Words from the mouths of babes, promises, oceans deep, but never to keep...
✎ PETER | TTPD: The Anthology edit: ©chloe-or-sam-or-sophia-or-marcus
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Words from the mouths of babes, promises, oceans deep, but never to keep...
✎ PETER | TTPD: The Anthology edit: ©chloe-or-sam-or-sophia-or-marcus

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365 days of paceyjoey → day nine
I see the neurodivergent girlies are enjoying this
Speak Now, 1989, Red and folklore all landed on Rolling Stone’s list of 250 Greatest Albums of the Century So Far.
Rolling Stone has named 'folklore' as the 5th greatest album of the 21st century so far!
(January 10, 2025)

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“i heard so many people say that the eras tour felt like a safe space. a place for radical girlhood, boyhood or personhood and unapologetic joy. […] my hope is that you won’t let that behavior end with the end of the eras tour. it doesn’t have to be the end of an era of joy and acceptance. my hope is that you find ways to create these spaces around you in your daily life, your school, your job. that would be a real legacy to leave.” oh i’m a puddle of tears 😭
♡ DYLAN O'BRIEN variety studio
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@taylorswift: A fortnight til Paris 🤍
taylor swift albums + text posts

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Dylan O'Brien distributing the goods on an escalator
‘Cause there we are again in the middle of the night We’re dancing ‘round the kitchen in the refrigerator light ALL TOO WELL: THE SHORT FILM (2021) dir. Taylor Swift

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“love is so short, forgetting is so long.” —pablo neruda
the key difference between Fearless TV and RED TV is that while the Fearless vault tracks were beautiful and creatively insightful, they didn’t recontextualise the narrative of that album at all. Fearless has a less definitive mythology than RED - new additions have a weaker effect altering the overall album - whereas RED, whose settings and characters and storyline have always been crystal clear, is pretty fundamentally changed by the vault tracks.
RED is a beloved oddity - it’s her most concrete imagery, paired with a near-incoherent emotional and sonic fluctuation. it’s campy singles and country ballads and EDM-esque pop back-to-back. and we’ve known for a long time that the instabilities - the wild genre choices and the lyrics reframing the same moments totally differently - are an intentional device reflecting the volatile relationship the album is centred around.
but if RED was an album of contradictions, it was better for it - it captured perfectly the hysterical rambling of a 22 year old recounting a bitter break up. the missing pieces in the half-stuttered story simply showed the true grief in it. the vault tracks fill in the some of the emotional gaps (between Stay Stay Stay and WANEGBT), the sonic gaps (between IKYWT and I Almost Do), the chronological gaps (between All Too Well and 22), but more than that, they confirm what her audience often wondered as we rode RED’s roller coaster - was the hurt at the core of the album actually more crushing than RED’s most dramatic lyrics? was the noxious heartbreak too raw and left on the cutting room floor? this is the question the vault tracks answer. reopening a wound. in 2012 this generation’s heartbreak songwriter wrote her definitive heartbreak album and told us the where, when, who and how. in 2021, RED finally has its why. the other core difference between the Fearless and RED vaults is that any of the Fearless tracks probably could have gone on the original 2008 release. RED’s, for various reasons (too mature, too unfiltered, too drunk, too humiliated, too painful, too incompatible with Taylor Swift’s 2012 brand image), could never have gone on the original album. the bodies can only be exhumed now because the general public’s perception of both Taylor Swift’s songwriting process and her dating life has changed significantly in the last 10 years. it seems strange from the outside, this retroactive vulnerability, but it also retrofits the album with a closure it maybe never had. the vault tracks put a lid on the narrative; reflective, older and wiser, it’s Taylor Swift’s last confession of damage - just how bad that age (and the power-imbalance in that relationship) was for her. to many, the new context the vault tracks provide is going to feel like petty revisionism. her fans though, who remember Taylor Swift at 22, who have now been 22 themselves, well, you were there, you remember it all.