already discussed in other songs: ‘Did some things you can’t speak of, but at night you’ll live it all again.[...] If only you had seen what you know now, then.’ This part not only incorporates the album theme of speaking into the song - in the form of words you won’t even admit to yourself - it also calls back to the idea of knowing a better route to past events upon reflection, but the wistful knowledge that turning back time is impossible. As Taylor herself relates heavily to this experience, as she has illustrated on songs like Back to December, she can apply the feelings to others and empathize with her supposed enemy. The song in that way shows itself to be about the power of empathy to remind us of experiences we all share and are bonded by, and, at the same time, it is just as much about growing up as it is about forgiveness. The key to dealing with the fleeting nature of life and the possibilites of missteps and missed opportunities, as is suggested in the bridge, is to keep reminding yourself that changes also bring chances, and as humans we are capable of constantly renewing ourselves: ‘Today is never too late to be brand new’.

The topic of growing up is not left to Innocent alone to reflect; in fact, it has its very own song dedicated to it, titled Never Grow Up. The wistfulness of remembering the safety and effortless happiness of a childhood long gone takes center stage here, as she talks to a young child who stil has her entire life in front of her - yet, over the course of the song, Taylor gets lost in her own reflections and reminisces on what she has lost of her own childhood. The child’s innocence makes her think - in a heartbreaking way - of the inevitable time when this carefree nature - ‘to you, everything’s funny, you’ve got nothing to regret’ - will be lost and disillusionment will replace wide-eyed optimism. Having experienced it herself, Taylor wants nothing more than to shield her from the same fate - ‘I’d give all I have, honey, if you could stay like that’, but she knows that it is impossible. And so the chorus with its repeated mentions of ‘oh, darling don’t you ever grow up’ is steeped in a deep sense of sadness, as it’s clear that this wish can never be fulfilled. On the second verse, Taylor flashes forward to the teenage years and once again, recalls an image of naive, boundless joy, struggling to hold onto it - ‘don’t lose the way that you dance around in your PJs getting ready for school’. At the same time, she never loses sight of the fact that everyone shares the fate of growing up, and struggles with it, which might help us understand other generations’ struggles, too: ‘Remember that she’s getting older too’. The central idea of the song is the tragedy behind the constant wish to grow up as a child - ‘you can’t wait to move out some day and call your own shots’ - just to want to go back to the simpleness of childhood once you actually get there. Thus the mantra of the chorus can also be seen as a wish to hold onto childhood just a little longer, or preserve what is possible from it. But at the end of the song, when Taylor relates her own experience to the rest of the song, she comes to a rather defeating conclusion: ‘I just realized everything I have is someday gonna be gone:’ The only thing that is possible to do is hold onto the memories, they will hold on to you - ‘keep pictures in your mind of your childhood’ - and try to keep them safe in your heart.

Finally, the song that is left is the last song on the album, Long Live - and this song, too, is a reflection, but it is a much more hopeful, enthusiastic one that celebrates the people that helped Taylor get to where she is and all the memories that were made on the way. She consistently uses plural ‘we’ on the chorus of this song, illustrating the fact that it is not about her own success and story only, but about the community she has built along the way - with her band, her entire crew, and most importantly her fans, and just how much this community means to her. The song is a celebration of the things that can be moved when people come together - the way it can make the seemingly impossible come true - ‘long live all the magic we made’, and the way it can make seeming underdogs the ‘kings and queens’ of the world for just a night. She feels like she can take anyone on in this situation - ‘bring on all the pretenders, I’m not afraid’. This momentum, this power and beauty is something she wants to keep safely stored so that the memories can never be lost. At the same time, she takes a wider look into the future on the bridge, breaking her celebration for a while to think about the consequences of the fairytale ending, of things falling apart - and all she wants in this situation is the magic of the memories to be remembered, and felt even by people who were not directly there. It is, at the end, a love letter to her fans, for all that we have achieved together with her and that is yet to come: ‘I had the time of my life with you’. Thinking back on the album topic, it illustrates the wonderful things that can happen if you do take chances - if you take the courage to speak now. It leaves the album on a note of joy and a sense of magic the belief that even the highest dreams can be achieved, and everything is possible - when we find a way to connect with each other and fight for it together.

At the end, with Speak Now we are left with an album that examines love and life in all its complexities; incorporating fantasy and reality, regret and denial, revenge and forgiveness, loneliness and connection, wistfulness and hope into fourteen songs, each painted in muliple shades of emotion, all of them tied together by the topic of confessions and speaking up. It is an album that is both deeply personal and universal, and I have loved it for all of that for many years - I hope this love came through in this piece of writing, and I hope that I could make you relive your own love for Speak Now while reading it.

(If you’ve made it all the way to the end, thank you so much!! I don’t really expect anyone to read this, so if you did, I really really appreciate it. I hope you could get something for yourself out of it. And to Natasha, thanks to you more than anything - without you I never would have written this!)

*https://www.rollingstone.com/music/music-news/taylor-swift-announces-third-album-speak-now-186288/

#taylor swift #speak now #vanessa talks #for a very long time #vanessa has never talked this much #she is currently questioning her sanity #she loves speak now way too much

111 notes · View notes