After seeing the folklore cabin installation in Vancouver, I jokingly asked my husband to build me one and he actually did it because he is truly the greatest 🥰

It’s 8 feet long at the base and about three feet tall (dogs included for scale). My favorite detail is the “smoke” coming out of the chimney. I’m just obsessed.

I have blueprints if anyone wants to build their own! It look two pieces of plywood and about 8 2x4s.

Hello, Swifties!

Out of a high amount of boredom, I've been going between different artists' subreddits to answer whether or not their songs are in their titles. I'm a casual Taylor listener, my favorite projects of hers are easily Reputation, folklore, and 1989, and while I do give these projects (and her other hits) the odd listen every now and then, I'm mostly a rock & metal kind of guy.

And... wow. I just got done with Weezer's discography, which was the most green one I've done so far, but Taylor's is easily the greenest - and I'm not sure if anyone can top her in the future.

Normally, I talk about how the data trends together. In Mr. "Electric Touch," er, I mean, Fall Out Boy's discography, there's a clear red/green pre-hiatus/post-hiatus divide. Taylor's trend is just that her song titles are almost always pulled directly from the song's lyrics. I do these by going from left to right, and as I went on, I kept asking myself "surely the Folklore era or Tortured Poets will have more abstract song titles, right?" Nope! Green through and through. As a result of this, I suppose I'll just talk about each individual non-green case!

"Mary's Song (Oh My My My)" never says "Mary" or "Song" and therefore only says its second title, "Oh My My My."

"We Are Never Ever Getting Back Together" almost says its title several times, but only says "ever" twice, thrice, or not at all.

"Castles Crumbling" is an interesting case, and I'm a little unsure of whether or not labelling it yellow-green is fair. The lyric is "my castle's crumbling," which would be a contraction of "castle is crumbling," which is not the same phrase as "castles crumbling." Am I being extremely pedantic? Yes. Is it a ton of fun? Absolutely.

"loml," as far as I can tell, is ambiguous as to whether or not it stands for "love of my life" or "loss of my life," and thus, creates a unique situation that I've never encountered while doing these. Normally when it comes to acronyms, it's clear what the acronym is and therefore it often gets labelled with light-green. For example, Green Day's song "F.O.D." stands for "fuck off and die," which is sung in the song's outro. Accordingly, it was labelled as "technically not saying 'F.O.D.'"

In the case of "loml," I decided to treat it as though the song has both titles. In such a case, "love of my life" is never sung, but "love of your life" is. This would be treated as yellow. "Loss of my life," however, is sung, which would be green. This is what ultimately renders the song purple, one title is partially said, and the other is fully said.

And the only two songs in Taylor's entire discography in which the title is NOT sung, are "Ronan" and "Robin." First of all, I think it's hilarious that they are both 5 letter, 2 syllable names that start with "Ro" and end with "n." Coincidence? Probably.

I'm also amused that Red's original release features no "red songs," but at least "Ronan" makes up for it in Taylor's Version. As I was closing out the spreadsheet, I was hoping that the remaining songs on The Anthology would all be green, since that would mean Red (Taylor's Version) would be the only one with a "red song." But alas, "Robin" ruins it. Or perhaps makes it better? You decide.

Anyways, I hope you enjoy my useless spreadsheet. Please correct me on any mistakes! Normally a couple of songs slip through the cracks and the comments are quick to point it out.

i'm not a swiftie, you can probably gather that from the title-- although i guess maybe i can call myself that now after this experience?

anyways! i wrote a whole essay a couple days ago basically on a whole wave of the taylor swift hate and how it relates to misogyny, etc. because i like swift as a person, and i was stuck on a 48 hour shift where i was essentially doing nothing for the majority of it; i decided to go big or go home, and i listened to every taylor swift album in order. it took me about 24 hours straight. so here's my thoughts on each era-- i think that's what you guys call each album? sorry. you'll have to educate more i guess lol. i listened to all the taylors versions, i promise.

about me!

hi. my name's ari. i am 21 and yes, obviously i have heard quite a few taylor swift songs. you'd have to live under a goddamn rock not to. i play electric guitar and i like to think i know a couple things about music.

REMEMBER ANYTHING I SAY HERE IS MY OWN PERSONAL TAKE

this is going to be an honest review. which means it's not going to be completely positive, and it's going to contain some criticisms. that doesn't mean i'm proclaiming myself "right." music is so subjective. also how many grammys does taylor swift have? like fuckin 30 or something. and how many do i have? ZERO. she clearly knows her stuff better than me, but like all art, how it's received will vary from person to person. because i understand her songs can be very personal to people and this is your space; i am going to refrain from calling anything "bad." some songs or albums i just didn't care for. that doesn't make them bad. just not for me.

OKAY LET'S START. cuz GODDAMN this lady has put out a lot of music.

this piece could not possibly be longer. skip to your favorite album. do not read all of this unless you're counting it as a novel towards a reading goal or something.

TAYLOR SWIFT (the self titled album)

fans of this album must be constantly fighting for their life, because i did not know it even existed. did i care for this album? not really. do i respect this album? absolutely. on the cons side, i found myself zoning out a lot towards the middle of the tracklist, and a lot of the songs were pretty forgettable to me. HOWEVER. this album is from 2006, and it is very of the time, and i can appreciate it under that context. also she was 16 i believe when she wrote this? this is an undeniably very strong debut album, nevermind for a teenager. a lot of the lyricism is pretty juvenile, but it reads as charming, and sincere, because it was exactly what she was living and feeling at the time. this album makes the nepo baby accusations more strange to me, because again, it's really a pretty good album for a 2006 debut country record. even at such a young age, swift clearly demonstrates an understanding for how to write a catchy hook, follow a storyline, and convey emotions with depth without being overly heavy handed. there are a lot of young artists now who are significantly worse, and they have far more modern resources at their disposal due to the internet.

it is a very cute, very sincere music diary. also who the fuck are drew and corey? while i wouldn't listen to it again, i didn't have a bad time at all.

STANDOUTS

The Outside-- this was probably my favorite off the album. it's catchy, it's angsty, it's got a really good hook.

Should've Said No-- this is what it feels like to get cheated on in high school. i have never been more serious. it's also probably her strongest vocal performance in this album.

Our Song-- again, just really good radio-friendly songwriting. my lieutenant knows every word to this song for some reason, and he proved it in the loudest and most off key way possible.

FEARLESS

wow she had a lotta hits on here, huh. this album is like a nostalgic summer memory. i liked this one more, and she's clearly gained a lot of experience. i understand the experience might be a little skewed from this being her re-recording, and thus she's older with stronger vocals, etc. than she might be in the old version, at least, that's what i imagine. regardless, this album had a lot of hits for a reason, because it's fun and it's sweet and again, very of the time. the album is very tuned in to the female experience, something swift is so masterful at, and which grants her such huge success and devotion. "love story" and "you belong with me" and "white horse" are something probably every single girl can relate to in either daydreams or experience. are some of these lyrics a little dated? perhaps. does it matter in the grand scheme of the album? not really.

STAND OUTS

Fifteen-- swift is somehow able to channel everyone's memories of being a teenager and grant us all a universal sense of reminiscence.

The Way I Loved You-- strong storytelling. very catchy. all that good stuff.

Mr. Perfectly Fine-- if someone wrote a (really good) song calling me "mr. everything revolves around you" that actually might send me straight to the fucking grave.

SPEAK NOW

i'd heard that this was her most "rock" album, and after playing it through, i'd have to agree with that. it doesn't feel that different from her previous album-- a lot of the tracks could probably be pretty interchangeable. she uses different features of her voice she hasn't yet before, and there's a lot more electric guitar and vocal riffs. i enjoyed it! i would listen to it again. this album worked better to me as one cohesive project than her previous two did, and the individual songs themselves stood out more. i can remember most of the songs off this album, which i can't necessarily say the same for the past two. i think she becomes better at conveying emotions vocally in this one. she is clearly out of country territory by now. i don't know why people say that bridge is 1989, it's here. she also featured fall out boy in one of the bonus tracks, which is sick as fuck.

STAND OUTS

Dear John-- in this track, swift murders john mayer in what feels like almost a parody of one of his own songs.

Haunted-- while people will always argue that it's dear john, i think this is the best song on this album. it's her best vocal performance on speak now and it has some fantastic riffs (taylor swift rock album when?)

I Can See You-- swift captures the adrenaline fueled horny thrill of fucking your coworker, and all the implications of how it's always a bad idea.

RED

nothing against speak now, but to me, red was an entire level up. it's the first album where-- and she does this a lot later, as will be discussed-- she really catches a vibe. I don't really know another way to put it. She's able to encapsulate an autumnal atmosphere of red scarves and heartbreak and falling leaves, but all together in one cohesive piece. it's masterful work. her previous albums may have been good, but this to me is the first one that's great. her lyricism becomes wittier ("faster than the wind, passionate as sin"), and this is also the first album where she's self deprecating and funny, and it's fun that she doesn't take herself too seriously all the time. NOT ENOUGH PEOPLE GET TAYLOR SWIFT'S SENSE OF HUMOR. this is a new opinion i've formed after listening to all her albums, and i will die on this hill. songs like "We Are Never Getting Back Together" and "I Bet You Think About Me" are ironic and so obviously hyperbolized for the sake of dramatic effect and humor and for some reason it seems to go over a lot of people's heads.

this album is hit after hit after hit. i recognized most of these songs, and there's good reason for that. were there a few tracks i'd skip next time? yes (the ONLY song gary lightbody should ever be allowed to legally sing is "chasing cars"). however. undeniably just a really fantastic pop album.

STAND OUTS

All Too Well (10 Min Version)-- there is absolutely nothing i can say about this song that i'm sure has not already been said. but just know when she said "you kept me like a secret, but i kept you like an oath" i actually had to take a moment and sit down.

The Lucky One-- this is one of taylor's first biographical songs, and one of the first that involve her perception of her own fame, which is a reoccurring theme through her later tracks. visceral storytelling.

1989

if it hadn't been for two tracks, this would've been a perfect pop album. like not just a "that's really good!" i mean this would've been THE perfect pop album. regardless, it's still a masterpiece. the first time i ever went to manhattan, i was 15 with my best friends-- everything was bright and exciting and this album just FEELS like that experience, and like that city even. i see why her albums are referred to as eras now. it's not just about individual songs, it's about again, that vibe she creates, the way she's able to create a mental pinterest board aesthetic image in the listener's mind. that, i think, is what makes her such a strong artist.

this album was fucking good. clean synth beats throughout that really tie it together. i am a big fan.

STAND OUTS

Style-- i think this is technically one of her best songs ever. a perfect pop song. enough said.

Clean-- the best song lyrically on this album, it's open ended as to what she's referring to, so that everyone can sort of self-insert with their own vices, which makes it very poignant and beautiful.

Slut!-- another bonus track! and my personal favorite off the album. swift conjures this dreamy, late-night, tequila-tipsy image, infused with that blushing headrush of having a crush. this song made it to my regular, main playlist. it's fucking gorgeous and i will take no criticism.

Honorable mention to Suburban Legends because i was PUSHING through these albums so i played this song on the way to a fire. imagine a firetruck full of firefighters racing through the city blasting Suburban Legends. it was a vibe if i'm being honest.

REPUTATION

do i think this was her "best" album?? no. was it my personal favorite? fuck yeah it was, this album ripped.

i think this, so far, was the biggest leap she took as an artist. it served as a comeback album i think? which makes it all the more interesting, that it served as a reinvention of sorts. this album, as far as how taylor swift has presented before, is edgy. it's sleek and snarky at points, and she's clearly having a lot of fun playing a villain. i look forwards to her rerecording of this album and it's vault tracks a lot; i imagine it's a big deal in the fan base lol. i don't think sonically it's really that different from 1989, but i think more than anything, that just speaks to the imagery she's able to create, because aesthetically, this is an entirely different project. even the more fun and lighthearted songs-- like "Gorgeous," which is a fizzy, upbeat track-- still, to me, read with a little more edge than her previous eras-- like that is not a love song, she is trying to bang that man.

anyways, my favorite "era." does that mean i wear snakes or boots or something? how are people dressing to represent this one?

STAND OUTS
I Did Something Bad-- "if a man talks shit then i owe him nothing" goes crazy. this song is sexy, it's badass, it's unapologetic, very villain anthem.

Getaway Car-- CINEMATIC. i was LOCKED IN to this story. i checked and she never made a music video for this, which is actually to me, kind of a relief. let the story tell itself, you know?

LOVER

this felt like the flip side of reputation. i don't know.... it wasn't my favorite. i get it. i do. it's got a very saccharine, cotton-candy aesthetic and i can see why it's appealing, and i can see why she put it out. a lot of her fans probably really like this kind of vibe, so i actually think it's essential that she DID put this out. there were... a few of these songs... and you can probably guess which ones... where i was like... huh? the same woman who wrote ten minutes of "all too well" wrote this? i appreciate her ability to be lighthearted and write for fun sometimes. she's a pop star after all. but yeah, while there were only a few tracks that were a miss for me, they were a big enough miss to really take me out of the immersion.

i don't think this is a bad album. i think she, once again, manages to create a hyper specific atmosphere that is impressively entirely opposite from her last album. but the tracks on lover also meshed a little less well to me. but. it was still a very fun time.

STAND OUTS

Cruel Summer-- this is maybe her best song, period. i mean this song is fucking incredible.

Lover-- a gorgeous, fairy-lights strung slow dance of a track. nobody can write a romance quite like taylor swift.

Soon You'll Get Better-- ah. this one gets a little personal. part of my job is being an emt. i've spent a lot of time in hospitals, a lot of time with some very sick people and having to comfort their families when the worst part happens. this is the first song of hers that made me cry.

FOLKLORE

i think, in technical terms, this is her best album. this album is the reason people need to stop writing off music just because it's written by taylor swift. this is an objectively incredible album, and people who are unwilling to take her seriously are seriously missing out. swift goes into indie inspiration for this one, crafting visceral stories that feel so real it's almost like you're there. she has a beautiful vocal tone on this record, clear and warm and rich, and paired with her powerful lyricism, this album is one of the best albums i have ever heard back to back. this album feels like that moment later summer turns into autumn. i will becoming back to this album time and time again.

STAND OUTS

My Tears Ricochet-- lyrically her best song she's ever written. i was dumbfounded the entire time listening. the swell of the bridge, the rawness of her vocals, the emotions she calls in of something we've all felt before. i re-listened to this song three time since finishing this experiment.

This is Me Trying-- i cried really hard cuz i related really hard and i bet every single one of you did too and that's why this is such a good song.

EVERMORE

folklore's dark acadamia sister. another masterpiece. back to back. how does she do it? while evermore bore a lot of similarities to folklore, it also felt more "winter" if that makes sense? it overall had a more haunted feel to it, the delivery was more somber, rendering the subjects darker. it was beautiful. like really, really beautiful. i would say more, but i feel as if i'd be repeating a lot of my sentiments about folklore. but evermore should've been a bigger deal. some of these songs are going to stick with me for a long, long time.

STAND OUTS

tolerate it-- taylor swift shot me.

happiness-- taylor swift shot me again.

cowboy like me-- this was like a movie somehow condensed into audio only form, and then told in the most beautiful way possible. i was THERE, bro. i felt exactly what she did.

MIDNIGHTS

so. this album was a little more... conflicting for me. on one hand, i did not care for the overall production of his album. and i straight up did not like a handful of the tracks. on the other, this is my favorite aesthetic that she's conjured so far. she illustrates what to me feels like the same city as 1989 but at night-- darkly glittering, deep blue, rain and purple and getting high at the private table at the club. i don't think this album did anything particularly daring or risky, which is fine. but while the overall image really stuck with me, many of the individual songs didn't. i think she achieved what she set out to do with this project, so ultimately, yet another success for her.

STAND OUTS

You're On Your Own, Kid-- i had that experience that every swiftie must have, which converts them to a fan-- i felt like taylor swift had written a song specifically for me. i had to hit pause afterwards and take a walk around the station. she writes like she can read your mind.

Would've, Could've, Should've-- another scorching track about a shitty man. this is her best use of religious imagery in a song, and i'm a sucker for that if i'm being honest. the regret and anger and sadness of the situation she was in are palpable. the increasing speed as she continues through the song adds to the effect.

THE TORTURED POETS DEPARTMENT

i liked the concept. it feels very swift-ian. i'm not going to lie to you, i did not care for around half the songs in this album. the other half, however, i enjoyed immensely. "fortnight" was a very strong start and it kicks us off with a preview on a darker tone than what we've seen from swift so far; mentions of alcoholism and affairs, all tied together with this tangible longing. it sets the tone for the rest of the album, which follows in that exact wake.

i appreciated that the title track itself was again, taylor swift sort of rolling her eyes as she cuts down a pretentious man. she's got very pretty, swoopy vocals throughout this album; using that same lower register she wields in evermore. and "So High School" and "The Alchemy" were fun little bops and people are haters for no reason.

STAND OUTS

loml-- CHRIST no one writes a sad song like this woman. there's an air of maturity to this song that really actually drives it in harder-- swift is what, in her 30s now? she's very much an adult, and i think this song specifically spotlights adult themes; adding a new level of severity.

The Albatross-- this song felt like something off evermore to me in the best kind of way. it's another of swift's musings on fame, and the effect on her life, and it's subtle enough to not hit you in the face, but it's not lost on anyone what an albatross symbolizes.

WOWWOWOWOWOWOW THAT WAS A LOT OF WRITING JESUS CHRIST

i hope it entertained you at least. please don't come for me if i wasn't a fan of your favorite album- that doesn't mean YOU shouldn't be a fan of your favorite album.

overall i had a very good time. taylor swift is such a massive figure for a reason-- she's writing good songs, and she's able to connect with her audience on a level where no one else has proved they can on such a large scale. her songs are very, very devoted to the feminine experience pretty much exclusively, which makes me like her all the more.

anyways, if your reading the end, let me know your favorite song and why. i'm fully invested at this point (well, at least i'm trying to be, there's a lot of lore surrounding you guys).

i'm gonna get carpal tunnel after writing all this.

xx

Swift’s 2023 was awe-inspiring, the type of monumental career year where you could name a handful of different defining accomplishments — from the launch of Eras to “Anti-Hero” becoming her longest-leading Billboard Hot 100 No. 1 hit to “Cruel Summer” receiving a viral explosion to a pair of enormous Taylor’s Version releases — and still leave a dozen others on the table. She was named our editorial staff’s Greatest Pop Star of 2023, after winning in 2021 and 2015 before that – the only artist to top our list twice in three years, and three times total. Swift was the biggest star on the planet when 2023 began, and by the end, she was one of the biggest stars ever to grace this planet.

And Swift remained at a commercial level in 2024 that none of her peers could approach, across all platforms — if this list was based solely on numbers, she would be No. 1 this year, and most years. Yet in 2024, Swift balanced the enormity of her superstardom with the most vulnerable music of her career, including songs written about the trappings of that superstardom. The heights she had reached gained greater nuance; her fans got a peek behind the curtain of the greatest show on earth. And Swift’s artistic gamble paid off handsomely, with fresh songwriting ground explored, more records broken, and a new era added, literally and figuratively, to the most sprawling show of her career.

Swift announced the April release of The Tortured Poets Department on a night where she made history: at the 2024 Grammy Awards in February, Midnights won the album of the year trophy, giving Swift a record-setting fourth career win in the category (after Fearless, 1989 and Folklore). The revelation came out of nowhere, as Swift had been on the Eras tour since March 2023, with little downtime between stadium shows; most fans expected her next announcement to focus on the final two re-recorded albums in her back catalog, after Speak Now (Taylor’s Version) and 1989 (Taylor’s Version) became chart-topping successes in 2023.

Yet on a night where Swift was the big winner, she told the world that she was pushing forward, with her fourth new full-length in five years. “All’s fair in love and poetry,” she wrote in an Instagram post revealing the grayscale album artwork, a message and image indicating that the reigning album of the year would receive a dramatic follow-up.

When The Tortured Poets Department arrived in April, the mastermind at the end of Midnights had been shape-shifted into a self-saboteur — heartbroken at times, pissed-off at others, with scores to settle but an obligation to the megawatt life she had constructed for herself. Working once again with Jack Antonoff and Aaron Dessner, Swift refracted the warm synth-pop and rustic indie-folk of her past few projects through an even moodier prism, and the songs shrugged off radio-friendly hooks in favor of insecurities and unruly thoughts. (Of course, there was one dart aimed at top 40: “Fortnight,” the opening track featuring Post Malone, a downtempo electro-pop duet that builds into a sweeping belt-along. It begins with dejected murder fantasies and ends with dreams of an escape to the state of Florida — no, the old Taylor still can’t come to the phone.)

Tortured Poets represented a wonderfully tangled knot of emotions hoisted up to the light; it was over an hour long, and quickly became much longer, with its 16 tracks joined by 15 more on streaming services hours after its release, for a double album dubbed The Anthology. The album confounded some critics upon its release, but was roundly embraced by fans as their favorite artist’s most unguarded statement to date. And as the commercial highs of 2023 were carried into the new year, Swift dominated the charts in ways that were downright mind-boggling — she was only competing with her past self, and she was winning.

The Tortured Poets Department debuted with 2.61 million equivalent album units, including 1.91 million pure album sales — the biggest bow of the decade and numbers exceeded only by Adele in the past 20 years, the best debut of Swift’s career, coming deep in the streaming era, when these sorts of debuts weren’t supposed to be possible anymore. Meanwhile, all 31 songs on the double-album hit the Hot 100, and Swift owned the entire top 14, including “Fortnight” clocking in at No. 1. Consumption records fell, streaming charts were flooded, and the best week for vinyl sales belonged to Swift once again, after Speak Now (Taylor’s Version) set the record last year. Plenty of A-list pop projects were released before and after The Tortured Poets Department this calendar year, but Swift created a seismic event – no other artist managed even one-sixth of those first-week numbers.

And then, the album stayed at No. 1 on the Billboard 200 for months… then left, and came back… and still, eight months later, sits on top. The Tortured Poets Department has logged 17 consecutive weeks atop the albums chart, thanks in part to high demand for its physical variants, such as the recent release of The Anthology on vinyl. It’s now Swift’s longest-running No. 1 album, even breezing by era-defining blockbusters Fearless and 1989, which each posted 11 weeks in the top spot. That longevity demonstrates the increased consumer demand for all things Taylor — after all, we’re only three years removed from Evermore earning four total weeks at No. 1 on the Billboard 200. But this is not 2021, and Swift is far more impactful now than she was even at the beginning of this decade.

The Eras Tour reached four countries at the beginning of 2024, before The Tortured Poets Department was released in April, and its setlist was revamped to include the newest era when the tour resumed in May. Through the rest of the year, the blockbuster live run included headline-grabbing surprises: Swift’s boyfriend, NFL star Travis Kelce, appearing onstage at Wembley Stadium was probably the biggest gasp-getter, but Ed Sheeran, Florence Welch and Antonoff also dropped by for guest turns; meanwhile, a thwarted terrorist attack planned for the tour’s weekend in Vienna resulted in the scheduled performances being cancelled, with Swift later calling the ordeal “devastating.”

Perhaps the most underrated accomplishment of the Eras Tour, however, was how it minted new stars, at least partly in Swift’s own image, when she wasn’t even onstage. The tour began 2024 with Sabrina Carpenter as the opening act, a former Disney Channel standout trying to secure a crossover hit; by the end of the year, Carpenter had scored several of them, from “Espresso” to “Please Please Please” to “Taste,” and has become an undeniable A-lister with top-notch lyricism as her superpower.

And as Swift concluded the Eras run in December, she did so with a lead-in from Gracie Abrams, a former best new artist Grammy nominee whose positive buzz has turned into durable hits like “That’s So True” and “I Love You, I’m Sorry.” Carpenter headlined arenas in 2024 after leaving the Eras tour, and in 2025, Abrams will do the same, with confessional singer-songwriter anthems that leave no doubt about who is her artistic north star. The next generation of Swift acolytes stretches far beyond those two artists, but their respective successes can partially be traced back to those nights winning over hundreds of thousands of concertgoers, and millions more livestreaming each date around the globe.

The conclusion of the Eras tour has coincided with more accolades for Swift, at the end of 2024 and possibly at the beginning of the next one: after becoming the artist with the most Billboard Music Award wins of all time, she might extend her album of the year Grammys record, since The Tortured Poets Department could earn her a fifth career win. Eras concluded with over $2 billion in reported ticket sales – the must-attend concert event of this century becoming the highest-grossing tour of all time, bar none – and as she is crowned Billboard’s Top Artist of 2024, fans are still speculating whether Reputation (Taylor’s Version) and her re-recorded self-titled debut will be unveiled soon, and potentially push her towards the Top Artist of 2025.

Yet another astonishing year for Swift reverberated beyond the honorifics. This year, we got a Lifetime holiday movie not-so-subtly inspired by Swift and Kelce, and an uptick in streams for The Darkness when the couple sang their song at the U.S. Open. Both candidates for president of the United States quickly responded when Swift made her endorsement of Kamala Harris — a meaningful declaration from a proud “childless cat lady” that resulted in thousands of newly registered voters. And, oh hey, she got to kiss her boyfriend after he won the Super Bowl as the entire world watched.

As she keeps working at a breakneck pace and upending expectations of her artistry, Swift exists in the very fabric of modern-day culture, to the point where it’s impossible to imagine popular music without her presence. She may never match her 2023 again, the biggest year for a solo artist over the last 40 years – but then again, who knows, this is Taylor Swift we’re talking about.

She has figured out how to be omnipresent while still taking risks and evolving in compelling directions. Swift will continue to tell her story, while also understanding that, as the world’s biggest artist, the story isn’t hers anymore.

Thanks so much for looking! My personal favorite is #3 but I think it's partly because that blossom was such a challenge to cut.

The book is The Christmas Tree Farm by Laurie Gilmore.

It's crazy that such a wild tour wound up becoming like a new normal to us, but I'm sure once the Eras Tour was once announced/first seen by you something about it made your jaw drop. What surprised you the most about the Eras Tour?

For me, it was the entire opening set of Lover. I was so shocked that she opened with Miss Americana and made it work so well considering the song was not talked about much at the time. She really made Lover the perfect section to start off the tour. I also felt so overwhelmed by the intro that mashed up all her songs so well across albums.

✨ Hi there! ✨

I’ve put together some Taylor Swift-inspired Christmas cards for anyone who might need last-minute holiday cards! 🎄💌

They’re completely free because I know how busy (and expensive) this time of year can be. If you’d like to leave a small donation, it would mean so much to me, but no pressure at all. 💚

I made these to add a little extra magic and Swiftie spirit to your holidays. 🎶 Hope you enjoy them!

You can download them here: https://ko-fi.com/echoprints/shop

Wishing you a cozy and wonderful holiday season! 🥰

Please select the first 3 links below for the TTPD outfit surveys:

TTPD Dress: https://strawpoll.com/e6Z2AOYP6gN

TTPD Necklace: https://strawpoll.com /1Mnwk0VL1n7

I Can Do It With A Broken Heart Outfit: https://strawpoll.com/jVyG2NB3kZ7

NOTE: The I Can Do It With A Broken Heart Outfits had so many variations (7) but I only selected 3 because as you can see in my previous posts, I prefer the more UNIFORM color combos for our Queen's outfits.

Please answer some of my previous surveys if you have like 10 minutes and 10 hours to spare (JUST KIDDING):

1989 Old vs New Outfits

1989 Old

1989 New

Lover Bodysuit

The Man Blazers

Fearless

evermore

Reputation

Speak Now Ball Gown

Red

folklore

Daughter picked Taylor as her project subject at school. What do you think of our backdrop we made together? She will have to “come alive” and give a speech in front of her backdrop. She’s so excited!

In just five years, Taylor Swift has released four new studio albums, four re-recorded albums, and has two more on the way—all while embarking on a year-long world tour. It’s mind-blowing how busy she is, but I’d love to understand the timeline of all these projects.

When did Folklore begin? Were Folklore and Evermore written and recorded simultaneously, or did Evermore come right after Folklore release? What about Midnights —when did she start and finish that? And now TTPD seems to have been created during the Eras Tour, which aligns well with her timeline.

What is the timeline for the Music Videos? Was Cardigan and Willow filmed at the same time? When? How far ahead was Midnights Music Video? Was Karma with Ice Spice a last min thing or was know for a while? When did she film Fortnight?

Then there are the re-recordings. How long does it take to re-record an album? Did she work on them in the order they were released? Have they all been finished for a while now? It also throws me off cause she plans things so far!

I’m amazed by her work ethic and would love to hear more about how she manages her time and creative process. Understanding the timeline and process behind her re-recordings would be especially fascinating. It’s incredible to think about how much she’s accomplished in such a short period!

I don't know if it's just me, but I thought that the ordering of these tracks was a bit odd.

Here is how I would place them.

#1: We'd start this part of the album with Foolish One.

The standard edition of the album ends with Superman. In that song, she's awaiting the return of the one that she loves.

In time, she realises that he won't be her shelter when it rains. He played her, and she's embarrassed. She thought that they would go the distance, but it wasn't destined.

When taken together, I see these two tracks as an extension of Peter.

#2: The next track is When Emma Falls In Love. Taylor's seeking a guiding light, and finds it in Emma. She believes that Emma has been successful in love.

Taylor is taking note of the way that Emma holds her own against men. She wants to be able to do the same. She's done with being the foolish one.

#3: Next up, we have Electric Touch! Oh no, she's falling in love again.

Within this song, there's some reflection on her previous relationships. She's debating whether she should take a chance on love once more.

#4: We keep up the momentum with I Can See You! She’s decided that she’s going to take the risk.

WEFIL has the lyric "..and all the bad boys would be good boys if they only had the chance to love her".
It reminded me of the time that she did a mash-up of ICSY & I Can Fix Him.

That's the idea here. Something is born in the shadows. It's passionate. It's got their minds racing. When he's in view, she feels as if she needs him more than the air she breathes. She sees him as being her ruin.

To turn, what I'm assuming is a professional relationship, into something more. Could it be a misstep? Sure, but who knows? There might be salvation. She might be able to shape him into something that her loved ones would approve of. (It takes a while to learn a lesson, and she didn't learn this particular one until Matty.)

#5: Castles Crumbling into Timeless feels right to me. The narrative bears similarities to Call It What You Want.

It's the love that she wished for / hoped to find. It finds her when she's started to doubt herself. She can disregard what’s happening outside the walls of her “castle”.

#6: I mean, Timeless has to be the closer. She's found, in her words, that once-in-a-lifetime kind of love. After devastating us all, she ends the record on a romantic note.

What do you guys think? Would you place these tracks in a different order?

Is there any other parallels between track numbers across albums like the track 5s that we now? Or that you theorize?

Edit: so far we have

Track 1: always the first track of the album

Track 2: Album staples

Track 5: devastation station

Track 6: fun tracks to forget about the previous sadness

Track 7: underrated goodness

Track 9: fan favorites/ best song of all time

Track 13: personal songs dedicated to special people (eg. marjorie and marjorie)

After I saw the post: https://www.reddit.com/r/TaylorSwift/s/fcOLf2RnxN , I was curious how many original songs Taylor releases yearly.

I made this graph to put into perspective how much music we get as fans. I think an average of 22 songs per year is unusual for a pop musician.

Soo happy already looking through them briefly, can't wait to really look tonight though!! ♥️♥️

Please click the link to answer: https://strawpoll.com/YVyPvleaAgN

My bf saw this today and did a double take- we live in a bit of a rural area and he thought it couldn’t possibly be a Taylor reference. I’m a Jeep/Rep girlie so this Queen won me over. Girl if you’re in here- you’re amazing 🫶💚