#photo album for professional photographers | Explore Tumblr Posts and Blogs

likeadevils · 7 months

Text

1989 Timeline

This is a very long post that puts all the songs on 1989 in order of Taylor creating them. I’ve also included a few other songs she worked on while writing 1989 and quotes from Taylor and her collaborators talking about her process

Of all the albums in Taylor's discography, I think this is the one that improves the most when you listen to it in order. All of those things Taylor was talking about in the promo for this album-- how this is an album of her coming into her own, figuring out her values, learning to stand on her own two feet-- it all clicks into place. Listening to it in order has made me cry on more than one occasion, and it's also the thing that made me start this whole crazy process of figuring out the dates she wrote each song.

If you don't want to read the whole post, check out this playlist of the album in order or this playlist of her entire discography.

I’ve also added this color coded scale of how sure I am of the date:

Confirmed: There is some type of official source for the date

Inferring: Nobody has officially said “This is when we wrote it,” but all available evidence points to that date

Speculation: This date is based on guesswork and is highly likely to change, or, all that is known is the general season.

Unknown: All that is known is the year (from the US Copyright Offices)

Without further ado...

Oct 6, 2012: Taylor seems to have been in a studio in London (Note: I have no idea where this photo comes from and I can not find a place that specifies if this is a music studio or radio interview.)

This Love: Oct 17, 2012 (Confirmed)

October 19, 2012: Taylor mentions wanting to work with Imogen Heap, prompting Imogen to get in touch with Taylor

Time Interview: Who’d be your dream collaboration, especially now that you’re taking more musical risks? Let me think. Imogen Heap! She’s amazing. Taylor: Someone asked me in an interview "Who would you like to work with?" and I said Imogen Heap. I get an email to my management, sent like "Imogen just saw that Taylor just said an interview that she would like to work together" She said "Why don't you come out to my studio." Imogen: I got a phone call [in 2014] saying Taylor Swift was in London, she'd love to work with me and the only date she could do (between 4 sold out 02 arenas!) was the day after we got back, Sunday. It was both unexpected and not at the same time as I'd heard Taylor was a fan a while back via this Time magazine piece but somehow didn't think it would actually happen.

Fall 2012: Taylor possibly writes a song with Harry Styles and Jacknife Lee (her producer for The Last Time)

“It was out of my field of expertise and interest, but I was intrigued and my girls were thrilled. Taylor was nice and very professional. She knew what she wanted and there was no fucking about. She was seeing Harry Styles at the time, so he came to Topanga on her recommendation. She wrote a few songs with him, and it was the same thing – quick. But this time it was more directed by the management and label. They were after something specific. I wanted more acoustic and gentle, almost Americana, and they wanted bombast. They got what they wanted, and that was the extent of my foray into teen-pop territory. It was fun.”

All You Had to Do Was Stay: Jan 10, 2013 (Confirmed)

Taylor is photographed outside Conway, and then tweets "Back in the studio. Uh oh..." Later, Taylor confirmed that she was recording All You Had To Do Was Stay. Taylor: I had a dream that my ex showed up at my door, knocked at my door, and I opened it up, and I was about ready to launch into the perfect thing to say [...], Instead, all that would come out of my mouth was that high-pitched chorus of people singing, 'Stay!'...and then you go to say something else, and it's just like 'Stay! Stay! Stay!' And I woke up, I was like 'Oh, that was mortifying. But that's kind of a cool vocal part.'

January 11, 2013: Taylor is photographed outside Conway again

How You Get The Girl: Jan 15, 2013 (Confirmed)

Taylor posts a picture of her playing a guitar in the studio, captioned "Somewhere in LA..". Later, Taylor confirmed that she was recording How You Get The Girl. Given what was going on in her personal life, she likely wrote this sometime in the fall/winter of 2012, but all we know for sure is the date she recorded it.

February 9, 2013: Tweets "Grammy rehearsals last night, studio today, who knows what tonight holds! (I do. Laying around watching TV and eating candy.)"

March 6, 2013: Taylor is photographed outside a studio in LA

March 23, 2013: Posts a picture of her playing guitar captioned "Pre show. Columbia, South Carolina"

I Wish You Would: May 28, 2013 (Inferring)

Taylor is photographed out for lunch in Rhode Island with Lena Dunham (and likely Jack Antonoff, who was Lena's boyfriend but not as famous at the time) on May 27 before leaving for her show in Phoenix, Arizona the next day Jack: "We were hanging out at her house in Rhode Island and we were talking about John Hughes movies, and a lot of the music that inspired [them], and just this general culture of sound in that time period that was really larger-than-life in an anthemic, positive way. These songs could be at the end of films that were really, really beautiful and said a lot. That actually ended up being a song called 'I Wish You Would' which is going to be on her album. We first worked on that song together and realised we kind of have a good thing. Taylor: “This is a song I did with Jack Antonoff, and Jack is one of my friends and so we were hanging out and he pulled out his phone and goes "I made this amazing track the other day. It's so cool, I love these guitar sounds." And he played it for me and immediately I could hear this finished song in my head, and I just said "Please, please let me have that. Let me play with it, like send it to me" And so he sent it to me and I was on tour and this was me playing the track on my laptop recording me singing the vocal into my phone and it ended up being a song called "I Wish You Would", because Jack wrote back and said "I love that".”

June 7, 2013: At the CMA fest, Taylor is asked if she's started writing for her next album yet

“It's starting, all the anxiety is starting and when the anxiety starts, then the writing happens right afterward, usually. Um, so, yeah, I basically... I like to, I like to write for about two years before I'm finished with an album because I... at this point I kind of know that whenever I write in the first year is going to get thrown away, because, I'm going to like it, but it's going to sound a little bit like the last project I had, and the second year usually ends up sounding like the next project. So I think at this point, at this point I feel like staying the same is the easy way to go but it's not the way that I want to go, creatively. I think you need to challenge yourself, I think you need to change up your influences, I think you need to be inspired by different things that you've been inspired by before, and, uh, y'know, It's harder to call people you don't know, and it's harder to think of topics you haven't covered and think of new ways to say old emotions that everyone feels, but, that's the goal at this point."

June 20-21, 2013: Taylor and Selena Gomez hang out, and Taylor potentially writes Wildest Dreams.

July 15, 2013: Taylor gives a brief interview to Rolling Stone

“The floodgates just opened the last couple weeks,” she says of the songwriting process. “I’m getting to that point where I’m irritating to be around because I’ll be with you for half the conversation and then the second half of the conversation I’m clearly editing the second verse of whatever I’m writing in my head.” “I really loved collaborating [on Red],” she says. “You work with a lot of different people and you find the people you have this dream connection with in the studio. I know those people and I know the ones I want to go back to. But I also have a really long list of the people I admire and I would really love to go and contact. So that’s kind of where that is.” “I think that the idea of having a different approach to every single one of my albums is so exciting to me. I never want to make the same record twice. Why do it? What’s the point? It’s so overwhelming that when you’re starting a project there are such endless possibilities if you’re willing to evolve and experiment. If you’re willing to become a different version of yourself, you can really go anywhere with it. And that’s kind of where I am. The kind of the laboratory experimental stage of really catching onto a new thing that I’m liking.”

July 18, 2013: Taylor unfollows the three backup dancers that left her tour for Katy's, meaning Bad Blood was likely written sometime between July and November 2013.

Sweeter Than Fiction: Summer 2013 (Speculation)

Taylor wrote this one over email, and then it was recorded in New York (partially in Jack's living room, partially in an actual studio)

August 25, 2013: Taylor and Selena Gomez hang out at the VMAs, and Taylor potentially writes Wildest Dreams.

August 25, 2013: Taylor gives a brief interview on the VMAs red carpet

"But I think [songwriting is] about to start to kick into full gear. I'm about to go into the studio. It's about to get really intense."

Out Of The Woods: September 14 2013 (Inferring)

On September 14, Fun cancelled their show. Taylor was likely either flying to or from Charlottesville, where she had a show for the Red Tour. Jack: "When I did the track for Out of the Woods, which is a Taylor song that I'm really proud of, there was some issue at a venue and our show was canceled that night and I didn't have my stuff, I had left it on the bus, so I only had these old samples on what was on my laptop, and caught up that 'oh oh'' thing, and I only had one drum kit on there, and these dumb little things [sometimes turn into a great song]" Jack: "So 'Out Of The Woods' was the third thing we worked on together, and probably the easiest. I sent her the track for it, and she sent back a voice note with the verse and chorus in what felt like five seconds. And it was just perfect. It's eerie how similar it is to what the final product is." Taylor: "This is a track that Jack Antonoff sent me, and I was actually on a plane, I got it and I got on a plane and I'm listening to it, and I'm just like listening to it and mumbling melodies cause the song came to me immediately like, in full [...] I think what I should start by playing you, is when I got the track, what I sent him like an hour later, and it is, me.. um, me singing what came to me, which ended up being the finished version of the song, or at least really close to it."

September 20, 2013: In a brief interview with USA Today, Taylor says she plans to work on her next album between the next few legs of the Red Tour

"I’ll be in the studio, figuring out what comes next. I really like to take two years to make a record, and I’ve been writing and doing stuff for the last year. This is kind of the year that it goes into overdrive, and it’s all I think about and I become obsessive over it and I’m hard to talk to"

September 22, 2013: Taylor gives an interview to New York Magazine where she talks about her plans for TS5

These days, Swift is thinking a lot about her next record. While on the Red tour, she’d been writing songs and stockpiling ideas: reams of lyrics, thousands of voice memos in her iPhone [...] she plans to spend much of 2014 writing and recording the new album, a prospect she finds exhilarating and terrifying. “I worry about everything. Some days I wake up in a mind-set of, like, ‘Okay, it’s been a good run.’ By afternoon, I could have a change of mood and feel like anything is possible and I can’t wait to make this kind of music I’ve never made before. And then by evening, I could be terrified of the whole thing again. And then at night, I’ll write a song before bed.” Swift hopes to collaborate with new songwriters and producers. But she planned to begin, she said, by heading back into the studio with Max Martin and Shellback. “I want to go in with Max and Johan first, just to figure out what the bone structure of this record is going to be. “I have a lot of things to draw from emotionally at the moment. But I have to draw from them with a different perspective than on Red. I can’t say the same things over and over, you know? I mean, I think it’s just all the more important that I don’t ever allow myself to coast. At the same time, there’s a mistake that I see artists make when they’re on their fourth or fifth record, and they think innovation is more important than solid songwriting. The most terrible letdown as a listener for me is when I’m listening to a song and I see what they were trying to do. Like, where there’s a dance break that doesn’t make any sense, there’s a rap that shouldn’t be there, there’s like a beat change that’s, like, the coolest, hippest thing this six months—but it has nothing to do with the feeling, it has nothing to do with the emotion, it has nothing to do with the lyric. I never want to put things in songs just because that might make them popular, like, on the more rhythmic stations or in dance clubs. I really don’t want a compilation of sounds. I just need them to be songs.”

September 28-October 5, 2013: Taylor and Selena Gomez are in the same city, and Taylor potentially writes Wildest Dreams.

October 12, 2013: Taylor gives an interview to the Associated Press

Swift: I think the goal for the next album is to continue to change, and never change in the same way twice [...] How do I write these figurative diary entries in ways that I’ve never written them before and to a sonic backdrop that I’ve never explored before? It’s my fifth album, which is crazy to think about, but I think what I’m noticing about it so far is it’s definitely taking a different turn than anything I’ve done before. AP: You said recently you’ve been working on songs for the new album for about six months. What can you tell us about what you have planned? Swift: It’s too early to tell who are going to be my predominant collaborators, but I do know that my absolute dream collaborators were Shellback and Max Martin on the last project. I’ve never been so challenged as a songwriter. I’ve never learned so much. I’ve never just been so excited to show up to the studio every day, just because you never know what we’re going to put together. I’ll bring in ideas and they’ll take such a different turn than where I thought they were going to go, and that level of unexpected spontaneity is something that really thrills me in the process of making music. ... What if we did this? What if we made it weirder? What if we took it darker? I love people who have endless strange and exciting ideas about where music can go."

October 14, 2013: At the NSAI, Taylor talks about reinventing herself for different albums

"I’m making my 5th record now, so I think you have to change things up, you have to explore different corners of music as much as you can. Cause I really, it’s been a big goal of mine to never make two albums that sounded the same. I really want my fans to be able to be like "Oh that song? Clearly that's from the Fearless album", "No that one, that one was from Red" and so I’m in the process of doing that thing all over again for my 5th album and it’s amazing to be in the studio and to be songwriting again, and be honored for songwriting tonight"

Blank Space: October 26, 2013 (Inferring)

It looks like she’s wearing the same outfit in this behind the scenes footage and these candids Taylor: "I was going into write with Max Martin and Shellback, who are two of the primary collaborators on 1989, and I... was preparing all these things, and I, I think Blank Space was like the third thing I played them, and they just stopped and they were like "NO, this is the first thing we're working on today." [...] I had the idea for the chorus and I had the hook, but a lot of the verse was gibberish." Taylor (On what song took her the least amount of time to write): "Blank space, cause I'd written a lot of the lines down already in the year preceding the session"

October 29, 2013: Tweets "Sitting in the studio writing the next album (!!!!) and wanted to thank you for the American Music Award nominations!"

November 1 : While promoting Keds, Taylor is asked about her next album

"What I go through is going to be the story that I tell. I think lyrically, I always try to tell my fans exactly what’s happened to me in the last two years, and that’s the thing they can expect. Everything else, they won’t be able to expect. Having been in the studio with this one, I’m just like… oh, this is going to be fun"

Bad Blood: Fall 2013 (Speculation)

The backup dancer drama seems to have kicked off in mid-July. Given that it's produced by Max Martin and Shellback, and Taylor was in the studio with them pretty much non-stop from October-November, we can assume that it was recorded sometime in the Fall of 2013

New Romantics: Fall 2013 (Speculation)

Unfortunately, Taylor doesn't really talk about this song. Given that it's produced by Max Martin and Shellback, and Taylor was in the studio with them pretty much non-stop from October-November, we can assume that it was recorded sometime in the Fall of 2013

Wildest Dreams: Fall 2013 (Speculation)

Selena reportedly told a fan she was there when Taylor wrote this, and I've noted above all the times Selena could have been with Taylor in 2013 (Here's my personal ranking of how likely each date is). Given that it's produced by Max Martin and Shellback, and Taylor was in the studio with them pretty much non-stop from October-November, we can assume that it was recorded sometime in the Fall of 2013.

Wonderland: Fall 2013 (Speculation)

Another one Taylor just doesn't talk about all that often. Given that it's produced by Max Martin and Shellback, and Taylor was in the studio with them pretty much non-stop from October-November, we can assume that it was recorded sometime in the Fall of 2013

Nov 20, 2013: Taylor posted "While in the studio, I came to the realization that my bangs are long enough to use as a sleep mask on long flights. Then I remembered I don't ever use sleep masks on flights. So really, I just need a haircut"

November 25, 2013: Taylor and Scott Borchetta have a meeting to talk about her plans for TS5 and are both asked about the next album at the AMAs

Taylor: “We got a lot already. There are probably seven or eight [songs] that I know I want on the record. It’s really ahead of schedule for me. I’m just stoked because it’s already evolved into a new sound, and that’s all I wanted. And I would have taken two years to make that happen, but it just kind of happened naturally, so that’s all I could really ask for.” Scott Borchetta: "Well earlier today we got together and she played me seven new songs, and she’s just on fire. The level of desire and passion that she has just to keep getting better, she’s an artist that just really never wants to just say ‘Well okay this is good enough’. It’s always gotta be better. She’s in amazing creative place right now." By the end of November, Taylor had likely recorded This Love, All You Had To Do Was Stay, How You Get The Girl, I Wish You Would, Out Of The Woods, Blank Space, Bad Blood, New Romantics, Wildest Dreams, and Wonderland. That’s 10 songs total, 5 of which were likely recorded in the past two months, and 7 that had been made since Taylor and Jack had their conversation about 80s music in May.

Dec 21, 2013: Taylor briefly talks to Billboard about TS5

"I’m really loving collaboration right now [...] I see it as a bit of an apprenticeship. I want to be around people who love writing songs and have done it for years. Every time I’m in a studio I’m learning, like how to build a drum track, and getting a new perspective on things. It’s so thrilling to keep learning on your fifth album. As soon as [an album] comes out I’m figuring out what the next one will be. It’s gotten to the point where each one is a reinvention, which is what I like best. I like it when it sounds new and people don’t know where you’re going to go next."

Say Don't Go: Jan 1, 2014 (Confirmed)

Diane Warren: Warren, who typically writes on her own, says the two of them “sat down and wrote the song […] from scratch” during the last few days of 2013. She remembers being impressed with how specific Swift was with her lyricism and how considerate she was about how her fans might receive it. “She was very particular about how she said certain things. It was a really interesting experience. She gets her audience [...] She’s deeply aware of how her fans want to hear something. I can’t explain it, but that’s probably why she’s the biggest fucking star in the world.” Several days after writing the song together, they got into Warren’s office to record a demo, where Swift played it on her acoustic guitar. “We demoed it on New Year’s Day. And I’m a workaholic, and that’s fine for me,” she says. “But I remember being impressed that she did, too. Everybody’s on vacation, but she showed up.”

You Are In Love: Jan 2014 (Inferring)

This song is copyrighted for 2014. Taylor has said a few times that Clean, Shake It Off, and Style were the last songs written for the album, meaning You Are In Love was likely completed in January or early February. Given Taylor's busy schedule in late January and early February, I'd guess this was written at some point in early January. Furthermore, I'd guess it was sometime after the 9th, when she returned from looking at house in New York.

I Know Places: Jan 22, 2014 (Confirmed)

Taylor: "I sent this voice memo to Ryan Tedder because I'd always wanted to work with him, and finally we scheduled some studio time. So I always wanna be prepared, I wanted to send him the idea that I was working on before we went into the studio just in case he wrote back and said "I can't stand that, I wanna work on something else, think of something else" So I just sat down with the piano, put my phone on top of the piano and just kind of explained to him where I wanted to go with the song, how I saw the melody sitting in and we ended up recording the song the next day and it ended up being on the record called "I Know Places" So this was the voice memo that I sent to him the night before we ended up finishing the song"

Welcome To New York: Jan 23, 2014 (Confirmed)

Ryan Tedder: "I thought we were going to walk in and start something from scratch because that's what I was used to. Then she calls me and says, 'Is it cool if I already have an idea?' I said, 'Sure.' She said, 'I have this song, I'm obsessed with New York and I just moved there, I want to write an ode to New York because no one's done it in a long time.' And then she sent me a voice memo. She's like, 'I want it to sound like 1980s.' So the next day I brought in a Juno-106, which is a very 1980s keyboard and I literally programmed that entire song right in front of her. It was very much on the fly, and that song was done in about three hours. And I did the rest of the production I think later that week. I was in Switzerland on a tour bus, and I did four versions of 'Welcome to New York,' one of which I liked personally more, but the thing about artists is they become very obsessed with the demo. She was in love with the demo so no matter how hard I fought, she brought it back to the demo, so really what you hear is what I did on the first day."

January 26 2014: Dianne Warren says that she recently wrote a song with Taylor

"I worked with Taylor Swift on a great song [...] I'm excited about the [song] that we did, it's pretty cool Dianne in 2016: “I know [Swift] likes it, so hopefully it will see the light of day. I know she really likes the song. She didn’t want me to give it away, so hopefully that means she wants it.”

January 26 2014: Taylor loses Album of the Year at the Grammy's to Daft Punk. She tells a few different stories about what the rest of the night looked like for her-- in some she goes home alone, in some she has some friends over-- but in all of them, this is the night where she decides that she's gonna name the album 1989, and she's not going to let her label tell her to put any country songs on it.

Clean: Feb 9, 2014 (Confirmed)

According to Imogen Heap's blog post, Taylor had the first verse and chorus by the time they got into the studio, and then wrote the second verse and bridge during the session. Taylor's part was wrapped up in 9 hours, ending at 8pm, while Imogen stayed up until 4am because she didn't want to stop working on it. Taylor: ""Shake It Off" and "Clean" were the last two things we wrote for the record, so it shows you where I ended up mentally. “Clean” I wrote as I was walking out of Liberty in London. Someone I used to date— it hit me that I’d been in the same city as him for two weeks and I hadn’t thought about it. When it did hit me, it was like, ‘Oh, I hope he’s doing well’. And nothing else. [...] The first thought that came to my mind was – I’m finally clean." Imogen Heap: I was really writing the tiniest amount just to help her do what she does. I put some noises to [“Clean”], played various instruments on it, including drums, and anytime she expressed she liked something I was doing, I did it more. It was a really fun day. She recorded all her vocals [for “Clean”] during that one session. She did two takes, and the second take was it. We always thought she would probably re-record it, because we thought it can’t possibly be that easy. But after we lived with it for a few months, we felt it was great.

February 15, 2014: Taylor posts "It was a studio Valentines Day with Max and Johan!"

Shake It Off: Feb 15, 2014 (Confirmed)

Lover Diaries (From Feb 22): "This week I’ve been in the studio with Max and Johan every day and it has been the most creatively successful and fulfilling time. The first day, Johan just made a really up tempo drum beat because we decided we needed something UP and light. We worked at it for a few hours before I just started singing “shake it off, shake it off.” And then the best way I know how to describe it is that the chorus just fell out of the sky. It ended up being this song about doing your own thing even though haters are gonna hate, and you just have to dance to your own beat. We all went home and I wrote the first and second verses and brought them in the next day. We wrote this chanty cheer leader bridge that I absolutely LOVE. We spent all day doing vocals and the next day recording background vocals. I think it’ll end up being the first single and Max said it’s his favorite song he’s ever been a part of." Taylor: "The problem was, I had all these lyrics, and I didnt have, like... writing session was coming up and I'm just like "I'm not getting a melody, I'm dead, I don't know what I'm gonna do." The thought terrified me, so I just sorta sulked into the studio and I was like "Guys, I have like an idea but its like, lyric, but I... and I know the vibe I want-- I want it to start off and the second the song starts, I want it to be the song where like, if it's played at a wedding, and there's this one girl who hasn't danced all night at the reception, all her friends come over to her and there like "You have to dance, come on, you have to dance on this one!". That's what I wanted. So I was like "Shellback, can you just go to the drum kit and try to play that?" Taylor: "There's one thing that I've always said to Max, is like "I don't like horns" I just always had a thing about it, I was always like weirdly scared of it, or intimidated by horns, I don't know what it was? It's a weird, like, nerdy studio fear of mine. I was like "No, no horns!" and I don't.. I don't even know, I don't have a reason for it, I love songs that have horns on them, I was just like "I don't think I can pull off horns." Strange. But, he goes over to the mellotron and he starts playing this horn sound. I'm like "What are you doing. Don't do that." and he's like, "No, I think this is cool" and I'm like "No it's not cool, and where are your chorus chords, because, that, you're just playing three chords over and over again and I can't make a chorus out of them, why don't you go to like a chorus chord that starts off the chorus, where is the one, like why don't you go--" and then there was this moment, where I thought of the whole chorus, and it's over the chords that I had just told him are not "chorus chords", which is a ridiculous thing to say."

February 18, 2014: Taylor is photographed entering Conway Studios

Style: Feb 19, 2014 (Confirmed)

Niklas Ljungfelt (guitarist): I played on “Style,” a song I started with Ali Payami for ourselves. He was playing it for Max Martin at his studio; Taylor overheard it and loved it. She and Max wrote new lyrics. But I recorded the guitar on it before it was a Taylor song. It was an instrumental. I didn’t have a clue that Taylor would sing on it. The inspiration came from Daft Punk and funky electronic music. Taylor: I'm pretty sure after we finished this one I knew the record was done. Shake It Off and Style were the last two songs to be written for 1989.

March 2014: Taylor's interview with Glamour is published (likely conducted two months beforehand)

TS: Working on this album has been unbelievable [...] I'm already in love with it. It's so different. CL: What's the new sound? TS: On Red I did three songs with Max Martin Shellback [...] I think we'll be doing a lot more than three songs together on the next album [Laughs].

March 26, 2014: Taylor is photographed entering a music studio in New York

May 30, 2014: Taylor writes in her diary:

So a crazy story unfolded in the last 24 hours. Last night, I had this vivid dream where the photo I’d chosen for the album cover wasn’t good enough, intriguing enough, artful enough. It woke me up. I couldn’t shake it and it stayed with me all day. Because that nagging feeling I’d been pushing back for weeks was now confirmed in my gut … It wasn’t good enough. I went to the venue, mind racing, wondering if I’d have to do an entirely new photo shoot … I got to my dressing room with newer versions of the “cover.” I looked at it and felt nothing. The team pulled up this new scanned file of the Polaroids we had taken during the shoot. I saw within 10 seconds. The shot. The cover. It’s a Polaroid of me sitting against a beige wall with a blue seagull swear shirt on. You can see my red lips, but the photo cuts off my eyes. From some reason unknown to me, it’s the most intriguing photo I’ve seen. I think it’s the mystery of not seeing my eyes. Maybe it just looks effortlessly cool. The craziest moment came when something caught my eye. The cover photo is photo 13. I kid you not.

August 23, 2014: Taylor is photographed walking out of a studio in LA (Note: I can not find a place that specifies if this is a recording studio, dance, photography, radio, or television studio.)

Now That We Don't Talk: Summer 2014 (Speculation)

Seeing as Taylor said she didn't have time to figure out the production, I imagine this came fairly late in the process. Taylor has a habit of adding songs right up to the deadline-- with Folklore and Evermore, she added multiple songs a week before the album came out. The latest she added songs to albums while signed to Big Machine was September, though (both Forever & Always and So It Goes...), so I assume that's the absolute latest she could've added a song. Taylor: "Now That We Don’t Talk” is one of my favorite songs that was left behind, it was so hard to leave it behind, but I think we wrote it a little bit towards the end of the process and we couldn’t get the production right at the time. But we had tons of time to perfect the production this time and figure out what we wanted this song to sound like. I think it’s the shortest song I’ve ever had, but I think it packs a punch, I think it really goes in. For the short amount of time we have, I think it makes its point.

And that's all for this timeline! Check out my others:

TIMELINES: debut • fearless • speak now • red • 1989 • rep • lover • folklore • evermore • midnights PLAYLISTS: debut • fearless • speak now • red • 1989 • rep • lover • folklore • evermore • midnights • entire discography GENERAL: tag

#txt*#timeline*#taylor swift #OH MY GOD ITS OUT ITS OUT ITS OUT I'VE BEEN RESEARCHING THIS FOR THREE YEARS AND IT'S DONE #!!!!!#as always let me know if you want further sourcing on anything/if you spot a typo or something

437 notes · View notes

jokeroutsubs · 4 months

Text

ENG translation: If we believed that we were "kings", that wouldn't be us

An interview with Bojan Cvjetićanin for Slovenian newspaper Delo, originally published on 24.12.2023. Audio version by IG GBoleyn123

Original article is available here for Delo subscribers. Original article written by Lucijan Zalokar for Delo; photos by Jože Suhadolnik; English translation by a member of Joker Out Subs, native proof reading by IG GBoleyn123.

If you repost quotes from the interview, please link back to this post! And if you repost the photos, do not crop out the photographer credit.

With Bojan Cvjetićanin about the international breakthrough of Joker Out, the movie Kaj pa Ester?, about life on the road, football, sociology…

I met up with Bojan Cvjetićanin in Ljubljana's Stegne industrial zone, where the members of the popular pop rock (in their jargon: shagadelic rock'n'roll) group Joker Out created a rehearsal space for themselves two years ago. "Lately we've been on the road a lot, but this is still a great second home. If only you knew about the parties that happened here. There were fifty people dancing downstairs," he proudly looked from a small gallery towards the space that measures approximately thirty square metres. Even though the clock had just struck three in the afternoon, the 24-year-old Ljubljana resident had a long day behind him, which had been entirely dedicated to media obligations.

In journalistic circles, we often hear indignation about how modern day influencers - especially those who had gained their influence on social media - have no books on their shelves. Joker Out are first and foremost musicians, of course, but with 150,000 followers (Bojan's personal profile has 190,000) on Instagram, we can count them among the big Slovenian influencers. And there are plenty of books on their shelves.

I don't want to falsely portray the popular fivesome as enlightened donors to the Slovenian literary market: most of the books resemble those you can buy for little money in second-hand bookshops, or even get for free at library write-offs, but they still deserve praise for both the aesthetic sense and the content.

I also don't want to falsely portray the books as the only notable objects in the rehearsal space. There are also the golden plate for the Eurovision single Carpe Diem, which got over two million streams in Finland, a transfusion bag (Rh-) that Tomi Meglič¹, Cvjetićanin's biggest teenage idol, personally brought to them, and a small shop's worth of props given to them by fans: pillows with hand-embroidered patterns, plushies, bras with Instagram accounts written on them, various sweets, you could even find a vinyl from a Soviet cover band of The Beatles. If things continue like that, they soon won't have any space left for instruments, but those are just sweet worries. Joker Out, who were formed in 2016, are currently conquering Europe in a way that the Slovenian music scene has never seen before.

¹frontman of Siddharta, whose third album was called Rh-

I've heard that you approach your job with the utmost professionalism and that you wake up at five in the morning for media obligations.

That's true, today we started early in the morning in Maribor. The first few hours were the most tiring because we were constantly changing locations and driving around the city. After the third or fourth activity, we relaxed a little because we got to the studio. After that, everyone started coming to us instead of the other way around.

Slovenian cinemas have started playing the movie Kaj pa Ester? in which you play a boy who enrolled in high school just to get close to his ex girlfriend again. Did you have any problems with trying to get into the high school mentality?

We filmed the movie two years ago, when my memories of high school were much more fresh than they are today. But on the other hand, I played a boy who had just finished the ninth grade of primary school, so I had to put myself into the shoes of a primary school kid, which is much harder. We're also pretty different personality-wise. But almost the entire cast was around the same age, so too old. We joked about that a lot during filming.

Still, that's nothing unusual in the movie world.

Of course, there are 35-year-olds starring in High School Musical and no one is complaining.

Could you draw any parallels between a musical stage performance and filming a movie? You have to play a kind of role during a concert too...

I have to admit that it's completely different. On stage, I never feel like I'm performing. Of course I am actually performing, but I'm still in the role of myself, Bojan, whereas in the movie, I'm someone completely different. It might be easier to compare filming a movie with recording music in the studio, but there are big differences there as well. The biggest one is that for a movie, the director has the main and the final say. You have to trust him. When you film a scene, you don't even see what you've filmed for a long time. The movie in which I play one of the main roles will be played in cinemas, and I don't even know what I will look like on the big screen. It's different with music, because us authors listen to the songs a hundred times, a thousand times; we're the ones who make all the final decisions. That's quite a mental leap, but I didn't have too many problems with it, because I knew the previous projects of that team. V dvoje ('In a tandem') is my favourite Slovenian TV series. On the other hand, I needed time to get used to this new method of working. If I asked to see the scene we'd filmed one more time, but the director said it was good, we kept filming without hesitation.

You said that on stage, you are always in the role of yourself. Does the nature of that role change from concert to concert? And what influences it? The audience, the outfit…

The outfit has an influence for sure. More than I initially thought. Lately we've been playing with our stage look a lot and looking for the right combination. I currently find that the outfit suits me very well, it's just the shoes that bother me because they're too rigid. I have to change them. They're huge and massive, which makes me feel like I'm clumsily marching around the stage, whereas during rehearsals I wear sneakers and I'm therefore a lot more in the mood for dancing.

What about the language you sing in? Many people say that they feel as if by switching between different languages, they are also switching between their personalities.

I agree. When you change the language, your voice has a different colour and register, you come up with different jokes than in your mother tongue. If I lead a concert in Slovenian, Serbian, or English, I'm a different dude every time. This is also influenced by my notion that each time, I'm performing for a different group of people who are connected by a certain mentality. In Slovenia, I'm performing as a local for locals, and I feel like there are different "game rules" than for example in Croatia or Serbia. Elsewhere, I feel like I don't even think about this.

How did you get the idea to start creating and singing in English? You already broke through internationally with Slovenian.

Us creating in foreign languages isn't so much a result of wanting to break through internationally and the mentality that only English ensures global success. If we thought that way, we wouldn't have gone to Eurovision with a Slovenian song. We're primarily driven by a desire to learn new things, to push the boundaries... In the studio, it's similar to being on the stage. If you change the language, you're not only a different person on stage, but also inside your head. Your creativity is different. Playing with languages is actually also playing with your own creativity, because you enter a different space, a different mentality. The song Sunny Side of London could not have been made if we hadn't mentally transported ourselves to an English-speaking space. We want many more projects like that, not necessarily in English.

Can you be more specific? What kind of mentality do you associate Sunny Side of London with?

That song is a sort of homage to all the people who have suddenly become part of our story. Sunny Side of London has nothing to do with London as such. I was looking for a name of a well-known place with which to name all our concerts, and I decided on London.

The first time I said the words Are you guys real? – Is this really happening, are you really here and singing our songs? – on the stage, certain English phrases snuck into my mind. What the hell is going on? and so on. We also experienced, for the first time, foreigners coming up to us and talking about their own experiences connected to our music. That was something completely new for us. We listened to all those stories in English, as our fans of course can't speak Slovenian, even though they can sing our Slovenian lyrics. Sunny Side of London therefore emerged as a collection of all the experiences and stories that fans told us after gigs.

You've already touched on fans who sing your lyrics by heart from Finland to Spain. Could you highlight the nation with the best ear for the Slovenian language?

On the latest tour, when we visited Lithuania, Poland, Czechia and Croatia, there were moments when I felt like I was singing in Slovenia. In Prague, I filmed the audience singing Umazane misli without me. As if I were in Križanke, for example. But it's even more fascinating that people sing well in England and Nordic countries too. It's understandable that our Slavic brothers have the best ear for Slovenian, but northerners aren't far off either.

How much of your international success do you attribute to the Eurovision performance?

A huge amount.

If you had to express it in a percentage?

99.9.

Really?

Definitely. It was an incredible catapult. Whenever I ask the audience at our international concerts if anyone was already with us before Eurovision, a few hands shoot up every time, but those are rare exceptions.

How do you explain the fact that you finished in the relatively humble 21st place in Liverpool, but your visibility still grew in leaps and bounds?

We were very, very, very dedicated to the Eurovision project. We put a lot of time and energy into demonstrating to the people who were open to it that we weren't just a three-minute performance, but very much an existing band that has made many songs and that lives on stage. With time, and of course in connection with the Eurovision performance, more and more listeners got to know that. We clearly showed them: we are here, we are real, try it, connect with us.

Because they had so much different content available, this actually happened. I think it was also because they saw that Joker Out really was made out of five completely regular dudes from Slovenia who live a totally normal life, and at the same time we make music and have a great time doing it. That is already a slight deviation from what's been happening recently, when we're being bombarded from all sides by messages that we need to distance ourselves from each other, that we have to hate each other...

That was the sociologist in you talking.

That's true. The atmosphere in society nowadays is such that it emphasises individuality more than building a team. Young people, however, need and want to be part of a community. And we offered them that chance.

Where does your interest in social sciences come from? Your father is a gynecologist, your mother a pediatrician, and you have a degree in sociology.

I had a very good professor in high school. If you wanted to listen to him, he offered a lot of knowledge. Even though sociologists often think about society in an abstract way, the subject always felt tangible to me. I recognised it in very concrete life situations that I was trying to understand. At my final exams, I did a great job with sociology with very little effort – and then made a mistake and enrolled in economics. I wavered between those two options from the start, and in the end, what tipped the scales were the warnings of many people I knew that sociology doesn't have good employment prospects. I gave in to the pressure and very quickly realised I had made the wrong decision. I gave up on economics after the first semester. That was when I seriously threw myself into the band, we made Gola, and then I transferred to sociology and there was happiness all around.

You clearly won't work as a sociologist for a while yet, if ever...

But I am a sociologist.

In your soul?

No, as my profession. Us musicians are sociologists. A lot of sociological terms could easily be transferred into our environment. Locale, for example. In third year, the professor asked me several times: Well, Cvjetićanin, if you have a concert, is that locale or something else? And then I said it was locale and started rambling on. (laughter)

So you are a singing sociologist?

Exactly.

How do you explain the success of Joker Out from a sociological point of view? How do your songs address the zeitgeist?

I write the lyrics exclusively based on stories that really happened. Not necessarily to me, but to people I love. Therefore, I have a strong emotional relationship with the subject matter. My opinion is that there will always be people who will connect with the story if it's real. Because it's easiest for us to connect with real emotions. Our songs are love songs, they talk about finding yourself and personal growth, some are socially critical... I think that I have managed to find the right balance between being direct and being poetic.

I'll word it differently. The Beatles already sang about love and personal growth. And they weren't the first ones by far. Later on, those same themes were covered by hundreds of successful bands and an infinite number of slightly less successful ones.

I think that nowadays, we most often associate societal changes with technological development. Technological advances largely dictate the rhythm of our life. But those advances are mostly just a substitute for something that already existed in the past. The basic emotions have therefore certainly stayed the same. Love, fear, hatred... I think that the use of language is very important here. Even though the emotions don't change, the way we put them into words does. In music, too. I don't sing about a topic the same way my peers would have in the 1970s. Consequentially, our relationship with emotions is changing and evolving as well. As if our entire society is gravitating towards the point of holding the belief that it's better for an individual to feel less and less, and in a more and more censored way.

On the one hand, excessive use of social media and other media causes us to feel like distinct individuals. On the other hand, it connects us to the world and places us into a very wide picture. In every moment, we are only a click away from becoming cosmopolitan and being able to access all the information, events, and people, but at the same time, that's exactly what reminds us that we are a small and actually not very important dot on this planet. The magnitude of everything that's constantly available to us makes us feel small. I think that we mostly listen to, watch, and use those who manage to poke the spot that unnerves people the most in this context. If performers manage to break through the firewall of someone's VPN, then those people will also show their interest in an analogue way. Otherwise, they will only be a swipe away.

And now a question that's more psychological than sociological: do you ever try to get into the heads of the people who time and again show their interest in very analogue ways?

I have an infinite appreciation for their dedication, because for myself, I don't see the chance of a phenomenon exciting me so much that I would be ready to dedicate so much time and love to it.

So you've never been a very hardcore fan?

If, at twelve years old, I had to highlight one musicians that I would've wanted to meet more than anyone in the world, that would definitely have been Tomi Meglič. That hasn't changed to this day. The only difference is that we meet up with Tomi and we're friends. I still feel the highest possible level of respect for him. Every time he calls me, I am extremely proud of myself. But I still cannot imagine going to, say, Berlin tomorrow if Siddharta were playing there and I had a free day. I'd go to Maribor or Zagreb, but absolutely not across all of Europe the way the biggest fans do. Not even at twelve. I could sooner imagine that at that age, a football match rather than a concert would be the thing that excited me beyond all reason.

We're probably talking about two groups of celebrities that get worshipped as deities by the masses in Western society: footballers and pop and rock musicians. And this is probably linked to emotions again.

True. The thing that wakes up a person's sense of smell, sight, and all other emotions that overcame them as a child, is what has the best possibility of succeeding.

Now please explain how this is connected to football.

If I go to a concert by Siddharta, Big Foot Mama, Magnifico, I turn into a ten-year-old kid who will explode from happiness. There's no Bojan anymore. He gets lost. It's the same with football. When I watch it, I dream about how I played for Slovan² as a kid and what I wanted more than anything was to score a goal and for everyone in the stands to yell: Yeeeees!

²ND Slovan is a football club from Ljubljana

You don't score goals, but you are in a similar position that Tomi Meglič used to be in.

All the band members come from very loving families that have always provided us with a very good support system and instilled basic values in us that we internalised deeply. That is why everything that's currently happening around us hasn't gone to our heads in a way that would make us think that we're bigger or more important than anyone else. If we started believing that we were "kings" because everyone was clapping for us and singing our songs, that would probably be a very strong feeling, but that simply wouldn't be us. We mostly love to see all the people, because we know how much we mean to them and how much they mean to us. Without them, we wouldn't be able to focus on what's most important to us – our music. On the other hand, I can say with a thousand percent certainty that I would easily and happily do my job if I was performing at venues like Cankarjev dom. So, in front of a calmer audience, without unreal hype.

But what I would like most in the world is to turn into a footballer for ten seconds and score a goal at an important match. You know why? Because that is the biggest adrenaline hit that exists. When we perform on various stages, there's mayhem around us for two hours straight. But in football, when a goal is scored, that happens in a millisecond. You go from nothing into total chaos. Everyone loses their minds. I'd love to experience that. Well, I did – much like everyone who played football in primary school. When I scored a goal for Slovan and a hundred people in the stands clapped for me, I felt like I was on Maracanã. Imagine what it would be like to experience that on the real Maracanã.

It's interesting that you highlighted a loving and stable family background. Many of the biggest pop and rock stars in the world grew up in a diametrally opposite environment. From John Lennon and Janis Joplin to Prince and Rihanna. There are actually so many of them that we can talk about a pattern.

I know, because I love to read their (auto)biographies, and I agree with your assessment that their family circumstances are fundamentally different than ours. That is always my answer to the question when someone wants to know how debauched our tours are. When I tell them that we mostly drink water and tea on the road, they just can't believe it. But it's the truth, because we've realised three things. First, we enjoy what we do immensely, and from the experiences of many musicians, we know that you can almost definitely forget about a long career if you start doing everything that we perceive as the proverbial rock'n'roll lifestyle. A band like that breaks up sooner or later, either because of frayed nerves, or exploding egos, or because of money. Second, we've all had to go to work hungover and we know very well that it's unbearable. I especially can't imagine how we could stay healthy and keep our strength and our voice if we were constantly hungover on the road. In that case, the only short-term solution is drugs, which we fortunately [knocks on wood] don't do. And third: I'm sure that you have a much better time on stage if you're aware that you are on it.

Your international breakthrough doesn't have a precedent among Slovenian musicians. Would you dare to point out where the difference is, why you made it and not for example Siddharta, who had filled Bežigrad stadium and later did not hide their international ambitions?

We have to understand that Siddharta didn't have the chance to perform at a festival like Eurovision. It's hard to understand what it means for 160 million people to watch you. That is a bizzarely huge number. All this happened in the time of social media, and we had set up a pretty good mechanism in that area even before Eurovision, and then also used it, whereas Siddharta established itself as a band in the time of analogue media. I can't even imagine how it would've been possible to break through abroad from Slovenia at that time. Because even we are already – even though some things have opened up for us very nicely and we've been joined by the right people – finding out how much of an investment going international demands. Dreams of megalomanical earnings and a luxurious life brought on by a European tour shatter quickly. Even when you start filling up venues, you stay in a kind of hustle mode. You fight. Unfortunately, the costs in the music business are so high that performing abroad is more or less just for promotion for a long time.

You're probably thinking of logistical costs?

Yes. Some of my colleagues have total misconceptions about our earnings. They think that we're literally swimming in money, while we actually earn what amounts to a normal salary.

In March next year you will have eighteen concerts. You will start in Helsinki and end in Milan. How will you travel?

With a tour bus. We've rented it twice so far: for the UK tour and for the tour around Lithuania, Poland, and Czechia. There are beds on it, so we can sleep while driving from one concert to the next. The tourbus is prohibitively expensive, you pay almost half of your royalties for it, but it's the only way for a musician with such a packed schedule to survive in the long run. Sometimes people ask me why we don't travel with a van instead, but you have to understand that we sometimes have concerts two days in a row and the venues are 800 kilometres apart. If we spent all night in an uncomfortable van, then looked for a hotel in the morning and so on, we might be able to endure it for a week, but definitely not all month.

Do you ever sleep in a hotel?

Only on free days.

Will the March tour be your most exhausting one so far?

It will definitely be one of the more exhausting ones, but I am definitely happy that we will be able to sleep on a tour bus. We haven't been on a month-long tour yet, so it's hard to predict anything, but on the Nordic tour this year we played six concerts in five days, because we had two concerts in one day in Helsinki. We didn't have a tour bus there, we flew instead. That meant that after the concert, we got to the hotel at midnight, then we had to be at the airport at three in the morning, a few hours later we were already at the new location, we napped for two hours on a couch, had a soundcheck – rinse and repeat for five days in a row.

Let's not talk only about the negative sides of tours…

Of course. I love sleeping on the bus! I fall asleep like a baby who's being taken for a walk in a stroller. I can't sleep more than nine or ten hours in my bed at home, on a tour bus I easily get twelve hours. Maybe it's because it's constantly shaking a little. The other guys also sleep very well on the road.

But the most magical thing on tours is when I visit a city for the first time just because we have a gig there. That seems unimaginable to me. To meet new people, wonderful fans, to bond as a band, experience new, funny situations, to bring home a bunch of new inside jokes and incredible gifts that fans have made themselves. [Points towards a hand-embroidered pillow in the part of the studio where they keep the gifts.]

Elite athletes often lament that it's true that they compete all over the world, but they often only see the airport, the hotel, and the sports venue.

It's similar for us. When we travel with a bus, we only see the venue. If we happen to have a free day, we walk around the city, but we definitely don't visit all kinds of tourist attractions as some people might wrongly imagine. When we go to Paris, we definitely won't go to the Louvre, and we will see the Eiffel tower through the bus window if everything goes well.

But you meet a lot of interesting people.

That's true. I find it the most fascinating if we meet fans when we don't expect them at all. In a restaurant, on a plane… When we were flying to Poland, it turned out that one of the flight attendants was a big fan of ours. She told us that she was going to three of our concerts and brought us champagne and a model of a Lot Polish Airlines plane.

I was even more surprised in Helsinki. I went to some kind of dark club that had a techno music party. Suddenly I was approached by three people, two guys and one girl, and they told me that they were our fans and that they couldn't believe that they met me in that club. I also couldn't believe that people recognised me in the middle of Helsinki. What's going on?!

In the summer, you took a step back from Instagram for a while. What brought you to that decision?

Many things. I felt creatively empty. I also, for the first time in my life, experienced the internet – not just Slovenian, but global – being completely oversaturated with me. That started negatively pressuring me and eating me up. I thought about it a lot, and the first time I asked myself whether I'd be less Bojan Cvjetićanin if I didn't have an Instagram profile, I turned it off. Immediately after that, I wrote three songs; I felt as if I had cleaned up some of the mess that had built up recently. I returned to social media some time ago; with much healthier habits than before, I think.

How do you see social media? As a space for playfulness, for promotion, part of the job, part of private life?

I think that at the time when they started killing me, I perceived them too professionally. I had a feeling that Instagram was a platform through which I had to achieve all sorts of things. Lately, I prefer to joke around more.

If you repost quotes from the interview, please link back to this post! And if you repost the photos, do not crop out the photographer credit.

#bojan cvjetićanin #bojan cvjeticanin #joker out #Spotify

210 notes · View notes

atinystraynstay · 4 months

Text

Lover - Choi Jongho

Synopsis: "I thought a love like yours could never be experienced."

Pairing: Choi Jongho x reader

Genre: so much fluff! can't help it when it comes to imagining what domesticated life with Jongho could be like

Word Count: 1.5k

——————————————————————————————————————————————————————————————————————————————————

"Sweetheart? Do you want honey in your tea?" Jongho called out from the kitchen. "Yes, please!"

You were currently situated in the living room, a throw blanket over your lap. Your mother had just sent you photos from your childhood that she found extras of. You asked her to send them to you because you wanted to give Jongho a glimpse of your childhood. You had them in a small pile for the two of you to look through.

You overheard the clinking of what you assume to be a spoon against the cups. Jongho was the type of guy that never overlooked any detail. He liked to be precise, especially when it comes to you. His greatest pride was his ability to look after you.

Glancing up at him, you watched him slowly move into the room. You couldn't help but giggle as he looked nervous that he might slip some of the tea into his head. To help him, you moved the photos to beside you so you could stand up to take one of the mugs from him.

He silently thanked you before setting his mug on the coffee table. Jongho always preferred to let the tea cool down slightly, so he wouldn't burn his tongue. "So how old are some of these pictures?" He asked curiously. "I think some of them are from when I was just 3 or 4, so I was pretty young, so you've been warned."

Jongho rolled his eyes playfully before leaning over to press a lingering kiss into your head. "Would you please stop talking bad about the love of my life, hmm? I quite love how she looks," he murmured into your skin.

His arm wrapped around your shoulder, letting his fingers run up and down your forearm comfortingly. You nodded your head, accepting Jongho's request. You just weren't the biggest fan of your more awkward stages of life.

However, if it was one thing about Jongho, he would always be there to affirm your worth. Your confidence has only grown since getting together. But maybe that was because he quite literally was everything you wished for when you were younger. Setting the photo album in your lap, you opened the first page. There was a photo of you, maybe less than an hour old. It was the photograph of you right after your birth. You were red in the face, probably from all the crying you did being so new to the world. Your hands were closed in tiny fists, eyes squeezed shuts. You cringed slightly seeing your newborn self. Jongho, on the other hand, was in awe to see the beginning of your life.

The next few pages were filled with photos before you entered school. They were photos of you dressed in Halloween costumes, like the one where your grandmother insisted you and your cousins should be pumpkins together when you were 3. Or your favorite when you were 2, the duck costume.

"Mom told me that I basically lived in that costume for the rest of the year," you laughed.

Jongho laughed along with you. He loved seeing the joy on your young face. In nearly every photo, you had a wide smile on your face. You were innocent, not exposed to the stresses of life. All that concerned you was being able to wear that fluffy duck Halloween costume,

As you go through the pages, you were introduced the the versions of yourself you seemed to have forgotten about. There were several photos of you playing different sports - soccer, taekwondo, swimming, and even a summer playing t-ball. Some of the photos were taken by your father at the sporting events, while others were photos taken by a professional photographer to mark the season.

"I always knew my girl was outgoing," Jongho commented. He leaned over to kiss your cheek lingeringly. You rolled your eyes at his comment, but it didn't hide the smile curling on your lips.

Flipping to the next page, you noticed your are entering the school photos. You groaned at the photos from kindergarten and 1st grade, especially. You felt like you were an awkward kid. Your mom cut your hair short when you were younger because you refused to let her help you brush it. You also began to wear glasses. Not to mention the braces that would come on later. A trifecta.

There were of course good memories from your childhood. But you wished to forget these more awkward moments. You were bullied quite a bit in your younger years which took a toll on your mental health well into your adult years.

"Have you ever considered cutting your hair short again?" Jongho asked.

You quickly looked at him, frowning. You pulled your now long hair over the front of your shoulder, looking down at you. That was part of the reason you were so hesitant about getting a haircut now and then. You were afraid of too many inches being taken off and not feeling confident. Your long hair was opposite from what it was when you felt like you were at your lowest. "Do you not like my hair now?" You whispered.

This time, Jongho looked at you. A frown was evident on his lips. He honestly could care less how long or how short your hair was. He thought you were adorable as a child. From just looking at the photos, he could see the bold color of your eyes. That was the first thing he fell for when it came to you.

"No, sweet girl, I love your hair now. But I also like the short hair on you when you were younger. It showed your gorgeous face off to the whole world," he explained. His voice was gentle. He was trying to put the pieces together for your reaction. The last thing Jongho ever wanted to do was upset you.

"Yeah right, Jongho," you sighed as you went to go flip to the next page.

However, he stopped you. His hand rested on top of yours, fingers gently caressing the back of your hand. "I mean it, pretty baby. You were adorable then, you're adorable now. It's amazing to see your journey through photos of how you've grown into the person you are today." His free hand ran over one of the photos.

"You're too good to me, honey," you sighed. Your head rested on his head on your shoulder. "It's the truth," he pouted. "Why don't you believe me?"

You peered up to see Jongho looking at you. You sat up the moment you could tell he was genuinely upset. You furrowed your eyebrows as you turned your body towards him, so you could have a proper conversation. Your left foot was tucked underneath your right which was dangling over the edge of the couch. Your gaze fixated on your hands as you fiddled with them a bit, your anxiety starting to increase.

"I guess I just never saw my worth as a kid, you know? I had people telling me that I wasn't good enough, that I wasn't beautiful. It was hard growing up in my small town where it seemed everyone fit in except me," you explained. "Don't get me wrong. I'm glad I never fit into the mold, but it was still hard."

Jongho gently reached over to hold your hands in his. He lifted them up, kissing your knuckles lingeringly before setting your joined hands in between your bodies. His thumbs gently caressed the back of your hands to try to ease any negative emotions stirring inside of you.

"My sweet girl, my love," he cooed. "Believe me when I say this. You were beautiful then, you are beautiful now. I'm honestly jealous of the people who got to grow up with you because they were lucky. But I guess I'm the lucky one that gets to experience your present and future."

Your heart swelled at his sentiment. You still kept your gaze locked on your interlocked hands. Noticing, Jongho squeezed them which caused you to finally meet his eyes. Your lover was smiling at you with endearment.

"Why don't we stop looking back at the past for a moment? Hmm? We can focus on our future, talk about everything you want to accomplishment and do in this life because I'm not going anywhere," he teased teasingly.

You nodded at his suggestion. Leaning forward, you pressed a lingering kiss into the side of his face. A soft "thank you" was whispered into his skin which caused his cheeks to heat up. Even after all this time, he still blushed like he did on the first date. If anything, the emotions he felt towards you were stronger than ever before.

That night, the two of you cuddled up on the couch. You talked about your goals for the next five, next ten years. While you were uncertain of the obstacles you might encounter, there was a reassuring aspect knowing Jongho was in it for the long haul.

He was devoted to you. He was in love with all parts of you - past, present, and future. And he would spend the rest of his days reminding you of that.

That's what he wanted, at least - to be your lover unconditionally.

154 notes · View notes

silly-baba · 6 days

Text

Okay, hear me out..

A professional photographer, but specifically for age regressors and CG's alike, so we can make adorable family pictures to fill photo albums with.

Kiddos could show off their favorite outfits and CG's could hold their tiny ones oh so gently for each picture.

I just think that would be neat!!

･.*.ﾟ☆❗please only interact if your blog is SFW❗☆ ﾟ.*.･

#baba space #that would be amazing #id really love that #agere #agere community #agere cg #agere caregiver #age regression

112 notes · View notes

writeroferotica · 7 months

Text

Boudoir Photography

It was my own fault. It was my idea. Be careful what you ask for, you may get EXACTLY what you wanted...and more!

This past Thanksgiving, my wife Julie asked me, "Well my darling, what do you want for Christmas?"

I was ready for the question and had been pondering it for a few weeks, so I replied without hesitation, "A boudoir album from a reputable photographer with you as the model."

There was a rather lengthy pause before she responded. "Okay. And what, pray tell, do you consider a 'reputable' photographer?"

"Nope. I leave all the details to you. I just want the boudoir album. Make sure it's sexy."

She just stared at me. Maybe "glared" is a more appropriate word. Julie is rather shy. She never dresses in a way that exposes too much. Even at the beach she wears conservative one-piece swimwear. Of course, she's still drop-dead gorgeous and turns lots of heads.

"We'll see," was all she said in reply.

As the weeks went by, I noticed a sullenness about the way Julie was acting. She was easily provoked to anger and just as easily reduced to tears over trivial issues. I couldn't quite put a finger on it, but she seemed somewhat withdrawn from the world. I took note of this behavioral shift at the time, but just put it off as a passing phase, perhaps related to the upcoming holiday which can often lead to some depression.

As with every year, Christmas morning arrived all too soon. We got up and went straight to the tree to start opening presents. Julie seemed nervous. I was anxious. Did she go through with it? How far did she go in letting a photographer take sexy boudoir photos? Did she do it at all?

Finally, she sheepishly handed me a nicely wrapped present in bright red. It was obviously a book of some sort. Like a five-year old child, I ripped open the present and stared in wonder at the decorative cover of a photo book. With shaking hands, I opened the cover to reveal a title page with these words in bright red block letters: "For my Loving Husband. Remember that I Love You and I always will."

Pensively, and still shaking, I turned the page. There were six photos printed on each page. It was like a coffee table style book; professionally printed and bound, not photo inserts. I was highly impressed with the quality of the book as well as the sexy female whose glorious form filled the thick book. On the first few pages, Julie was dressed in a black evening dress, sleeveless and flowing to just above her knees. She was wearing sheer black hose and black shoes with about a three inch heal. The poses were tasteful, yet sexy. Some of the sexier poses displayed modest cleavage or a great deal of her luscious thigh. The look on Julie's face progressed from uncertainty to playful laughter as the sequence unfolded.

The final photo on one of the pages in the evening dress sequence gave me a shock and a thrill, though most people would have probably thought it rather tame. Julie was bent over at the waist with her backside to the camera. Her hands were on her hips and she was looking back over her left shoulder, her face revealing laughter. She had hiked up her dress in the back so you could just see the beginning of the curvature of her nicely rounded, hose covered butt. I felt an immediate stirring in my loins.

I looked up at Julie and smiled. She looked nervous, wordlessly biting her lower lip. I flipped the page.

Oh my! I couldn't believe it. There before me was a sequence of Julie hiking her skirt up. Each photo revealed a bit more of her panty clad ass, covered with the sheer black hose, until her skirt was bunched around her waist. I was amazed at the amount of courage it must have taken for her to do that in front of another person.

"Was the photographer a man or a woman?" I asked.

She hesitated for a second before answering with a shaky voice, "a, a man." My dick went rigid in the knowledge that I had succeeded in my desire to have my wife show off her body to another man. My pride swelled along with my member.

Still with her back to the photographer, the photos on the next page started with her pulling the straps of her dress off her shoulders. She was not wearing a bra. By the last photo, the dress was completely bunched around her waist revealing her bare back. The following page contained a series of photos as she turned to face the photographer, her hands covering her small B-cup breasts and her face showing a nervous smile.

"What's his name?" I asked.

"Marcel."

Without looking up, I turned the page to see photographs of her uncovered breasts. In the first photo her arms were down by her sides and she looked nervous, but the series saw her demeanor change until in the last photo, her hands were on her hips and she had a confident smile on her face. My underwear was getting wet from all the precum leaking out of my stiffy.

Again, I looked up at Julie. "Do you like?" She asked.

I managed to croak out, "Y-yes." My throat was dry. I flipped the page. Next was a series as she tucked her thumbs in the waist of her hose and then peeled them down to her ankles. She was, of course, bent over at the waist as she pushed the hose down her legs and her breasts looked tantalizing in their firm curvature. Next page: the photographer had changed position and was now behind her. She was still bent over and was removing the hose from her feet. A thick sliver of black string ran between her butt cheeks and a small patch of black material covered her pussy. A small amount of blond pubic hair could be seen at the edges. In the last photo, Julie was peeking around her right, smiling at the camera...or was she smiling at the photographer?

Another flip of the page chronicled Julie removing the thong panties, again from the rear. First she was standing upright with thumbs hooked over the strings around her waist, then bending down to remove them, full bush on display under nicely rounded buttocks. Again, she looked back at the camera/photographer with a smile in the last photo on the page. I had to adjust myself as my dick was straining at my briefs.

"Are you okay?" Julie asked.

In reply, I removed my shorts and underwear and let my raging hard-on pop free. The head of my cock was glistening with precum. "Does this answer your question?" She smiled, knelt on the floor between my legs, and rested her arms on my thighs.

I kept looking through the book. There were photo sets in (and out of) lingerie, a man's white button-down shirt, and a slingshot bikini. Julie became more embolden and empowered with each set. There were poses displaying all her charms. There were full frontal nudes. One of my favorites showed her standing in front of a window with her right hand on her thigh, her left hand on her waist, her head slightly cocked to the left side, and a bright smile on her face. There were photos of her laying on her front with her tight, round ass on full display. Then she was laying on her back and her bush was clearly visible. She was squatting with her knees together, then she parted them, and I could see a little of her pussy lips peeking through the pubes. She was smiling in all these photos, sometimes it looked like she was laughing.

All this time, Julie was softly rubbing my cock, occasionally peeking over the top of the book to see which photos I was looking at. I detected a rather nervous look each time our eyes met.

The photos became ever more risqué as I continued to flip the pages. She was now posing in a lounge chair in a classic "M" position. Her pussy lips were engorged and looked slightly moist. Now she's laying on a sofa, with her right arm behind her head and her left hand on her mound, her fingers just touching her clitoris. The look on her face is hard to describe, except to say it oozed sexual energy. Then she buried her middle finger up to the second knuckle in her pussy. Finally, she was licking that same finger.

I looked into Julie's nervous eyes and just said, "Wow!" She grinned at me and then proceeded to lick the top of my penis. It was starting to get hot in the room, so I removed my shirt to help cool off a bit.

I flipped the page and things became surreal. Now she was on a bed with white sheets and had what appeared to be a glass dildo in her mouth while her fingers danced around her open pussy. Now the dildo is against her clit, then the tip is at her moist opening, finally a series of photos as the dildo penetrates deeper and deeper in her cunt until it's buried to the end. Her face is glowing with sexual energy, her eyes are closed, and her lips are pursed. In the last photo of the series, she lifted her hips off the bed and a man's hand had grasped the end of the dildo that's buried in her pussy.

I swallowed hard but did not look at Julie. She was busy with my cock in her mouth anyway. I flipped the page and gasped as I saw a series of photos that, if you could stack them on top of each other and flip through them, you would see the dildo being plunged in and out of her pussy by that third party's hand while she held her hips up high with her own hands.

The first few photos on the next page were several views of my lovely bride sprawled on her back with her legs bent and spread wide. She was holding her thighs close to her body with her arms wrapped around her shins. In one photo she was kissing her right knee. Her pussy was gaping and wet. A small bead of white liquid could be seen about to descend from her vagina to her sphincter. In the final two photos she had lowered her legs straight out and placed her left hand on her pubic mound. The view was from near her feet in the first photo, but from near her head in the second. In that second photo, her wedding and engagement rings were prominently displayed. As sexy as she looked in that photo, I blew my load in Julie's mouth for a different reason. Out of focus in the background was a naked man with his penis in his hand as if he were masturbating while looking at my wife's exposed and open vagina. Perhaps he really was.

"Wow! What brought that on?" Julie asked wiping sperm from her lips with her fingers and licking them off.

I just flipped the book around and pointed to the last photo. "Who is that?" I asked.

Julie stared at the photo with wide eyes. Then they began moisten with tears. She tried to take the book out of my hands, but I held a firm grip. "Who is that?" I repeated softly.

"That photo shouldn't be in there." She remarked with a tear running down her left cheek.

"Oh, but it IS there," I said incredulously. "Tell me who that is."

"He's Marcel's assistant, Craig," she said sheepishly.

"Was he there for the entire shoot?"

"Yes." She said as she sniffled and wiped the tear from her chin.

I looked closely at the photo again. Even out of focus, the fact that it was a man holding his own erect penis was fully evident. "At what point did he get naked?" I asked.

Julie started crying softly. "Um, Marcel thought it would add an erotic touch to have a naked man in one of the photos, so he asked Craig to take his clothes off and be in the picture as if he were jacking off while watching me."

"What made him get so hard?"

"Marcel had asked me to pose with a prop," Julie sniffled, "and it was, uh, kind of erotic?" It came out as a rhetorical question since she put interrogative emphasis on the word 'erotic.'

I flipped back a page in the book and interrupted her by showing her the page with the hand holding the dildo. "Kind of like these?" I asked sarcastically.

Again, her eyes widened in disbelief. "Those are NOT supposed to be in there!" she cried out and again tried to take the book out of my hands.

"Oh no! This is MY book now! It makes sense that he would get a woody after he just fucked your wet cunt with a dildo." My words were harsh with anger and jealousy. On the other hand, even though I had just ejaculated, my one-eyed monster was starting to stir again. I had a mixture of emotions that I cannot describe as I looked into Julie's tear-filled eyes. "Is there something you need to tell me?" I asked. She broke down completely and quickly left me in the living room, ran up the stairs, across the landing, and into our bedroom, slamming the door behind her. I was left completely dumbfounded, but nonetheless, turned to the next page in the book.

I thought my eyes must be deceiving me! This CANNOT be my wife in these photos. She would never do this, EVER!! Yet, there before me was the photographic evidence. It started with photos of her posing in front of Craig, who was, of course, nude with a semi-hard penis. At first, they were just staring at one another. Next, she had her hand wrapped around his dick, like she was gently pulling him to her. Then she was on her knees., pressing his cock into her cheek. In all the photos her eyes were glued to him and she had a sexy, erotic smile on her face. Her eyes twinkled with lust. The series continued with her sticking out her tongue while holding his cock and pointing it toward her face. Then she touched the tip of his dick with the tip of her tongue. I was instantly rock hard again.

The next several pages contained various poses where she was interacting with Craig's cock, but no penetration. She kissed his cock on the tip and up and down it's sides. She touched it all over with the tip of her tongue. She licked it from the tip to the base and back to the tip. She looked at his cock and she looked up toward his face. She looked at the camera...and smiled.

Next page: she had engulfed the tip of his prick in her mouth. My stomach fluttered and I nearly vomited. I began to weep, and the tears ran down my cheeks. My penis was standing straight up at rigid attention. The next couple of pages had nothing put photos of my innocent wife with a dick in her mouth, from different angles and varying amounts of penetration. In only one shot was his shaft buried until her lips touched his pubic hair and it was obvious that she was on the verge of gagging. In the next photo she exhibited a distinct look of relief as he pulled back some so that she only had the tip in her mouth.

Another page flip and his cock was out of her mouth but there was a stream of seminal fluid connected between his penis and her tongue. The entire page was dedicated to the fluid dripping from his cock and Julie's open mouth. In each photo she had his cock firmly in the grip of her left hand, her rings clearly visible.

With shaking hands, I turned the page again. The next series began with a photo of Julie laying on her back, her upper body supported on her elbows as she gazed slightly upward. Her legs were apart, and Craig was leaning forward between them. Their eyes were locked on each other. His erect penis was pointing at the entrance to heaven. Marcel took photos of this scene from several angles; some close enough to show the scant few inches that separated his dick from her moist and open pussy. Her sexual excitement was on full display as her labia was fully open and so moist that it glistened in the lights.

I knew what had to be next. Julie's reaction a few moments ago spoke volumes. My stomach was knotted. My breathing was shallow. My heart raced. My hands shook so much I could hardly turn the page, but I did; ever so slowly. There it was. A close-up of Craig's erect cock with the head pressed lightly against her pussy. Her pussy lips were slightly closed on the sides of his penis head, the tip of which was touching her clit. I was looking at photographic evidence of the first time a penis other than mine ever touched that glorious pussy. The page was full of this image from various perspectives and at various distances. The look on Julie's face was one of lust as she bit slightly on her lower lip. Instinctively, I reached down and grasped by cock in my left hand. It was wet with my own juices, and I slowly rubbed my hand up and down as I gazed at the eroticism on display before me.

Another flip of the page and I nearly vomited. The page was a series of close-up photos beginning with tip of Craig's penis a mere quarter of an inch from Julie's open pussy. You could see the base of her open legs and the little mole on the inside of her left thigh, near the base of her leg. Then his penis was touching her clitoris. Next, his penis head was half-way in. Then the head was buried inside her. Then his shaft was half-way inside her. Finally, he was completely buried in MY wife's pussy. The last picture on the page showed the full view of Julie straddling Craig's waist. Her eyes were closed, and her hands were behind her head holding her hair. Her B-cup breasts were pert, the areolas were constricted, and the nipples were hardened like pencil erasers. Her eyes were closed, and her mouth was slightly open. In that instant I realized he had not penetrated her. Rather, she had impaled herself on him. He was not fucking her. She was fucking him!

I pinched the head of my cock to keep from erupting. My feelings were so conflicted I thought I was going to pass out. I was horrified. I was angry. I was in emotional agony. I was mesmerized. I was turned on!! I looked up toward the landing that led to our bedroom and I could faintly hear Julie sobbing behind the closed door. I didn't know what else to do, so I kept turning pages.

Page after page revealed Craig and Julie copulating in various positions. She rode him cowgirl, her hands on his chest, the base of his penis visible just under her perfectly rounded ass. She rode him reverse cowgirl with her hands still supporting her on his chest as she leaned back, his shaft jutting upward and disappearing into her puffed pussy. He fucked her doggy style, his body upright while he knelt behind her and his dick ramrod straight as it penetrated her. He fucked her doggy style and leaned over her back, reaching around and between her legs to finger her clitoris while he impaled her. He fucked her in the missionary position. First, she was on the edge of the bed and he was standing between her legs, his cock halfway in, holding her legs up by placing his hands under her knees as she gazed lustfully into his eyes with a half-smile on her face. Then he was laying down on top of her. The edge of the bed was just under her neck and her head hung down slightly. This time her eyes were closed, and her mouth was partly open. She had her arms wrapped around his shoulders and her hands overlapped just below his neck. Her rings were just visible on her left hand as her right hand rested on her left wrist. His right hand was supporting her head and his left hand rested just above her forehead, clearly showing the absence of any wedding band.

Finally, they lay spooning each other and he fucked her from the side. His face was contorted, eyes closed and mouth open, in the way that indicated he was ejaculating, yet his penis was still buried in her vagina. It occurred to me at that moment he was NOT wearing a condom. Shit! My demure, conservative wife had engaged in unprotected sex with a man she had only met an hour or two before. My world had turned completely upside down. Another turn of the page revealed a series of photos showing a closeup of Julie's pussy with sperm leaking out and progressively running over her labia and down her leg. I ejaculated without even touching myself. The first spurt was so powerful, it hit me under my chin.

I just stared at those photos, cum splattered on my neck, chest, and belly. Julie continued to sob upstairs. Tears were running down my own cheeks, as I turned one more page; the last one. There was Julie, laying sideways on the bed with her hands covering her face. Three photos showed her push herself up from the bed, tears streaming down her cheeks. The camera followed and snapped two final photos as she ran from the room.

I tossed the book on the coffee table, got up, and went upstairs to get a towel. I wiped the cum from my body and put my clothes on. The sobbing from the bedroom had stopped. It was drizzling outside, but I went for a walk anyway. The cool rain helped me clear my cluttered mind.

I pondered on my own weaknesses when it came to the opposite sex and how easy it is to go farther than you know you should. Julie is only human, and she is a good person. She has been an amazing wife. What is one indiscretion? Besides, it obviously turned me on, or I wouldn't have had such a raging hard-on or cum twice while perusing those depraved photos. As I wrote in the opening to this story, I had asked for it. It was my idea to have sexy photos taken of my precious wife.

When, after about half-an-hour, I returned home, Julie met me at the door. Her eyes were red and swollen. Tracks of her plentiful tears streaked her face. She flung herself onto me and began sobbing again. Slowly, I wrapped my arms around her and inhaled her sweet scent. "I'm so sorry!" she wailed. "I will never, ever do anything like that again. I promise!"

"Yes, you will." I calmly replied. "You may think you regret it right now, and I greatly appreciate that you are thinking that way at this moment. The fact is you are a sexy woman and men desire you. You are also somewhat naïve, or at least you were. Once you start treading down a path of sexual pleasure, however innocent at first, it's almost impossible to stop yourself."

She sniffled and drew back from me. "Come in and get out of those wet clothes," she said in a soft voice, "you'll catch cold." She stripped my clothes from me, retrieved a fresh towel from upstairs and dried me off.

As she rubbed me down with the towel, I continued my monologue. "It's partly my fault. I asked you to pose for sexy photos. I think, deep down, I knew this might happen. Sure, I'm hurt that you did this behind my back. I'm angry that you kept it from me and that I had to find out in this way. I can see that you never intended for me to find out, which leads me to wonder if you've ever had sex with any other men."

She put her hands on either side of my head and stared intently into my eyes. "I swear to you I have never had sex with anyone besides you until that happened! I didn't tell you because I was afraid you would leave me, divorce me. I love you and I don't want to lose you." She began to softly weep. "I know I should have stopped it. It was so wrong. I don't know why I let it continue and before I knew it I was completely swept away in the moment. I just had to experience it. Oh Baby! I'm so, so sorry. What can I do to make it up to you? I'll do anything to save our marriage. Please don't leave me!!"

"Look at you," I said. "Now you're all wet from your tears and from my rain-soaked clothes." Now I began to strip off her clothes. In moments we were standing naked in the foyer. I took in the curves of her body, her perfect B-cup breasts, her softly rounded hips, the neatly trimmed pubic hair between her legs, and those gorgeously firm thighs. Then I began thinking of how Craig had viewed those same magnificent attributes of the beautiful woman that stood before me; how he had probed her with his hands and with his penis. I was instantly hard again.

I swept her up in my arms and carried her upstairs, across the landing, and into our bedroom suite. "Tell me what it was like to have another man's cock cum inside your pussy," I said as I kicked the door closed behind us.

#shared wives #stag/vixen #hotwives #sharing wife #boudoir photoshoot #photoshoot #photography #EW Original

179 notes · View notes

captainfern · 6 months

Note

A request for Johnny: his reaction to you giving him a photo album full of professional boudoir photographs of yourself as an anniversary gift

omg i recently saw a tiktok like that and the man LOVED it

18+?, gn!reader, "bonnie" is used as a term of endearment

you're so excited to give it to him, and he's smiling at your excitement as you hand him the album on your anniversary

he's all like "what's this?" before he even opens it, and the rest of his sentence dies on his tongue as he opens the first page. the type to have his mouth drop open and his eyes widen as he quickly begins flicking through all the pages. he's making little noises of surprise at each photo, and you can't help but laugh

he definitely looks up at you and then back at the photograph each time he turns the page. if he was a dog, his tail would be wagging non-stop and he'd be drooling all over the glossy pages

"fucking christ, baby." and has to put the book over his lap to conceal his raging hard on LMAO

he'll compliment you. how pretty, gorgeous, stunning you are. how fucking perfect your body is. how good you are to him, how thankful he is for you

but he'll also make a cheeky remark; "god, i'm gonna wank to these later, bonnie. i'll try not to ruin the pages."

all of the photos are his favourite, but he'll chose one that he absolutely loves loves loves and make you recreate it for him right there in the living room (minus the outfit, of course– this time you're naked). he'll proceed to fuck you in that position as a thank you <3

#captainfern #captainfernsalutes #call of duty #call of duty mw2 #cod mw soap #johnny soap mactavish #captain'sdrabbles

314 notes · View notes

nrdmssgs · 1 year

Text

König x tattoo artist reader

Masterlist

This started as a headcannon, but has grown into a brief scenario. There is a bit a of pet play happening down there, but i've tried to keep it light

Once he found out about your job, there is no way back. Man practically begs you to show him any new thing, you're working on. Congratulations, you've got your biggest fan from now on.

In Königs` opinion, not only was he lucky enough to get the best person out there, he was the luckiest one to see how your ideas are born! And he LIVES for that moments.

He sees your projects as something, that should be displayed in a museum.

Yes, Louvre, he is looking at you. It's high time you open new rooms for his Schatzs`* works to be displayed in!

"König, I thought, I threw out that sketch. C`mon, man, it's garbage, nobody needs it!"

"Nein! I'm keeping it! It's mine from now on!"

Secretly keeps a whole pile of scraps of paper, crumpled sheets, napkins you threw away while sketching.

He is interested in your entire creative process: from the first sketches to photo sessions with healed works. Bombards you with questions. "Is there any differences in a result if you draw two same sketches with a pencil and a thin brush?", "What do you like to tattoo the most?", "Where do you draw inspiration from?".

He brings albums with views of the nearest cities and just books with beautiful photographs and reproductions from every airport and train station when he travels (which is really often).

If you had not a huge library of inspirational sources before meeting him... you better buy a few new bookcases.

He never considered getting inked, especially not by you, no... To put your masterpiece on his calloused and scarred skin would be a sacrilegious act. No, he can't even dare to think of it...

Until one day, when he is sitting at your tattoo studio, minding his own business waiting for the end of your working day, like a good boy, when an old customer of yours arrives. You greet them warmly, give them a hug. And you say this one phrase, which is an old and silly joke between you and that customer...

"C`mon, lets get you marked." You say and take the customer to your room.

At this moment, something clicks in Koenig's head.

He tries not to think about it for the next few weeks, but fails. Because when you put it that way... To be marked as yours by your divine art, to wear that traces of your touch for eternity... His heart flips every time this idea reappears in his head.

You notice that lately he is often lost in his thoughts, and a light blush touches his cheeks.

So one of these times, you're having breakfast and can't help but notice that look on his face. "Koenig, are you alright? You look... lost."

"Oh?", he shudders. "No-no, I'm fine, just thinking..."

After some persuasion, you manage to draw out an indistinct "How much do you think it will cost ... to get a tattoo at your place?" out of him.

"It depends on which artist you have in mind... but you know, there are some perks in dating one." And before he is able to process that, you add, "I'm not taking your money, love. Tell me, what was on your mind, what you wanted to see on you?"

His answer was ready long ago. "Anything! As long as it's yours. Anything you could leave on me."

You try to get anything more specific, but he is really happy for any piece, that will remind him constantly, that you are not a figment of his imagination, that you exist, and you want him by your side.

You decide to start with something small, so that he can always cover that, if he feels like it.

Later that week you flip the pages of your album, that you are using just for ideas for his body (as the professional you would never try to convince him to get inked, the decision must be fully his, but nobody can stop you from fantasizing, how could you decorate that gorgeous body of his) in your studio, as he comes.

"Hi there, love. Haven't changed your mind?" you greet and embrace him. He is so excited, he almost shakes. "Nein, Schatz! I would never." he answers, pulling you in a tighter embrace.

So far he is your most trusting and content client. You barely make him look at the sketch after you made its copy on his arm. He wanted the reveal to be a surprise for him after you finish the whole tattoo, but you refused to proceed with the main process without obtaining his consent to this particular idea.

But when he sees the sketch on his skin, the man is speechless. Yes, you were always so very gifted in his eyes, but this... So simple, yet this idea is exactly, what he's been dreaming of. Two words superimposed on each other. Curves of letters, merging into the most intimate sounds that have ever flown from your lips ...

Good thing, he isn't afraid of blood, and has a pretty high pain threshold. So he sits there absolutely still, admiring every second of you working on him.

He is almost afraid to move, he desperately tries to calm his rushing heart down. What you do to him right now is sacred and divine to König. You are leaving your mark and you are not to be interrupted in any way.

So even when a little sweat drop slides down his temple, he doesn't flinch.

You notice it and decide to give the man a break. You give him a towel, pour a glass of water and ask him if it hurts. He tries to answer, but his voice is raspy because of dry throat.

"I-I... khhhmm, I'm fine. Go on, please!"

It's when your gaze slips down his body and you notice it. He enjoys it, he painfully enjoys it.

That's when you put your machine away and lean closer to him.

"I see, someone is having a good time...", you whisper, putting your hand oh sooo close to his hardness. "Looks like a pet just wants to be branded so badly."

Königs face grows bright red. He tries to mask the fever burning under his skin, to not disturb your work, but it is impossible, when you are so close, and you have him completely at your mercy. Your hand is almost touching him. Almost, but not yet. He looks away, embarrassed, aroused, panting. Silently praying for your mercy.

You grin. Poor thing is desperate for your touch in any way. "Now you be good and let me finish this work, ok?"

König nods quickly and covers his erection with the free arm.

"Did I let you hide yourself, pet?" you seem to look in the other direction, but notice his notion and correct him in a flash.

"You will sit here still as I work, you will look at me, and you won't cover yourself unless you're said so", you purr as you continue working.

When you are done, the man is a mess. He is breathless, he can only mumble and curse under his breath. You wipe off blood trails from a fresh tattoo on his arm and lean away to appreciate the result.

It's nothing really fancy, but it is a good start, if he ever decides, he wants more ink (he already has, believe me).

"You like it, love?"

Königs eyes are completely transfixed on your work. He slowly looks up at you. "Schatz... am I dreaming? This is ideal. H-how can I?"

You cut him off: "You'll thank me by caring right for it. No rubbing, no swimming, no touching the bandage till I let you... and no extensive physical activity for you for today. I'll bring you the lotion this evening, so be good and wait for me at home."

He looks at you with the most obedient eyes and just silently nods.

"One last thing." You go behind him, he is still sitting in the chair. You lean towards his ear and whisper, "Don't you dare touch yourself without me. Furthermore, you sit and wait for me." Your hand slides down his torso and his breath hitches. "This is all mine, pet. And now you have a constant reminder of that."

*Schatz - treasure

400 notes · View notes

netherworldpost · 10 months

Text

Welcome to my art studio

Do you need a ruler? We have two lengths: impractically long, impractically short. The rulers that are of useful length are explicitly crooked.

Looking for a pencil? This one is writes so pale you won't be sure if it has made any mark. It is completely illegible. This one is so soft that it will immediately melt, ruining the paper.

Prefer a pen? Here is a box. It leaks. The box leaks, the pens leak, but each leaks differently, depending on how you hold it. The color of inks shift. Oh, you should be wearing gloves, some of that ink is toxic.

As a matter of fact, a significant amount of the material in here is toxic and should not be touched without gloves. Are the gloves themselves toxic? No, they are just kept in a 1940s box marked "Beware Toxic Chemicals" box for aesthetic purposes. The box is probably not toxic.

Here is a chair built out of a pile of trash. It is art. Please do not sit on it. Here is a pile of trash you can use for a chair. It is sometimes taken apart to be made into art.

Here is a bewildering pile of unrelated items. It is a still life.

Here is another bewildering pile of unrelated items. It is lunch.

Here is an assortment of wood for impractical reasons.

Please do not sit on lunch or eat the wood or look at the still life (it gets nervous).

Here is a pile of very expensive sketchbooks made from paper imported from countries that no longer exist.

These notebooks are 100 years old and are completely blank.

The sketchbook paper is of such high quality that it will accept any media applied to it, providing a key strategic advantage in the quality and efficiency of making art.

It will last forever, unchanged, displaying any piece of art created on it or with it, as intended, until physically destroyed.

These sketchbooks were gifted to me by a dying artist. I will gift them, unused, to another artist when I am dying.

Here is a pile of printer paper stolen from a corporate office I broke into with the express purpose of stealing paper and paper clips.

These crumpled, stained, torn, unsorted, half-burned papers contain my innermost thoughts, hopes, fears, they are keys to unlocking my inspiration, they are working and near final drafts of my greatest works, without them I would be lost as a human being and completely destroyed, professionally, for life.

The papers are continuously kept near permanently burning candles, various rags saturated with paint thinner, and a decades-old fan that sparks when you turn it on, turn it off, when it rains, when a loud noise is made outside, and/or every 95.12 hours.

Here is a skeleton. I will not answer questions to its authenticity. Here is a large photo album full of naked people in contorted positions.

Over there is an amour full of photographs, internet clip outs, polaroids, newspapers, books on increasingly esoteric subjects from "court room stenography" to "Rhode Island chicken culture, an eggcellent overview."

If you open the amour everything will fall out and make a loud noise (please see above fan).

If you are feeling woozy from the various paint fumes we can try to open a window. It was painted shut in 1902 but we can try to crack it with one of my twelve hammers.

300 notes · View notes

utahimeow · 2 years

Text

oikawa’s kids find a photo album

the kids and their curious hands never fail to amaze you. this time, they managed to uncover a photo album from a box somewhere in the depths of your home. you stumble across them sat in a circle around it in the middle of the sitting room and cross your arms over your chest.

“where’d you go and get your noses stuck this time?”

“mama, is this you and daddy?” your seven year old asks. he’s the middle child—also the loudest, a stark contrast to your first son who’s two years older and hardly made a peep when he was a newborn. your youngest, your four-year-old darling girl, is somewhere in between the two.

as you approach your little clan, you find that he’s right. the photo he points at is one of you and oikawa on a high school trip in your third year, back when you two were still hiding feelings from one another. back when you were still fawning over the volleyball team’s captain and setter, one of the top players in your prefecture. a smile overtakes your face then, a nostalgic warmth setting into your bones.

“come on,” you say, picking up the album so you can take a seat on the couch. the boys earnestly take their spots on either side of you, and your little girl scrambles into your lap.

even you’d forgotten the contents of the album, having left it untouched for so many years. but as you sit there, sifting through the pages that held memories from fifteen years ago, you have to bite back tears in front of your children.

“there’s daddy with your uncle iwa,” you say, pointing to a picture where the two boys strike some dumb poses. it was the summer after you all graduated, and you had gone to the beach with a bunch of classmates to celebrate. next to that photo is one of you and oikawa, his jacket around your shoulders, his arm pulling you close.

“there’s me with daddy,” you say, voice oozing with fondness. “that was when we fell in love.”

it was the night he kissed you for the first time. it took him three years to do it—to this day you haven’t let him live it down. it was also the night he told you he was moving to south america to play volleyball for a living, and the night you cried until you couldn’t breathe.

he had made a promise to you that night— “this is just the start of everything, my love. not the end. i promise.”

…and here you are sitting with three of his kids. well, he certainly didn’t break his promise.

as you flip through the pages, you find photos of you in college, and oikawa with his teammates. photos from when you graduated and moved to argentina. photos of your parents as well as oikawa’s. photos of when oikawa proposed. photos from when you became pregnant.

“you know who’s in there?” you ask, tapping at your bump in the picture. taken in mexico, when you and oikawa decided to head there for a vacation. three heads shake, and your fingers tickle at your oldest’s side. “it’s you.”

“but how did he get out?!” your younger son screeches, and your eyes turn dramatically wide, your shoulders shrugging as you stare at him with an expression that mirrors his one of perplexity.

one of your favourite photos is of your husband after winning a match, holding his very first son who was just one, who’s wearing a tiny version of his jersey that you’d gotten custom made to surprise him. there’s a second photo of the three of you at the same match. at the time oikawa had no idea you were three months pregnant with his second child.

“you guys wanna see photos of younger daddy playing volleyball?” you gasp. your kids give a chorus of excited yeah!s in response, so you rise to your feet after plucking your daughter off your lap. “okay, be right back.”

what you thought would be a treasure hunt doesn’t last long enough to be called that. because sure enough, you find the album you’re after underneath you and your husband’s shared bed—a scrapbook filled solely with professionally developed photographs of oikawa throughout his career.

you’re not sure how you didn’t hear the front door, but when you return to the sitting room, your husband is home, getting climbed on and attacked with affection from his children.

“oh, hello,” you chime. dark brown eyes find you and in an instant they light up.

“hi, gorgeous,” he grins. when he stands, his daughter remains clinging to him, arms wrapped firmly around his neck. she doesn’t budge even as he plants a kiss to your lips in greeting.

“we were in the middle of looking at some old photo albums. care to join us? oh, wait, you’re probably hungry, aren’t you though? let me heat up—”

“baby,” oikawa chuckles, ever so charming when his arm snakes around your waist and he pulls you towards the couch with him. “dinner can wait. i can’t miss the chance to tell the kids what an annoying brat you used to be when we were young.”

your mouth falls open as you scoff in disbelief. “wait till they hear what a cocky son of a-”

“oi,” he cuts you off, but not without a cheeky grin.

you stick your tongue out at him, eventually taking your spot in the middle of the other oikawas.

your husband gives some kind of story for each photo in the album, one of the plays he recalls making, how close the match had been, how he had made the last point by pure luck.

“daddy, you’re like flying!” your daughter squeals, pointing at one of the pictures where oikawa was spiking—a rare occasion for a setter, and extremely impressive for that reason.

“i felt like i was,” oikawa says.

“i wanna be like you, daddy,” she declares.

oikawa had never pushed volleyball onto his kids, no matter how much he wanted to pass on his legacy. if they wanted to play volleyball, he wanted them to play it out of passion, not some random obligation, not out of pressure. and your daughter had always been the biggest daddy’s girl—she adored him, as much as he adored her. it’s why his chest swells at her words and the both of you know: a volleyball player had just been born.

#oikawa x reader #oikawa tooru x reader #oikawa imagine #oikawa fanfic #oikawa x you #oikawa tooru imagine #oikawa tooru fanfic #oikawa tooru x you #haikyuu x reader #hq x reader #haikyuu imagine #haikyuu fanfic #haikyuu x you #꒰ lovers. ꒱ — oikawa

2K notes · View notes

haee-elia · 7 months

Text

spence-tober: day 10 - drummer

pairing: drummer!spencer reid x fem!reader

summary: in which you are tasked with the impossible: getting through a photoshoot without combusting at the sight of the very hot drummer, spencer reid

word count: 1467

warnings: reader is down bad for spencer and a little bit horn-knee

spence-tober masterlist

Sometimes your job was hard, really hard. Working as a freelance photographer you took whatever job you were offered, starting fresh out of college with an expensive degree.

Working at weddings and dealing with bride-zillas and the occasional groom-zilla often exasperated you.

Working at children’s birthday parties with parents who wanted to capture every single moment of their kid’s lives, happy or unhappy, often had you dealing with bratty kids or equally as bratty parents.

But you’ve never had this much difficulty staying professional during a shoot you were hired to do. You had gotten the call about this gig just last week and had to work around their availability, not yours.

It was a small but rather popular band that was about to release their newest album and go on their own self imposed road tour which meant they had a lot of promotional shoots and other to do before they hit the road.

And it wasn’t that they were bratty or egotistical or wouldn’t cooperate with your artistic vision and directions for the pictures. No, that would be, in fact, easier than the dilemma you are faced with now.

You could not take your eyes off the very handsome drummer of the band, Spencer Reid.

From the moment you walked into their studio where they had set up a space for the photoshoot, you found your eyes kept wandering over to the drummer who sat in the back, at his drumset. Even with him sitting down, he still sat tall and to you, he was like a beacon calling you from every area of the room.

You had tried to focus and take pictures of the keyboard player, Penelope. You had even turned your back to Spencer while directing a few photos for Jennifer, the bassist.

But nothing. Nothing. Could get you to forget his lingering presence and you were dreading this very moment.

After finishing with the solo shots of the rest of the band, Penelope, Jennifer, Emily, and Derek, you were only left with getting individual pictures of Spencer before moving onto the group shots.

You thought you could harness all the strength you had and simply focus on getting this gig done and move on, but of course, it couldn’t be that simple.

Your brain simply combusted when Spencer twirled his drumsticks between those long fingers of his.

With the band’s busy schedule, the only time you could come and take photos was right after one of their practices, so his brown mop of hair was slick to his head with sweat and as he banged on the drum set, his pink tongue would peek out from his mouth and dart around his lips to keep them wet.

It was infuriating.

Suddenly, you were incredibly glad you had already shirked off the white button up that was sitting on your shoulders prior. It only left you in a simple black halter top, but it kept you from visibly getting hot.

“What’s next?” Spencer asked, knocking you out of your fantasy world and back into reality.

You put your camera down from your face and looked him in the eyes. Big mistake.

With all the lights in the studio, his eyes gleamed with excitement and happiness. His face is filled with smile lines and creases and sometimes you can even make out a dimple here and there.

You cleared your throat, “What?” You question, confused. God, you hoped you didn’t just completely daydream and make it entirely obvious you had the hots for the lanky drummer.

“What do you want me to do next?” He elaborated.

“Oh,” You said, your cheeks reddening a tiny bit, “Um,” You think on it, “What about a drum solo?” You ask.

He seems surprised. “A drum solo.” Spencer repeats, nodding his head before looking down at the drum set and hesitating. His hands stutter and fiddle with the drumsticks, unsure of his next move.

“Don’t you do drum solos at your shows?” You ask, seeing how uncertain he is. You hadn’t ever been to one of the band’s local gigs before and now you’re not sure how you could take watching Spencer in action. You might actually implode if you do.

Spencer shakes his head and chuckles, scratching the back of his head with his hand, “I actually tend to leave the solos to everyone else.”

You bite your lip and think, after all, you should still try to get the best photos and be professional.

“Well,” You think, “What if you just play me a song?” You offer.

“Just drums?” He asks, intrigued by your request.

You nod, positioning the camera back up to your face, “Just drums.”

Spencer visibly takes a deep breath and readies himself before gently starting out slow on the drums. Like the other photos, you don’t have time to listen to the music being played all that much. You mostly focus on the look, the lighting, and the quality of the photos you are getting.

Through your camera lens, zoomed up to Spencer’s playing you watch and make careful note of how carefree and gentle he is. You can tell how his brain is churning out the next move and the next and next, perfecting orchestrating a beautiful melody.

He continues on for the next few minutes and you change your position around the room a few times. When you do so, you can see his eyes tracking you around the room and he subtly shifts his body to give you a better angle. You don’t get too close to him, letting the zoom lens do its job and just simply focus the camera better onto the face and hands of Spencer.

The drumset is blocking the rest of his body, but you get some really good photos of his expressions and how his eyes sparkle in the studio light with satisfied with the sounds of the beats coming off the drums.

As the song comes to a close, you pull the camera away from your face and simply just listen to the waves of the end of the music. Now looking back at it, the whole song seemed strangely familiar.

“Was that Vivaldi’s Winter?” You question, a curious gleam in your eye.

Spencer tucks his drum sticks away in his back pocket and stands up from the seat, facing you, “Yeah,” He replies with an animated smile, “It is. You recognized it?”

You nod and chuckle a bit, “I play classical music on my record player when I edit photos.” You inform him, “The Four Seasons is a favorite of mine.”

“Mine too!” Spencer tells you in a happy tone, “My mom used to play classical music all the time. I’ve never been able to play any string instruments, but I’ve found that most music can translate very well with only one instrument.”

“It sounded great,” You compliment him, “You kept the main body of the piece, but with the snare and cymbals, it became a bit more modern.”

Spencer looks at you, excited in the prospect of conversing more, but before he can say anything, a cough comes from behind the two of you.

“Ahem!” A not so subtle cough rang throughout the studio. It’s Derek, one of the other members of the band.

Jennifer, the bassist, has a knowing smile on her face and looks at Spencer curiously, “How about group photos now?”

You both blush, having been caught up in the moment and now you realize that your little crush on Spencer hasn’t exactly flown under the radar. You nod and instruct everyone towards their instruments.

Continuing to take more photos, you try to let your eyes stray away from Spencer and be professional. Two songs later, you’ve gotten all the shots you’ve needed and you tell them so. They invite you to their final gig before they leave town for their road tour and you accept, grateful.

Before leaving, you shake everyone’s hands and when it comes to Spencer, you try not to freak out. Your hand, thankfully, isn’t clammy or slick with sweat, but your heart is pounding in your chest and you gently take his hand in yours, giving a nice shake before regretfully retracting from your hand’s embrace.

With a red face, you leave the studio with a promise of seeing them perform live soon and return to your apartment where you already get started on editing the photos for them.

You’re on one of Spencer’s when you get an email. It’s a great picture, one from his solo session on the drums. You actually don’t have to fix much, just tone down the lights and fix the hues.

When you look down on your phone, you get a cat-like smile on your lips.

It’s an invitation to travel as the band’s photographer.

#criminal minds #criminalminds #spencer reid #spencer reid x fem!reader #spencer reid x reader #spencer reid au #spencer reid fanfic #dr. spencer reid #criminal minds fluff #criminal minds fic #dr. spencer reid x fem!reader #dr. spencer reid x you #dr. spencer reid

99 notes · View notes

periwinkle-musings · 8 months

Text

Did Taylor Swift write "Sweet Nothing" about Paul McCartney and his wife's summer in Wicklow in 1971?

The song "Sweet Nothing" on Taylor Swift's Midnights has always stood out to me as a bit of an anomaly. Until this intriguing quote by Paul McCartney caught my eye:

In a 2001 ABC interview about his wife Linda, who passed away in 1998, Paul McCartney said:

"I would go out for a run, think of some words, get home from the run, write them down, and make a cup a tea for Linda," said McCartney, who would bring it to her for breakfast. "I'd make a little tray, and go up, and then I'd say, 'Hey, by the way, do you want to hear some poetry?' She'd always … she'd say, 'Yeah.' And so I wrote that poem." 'Blessed.' I would come back from a run. With lines of poetry to tell. And having listened, she would say "What a mind."

This is a direct quote and exact same storyline as in "Sweet Nothing." There is NO WAY that is a coincidence. So I wanted to see if Paul and Linda had any connection to Wicklow - the place mentioned in the song.

I think the McCartney family vacationed at the Luggala Estate in Co. Wicklow, Ireland in the summer of 1971 as an escape from the aftermath of the Beatles breakup.

A sweet Wicklow love story:

Paul McCartney has connections to Luggala going back to 1965-1966 when he partied at the estate with Guinness Brewing heir Tara Browne who was killed in a car accident a few months after his raucous 21st birthday, and inspired the Beatles song "A Day in the Life." Paul was close to Tara and his death deeply impacted him. This Rolling Stone article details their relationship and mentions that Paul has visited Luggala to visit Tara's gravesite since then on "numerous occasions." Paul had not met his wife Linda yet while Tara was alive, but this proves Paul's deep and personal ties to the family and their 5,000 acre private estate in the Wicklow Mountains, which continued to be a private retreat for celebrity guests until it was sold in 2019.

Paul McCartney has posted multiple family photos taken by his wife in the summer of 1971 that appear to be taken near the Luggala Estate in Co. Wicklow. He tweeted this photo on St. Patricks day in 2017 which a previous Reddit thread links to Wicklow in 1971. And recently on March 2022 he tweeted this photo which appears to be taken the same day judging by his shirt and his dog, and credits the photo as being taken by his wife (she was a professional photographer) in Ireland in 1971. Here you have a better view of the surrounding mountains and rocky streams (full of pebbles I'd imagine...) It's notable that the second photo was posted March 2022 around the time when Taylor would be writing and recording the Midnights album.

If you look at the aerial view of Luggala Estate (Now showing on Google Maps as Luggala Lodge), I believe that these photos were taken in one of the rocky streams that feed into the private lake...which is named Lough Tay. (I like to think it's an extra little wink from Taylor that this investigation literally led me to a lake named Lough Tay.)

This area is completely private and the closest public access is from a hiking overlook. This seems like a great place for one of the most famous musicians in the world to hide out with his two young children, 2 dogs, and Linda, who would have been pregnant with Stella McCartney (born Sept 13, 1971).

We know that the family and their dogs were in Ireland in the summer of 1971 from this newspaper article where they were photographed at an airport in August leaving Ireland, which means it's possible that they were in Wicklow a few weeks earlier in July.

Even though The Beatles broke up in 1969, it continued to be messy between members of the band and the financials involved for the next few years. During the summer of 1971 Paul McCartney and John Lennon were embroiled in a very public fight. There were lawsuits and scathing letters (dated 1971) and it's all very complicated so I won't go into it here, but this article has a good overview.

The lyric, "Industry disruptors and soul deconstructors and smooth-talking hucksters out glad-handing each other" could reference these incidents. I could see Taylor relating to Paul going through this public turmoil surrounding business with former friends, because it is similar to what she's going through with her masters.

The lyric "You're in the kitchen humming" could reference Linda's passion for cooking and vegetarian activism. She literally founded a food company and wrote a cookbook. This darling photo on her website shows her cooking at the family home in Scotland in the 1970s. Linda was also a singer and recorded many songs with Paul, so the idea that she could be "humming" makes sense.

Taylor Swift has been friends with the McCartney family for a while. She first met Paul in 2010. She collaborated with Stella McCartney in 2019 for a clothing line as part of the Lover era, and Stella also dressed her for the Evermore album cover in 2020.

Taylor and Paul McCartney famously interviewed each other for Rolling Stone's "Musicians on Musicians" in 2020. In this article they mention how they both like writing under pseudonyms.

But the most surprising thing I learned is that Paul actually wrote a song dedicated to Taylor and her relationship with her fans called "Who Cares."

youtube

Notably, the music video also features Taylor's longtime friend Emma Stone wearing rainbow makeup in an otherwise black-and-white world full of cartoonish bullies. It's notable that the music video was released Dec 2018, right before the Lover era would kick off a few months later. Perhaps Paul was showing a bit of preemptive support for Taylor as she embarked on what many of us believe was intended to be her coming out era?

Now to the William Bowery of it all:

Taylor clearly wants us to think Sweet Nothing is about Joe because of the Wicklow name drop, where Joe was papped in July 2021, which looks staged to me.

Interestingly, I can't find any photos of Taylor being seen anywhere near Wicklow, but for some reason she staged a whole photoshoot in Northern Ireland in July, where locals said she "arrived and left by helicopter in a fleeting visit."

She was also seen in several different locations in Belfast in fan photos. This article also says part of Red TV was recorded in Belfast.

Clearly she wanted to be seen and linked to Northern Ireland, and the lyric easily could have been "Does it ever miss Belfast sometimes?" (same number of syllables) but it's not.

"Sweet Nothing" does have a William Bowery co-writing credit. Would Sir Paul McCartney agree to a secret writing credit? Maybe.

I read an interesting twitter thread from a lawyer (who is a Gaylor) that discusses how William Bowery could be a name under which Taylor commissions writing "for hire." Meaning it could be Joe or multiple other people writing under that pseudonym, as opposed to the "Willam Bowery" (spelled different) which is listed as a U.S. Citizen.

Even if Paul wasn't involved in writing the song, I believe he inspired "Sweet Nothing."

---

Note: This theory was originally posted on the R/GaylorSwift subreddit Dec 22, 2022 which is currently set to private. I am the original author of the Reddit post (u/-periwinkle), and am reblogging it on my Tumblr because this theory has been gaining traction and I wanted to create a public version. This version has been slightly expanded and updated with better images. Also, I was not the first person to uncover the "what a mind" quote, and the original person who found it is tagged on Reddit.

#taylor swift #gaylor theory #gaylor #sweet nothing #paul mccartney #the beatles #william bowery

109 notes · View notes