#written as taylor performed clean live

[apipefullofdreams]

clean

nearly four years older than i was back then

and i feel my heart as it pieces itself back together,

forgetting you, forgiving you, finding me

amidst the parts of myself i’d given up

to be who you wanted.

i wore pink to my graduation,

a color you would have scoffed at,

and i listen to live videos of taylor swift’s concerts,

my favorite singer, even though

you hated her.

i laugh a little harder, walk a little crooked,

write poems late at night but never in the middle

of the morning,

and i dream, you know,

because now that the sky has cleared

i feel like i can.

nearly four years older than i was back then

and i can see it now,

the haze that covered us, that made me believe

you were supposed to be the everything i thought

you were.

i used to wish the worst for you,

and i lied when i said i didn’t.

maybe then i thought i meant it.

but for a long time, i wanted you to miss me,

wanted you to hurt,

wanted you to feel the way i felt,

wanted to read a poem about me on your tumblr

that you never wrote.

and i wished the worst for me too.

thought that leaving you would scar me,

painted me a shade of gray no one could ever love.

that leaving was the crime you said it would be,

that i’m the same as all the ones before,

that i betrayed you in my final act

of my performance of the girl who would never leave.

but now, i wish the best for both of us.

i hope you have a big apartment and you can see

the toronto sunset from your windows.

i hope you have someone to love and who loves you.

i hope you finally took yourself to therapy

and that your wounds are healing from all the cuts

you gave yourself.

i hope you love yourself a little more than you did before.

and i hope if you think of me, it’s more than our last words.

i hope someday i stop writing poems about you.

i hope i stop fearing that all the ghosts

in my closet will come out

in the shape of someone new.

i hope i stop thinking i’m unloveable, thinking

everyone will fizzle out of love with me

the way you did.

i hope someday your birthday passes

and i don’t think of you.

and i hope someday thinking of you

doesn’t feel like losing

a sober chip.

nearly four years older than i was back then

and the horizon seems closer.

i can’t make out your face clearly in my memory,

but i know it used to make me smile

before it made me sad.

nearly four years older than i was back then

and i wouldn’t change a thing, you know.

at one point i would have thought that heartless,

but if it’s heartless to protect your own,

then so be it. call me heartless.

i know i did it to keep mine beating.

nearly four years older than i was back then

and ‘i think i’m finally clean.’

#written as taylor performed clean live #love #ephemeralities #forgiveness #poetry #you were my first love #i don't know if you'll ever know that

[foxes-that-run]

Falling

Falling depicts depression so well. I love it so much, this performance, the music video, his voice, everything. It breaks my Haylor heart but I love it.

While Fine Line is the decision point to step over the line of friendship, Falling is the aftermath of doing so. It is 'chase 2 girls loose the 1'. Cruel Summer was written in the same period with a similar meaning.

To me, the narrative order would be: Sunflower Vol 6 / DBTC/ Golden > Fine Line > Cherry > Falling (& Cruel Summer) > To be so Lonely (& Afterglow). The Fine Line album order is more hopeful though.

Lyrics

[Verse 1] I'm in my bed And you're not here And there's no one to blame but the drink in my wandering hands Forget what I said It's not what I meant And I can't take it back, I can't unpack the baggage you left

I love the imagery in the opening verse, it's a clear reference to a similar time in From the Dining Table, but more mature. Like FTDT, it’s about Harry and his own self-reflection and regret.

Taylor has also referenced baggage in Renegade for Big Red Machine "Get your shit together / So I can love you? (carry your baggage up my street / And make me your future history)"

[Chorus] What am I now? What am I now? What if I'm someone I don't want around? I'm falling again, I'm falling again, I'm fallin' What if I'm down? What if I'm out? What if I'm someone you won't talk about? I'm falling again, I'm falling again, I'm fallin'

To Zane Lowe Harry said he wrote it in a towel in "20" minutes. When talking about Cherry Harry said he could see him becoming someone he didn't want to be. Falling is such a vulnerable song. Harry said the highs and lows of writing Fine Line were the highest and lowest of his life. He was certainly really feeling his emotions during the Live on Tour shows that year and spoke about therapy in interviews about them.

"What if I'm someone you won't talk about" hits me, this sounds like TS, she doesn't talk about him, but they constantly sing about each other. I think there have been times this relationship has been just as muses, rather than actual partners. When I hear this line I think he is scared of losing that because they were the later.

[Verse 2] You said you cared, and you missed me too And I'm well aware I write too many songs about you And the coffee's out at the Beachwood Cafe And it kills me 'cause I know we've run out of things we can say

The 'too many songs about you' line is clearly directed to TS. In Little Freak, later that year, he said "Somehow, you've become some paranoia", HS was asked about TS constantly for years, they hid any interaction then both wrote most of Lover and Fine Line about each other. I think they were struggling with more mature lives, careers and how each other fits in.

The coffee is out at the Beachwood Cafe is a way to say the happy life once shared is now depleted and gone. Taylor also likens the end of a relationship to a drought in Clean, where she "The drought was the very worst / When the flowers that we'd grown together died of thirst". Clean goes on to have imagery of rain pouring in which the Falling music video uses.

'And kills me because we've run out of things to say' reminds me of the theme of not communicating and line in Two Ghosts "Tongue-tied like we've never known / Telling those stories we already told/ 'Cause we don't say what we really mean"

[Bridge] And I get the feeling that you'll never need me again

The heart breaking bridge is a deep fear that his muse will never need him again because they are were in a long term relationship.

While in Cherry Harry has a begrudging, somewhat petty acceptance that CR had moved on. His relationship with TS is more complicated, even apart they sing of being fated so it's temporary, Falling is the fear of when it is not:

OOTW " We were built to fall apart/ Then fall back together (back together)

HYGTG "Broke your heart, I'll put it back together / I would wait for ever and ever (I want you for ever and ever)"

Suburban Legends " When you told me we'd get back together / And you kissed me in a way that's gonna screw me up forever"

Someday (Michael Buble) "We could be in love once more / Till then I won't give my love away / Darling, I'm forever only yours"

Golden "Hold it, focus, hoping / Take me back to the light / I know you were way too bright for me/ I'm hopeless, broken / So you wait for me in the sky"

There is a list of 20 songs here.

Falling and Clean are similar in that they actually consider an end. NTWDT does too, but it's more mad than resigned as in Clean and Falling.

Which is why Cardigan and it's music video is a response to Falling.

#haylor #fine line album #falling #harry styles

[notoriousbeb]

Why is Harry Styles All Over TTPD? A Timeline

TTPD Notes Glossary

Upon much ponderation and rabbit-hole-ing I think a truly stunning chunk of tracks on this double album (18) are about Harry.  

What will likely be my Haylor magnum opus is under the cut because it is a bit lengthy. Good luck. Or I'm sorry??

I think they both pined for each other for years (well documented amongst the Haylors).  

Then she split with Joe Alwyn before she left London for the Eras Tour, but she waited to make the announcement public (probably to give him time to pack up his shit and get out of their shared house) until April 8. However, excited to be “Fresh Out the Slammer,” she reached out to Harry ASAP.  

I realize I might sound like an absolute raving lunatic, but I legit think Harry was at Taylor’s Arlington, Texas, Eras Tour shows, at the end of March/beginning of April 2023, and followed her to New York City for several days. 

While Harry was tied up finishing up the Asian leg of his tour until March 25, I think he came almost straight to her after that, and love-bombed the shit out of her in his excitement.

But then right before he had to leave for tour, with a stopover in LA for the Satellite video and Late Late Show shoots, he gave her some sort of pulling-away speech about taking a pause or pulling back or something, (I’d wager because of the two world tours), which she took as a total rejection, which caused her to lose it and move on to the disaster we call Matty. 

Then, in June, he met Taylor Russell in London. And maybe they were just friends at first, but then Taylor Swift started messing around with Matty, and then in July she started dating Travis and it went public in September. So, I suppose at that point Harry figured, "Okay, to hell with it."  

And now, somewhere in London, I imagine their shared good mate, Ed Sheeran, has a pounding headache and wishes he still drank whiskey.  

I hope the truth of it all someday comes to light in a tell-all book or movie. Or, at the very least, it would be nice if some more clarity surfaces in one of their albums, or a record by Ed.  

Oh, and I think Stevie Nicks, of all fucking people, knows the tea. She considers both of them “like [her] children.” She gave them both matching crescent moon necklaces. And has performed with them. And she wrote the intro poem for this record. Read that and tell me it doesn’t match the story I’ve written in my head. Stevie knows.

And now, the timeline.

There are, I shit you not, about a fortnight of possible days (March 29/30-April 12, 2023) where they could have been together...

March 29/30

Harry likely leaves Toyko after his March 25 show. Love on Tour doesnt start up again until May 13 in Horsens, Denmark.

March 31

Eras Tour is in Arlington, Texas, for N1. It's a rain show. She replaces "Invisible String” with "The 1." The surprise songs were "Sad Beautiful Tragic" and "Ours." Read all my notes on TTPD and go watch these two live performances again. They're...really something.

April 1

She sings "Death by a Thousand Cuts" and "Clean."

April 2

She sings "Jump then Fall" and "The Lucky One."

April 3-6

Neither of them are seen these three days.

April 7

Harry is spotted at baggage claim in Atlanta

April 9

Harry is at the Master's Golf Tournament

April 10

Maybe this is when he leaves her. Taylor goes out for drinks with Jack and Margaret. However, this was an obvious pap walk (the day she had those butterfly jeans on); were the paps maybe called to this location to lure them away from her apartment so a certain person might or might not have could arrive unnoticed after a golf tournament in Atlanta?

April 12

In the afternoon, Harry is spotted with his trusty brown duffel bag (sporting an air travel tag) leaving the gym in LA. In NYC, Taylor is pictured on the roof of Electric Lady (maybe shooting music video?) with a Gucci lion ring just like Harry's but with a green stone. I Mr not the 10th, I think this evening was when he said whatever he said that made her so sad; maybe he thought they should take a pause until their tours were over? Maybe he decided their combined spotlights were just too big to overcome? Who knows? Not me. But my nosy ass wants to know!

April 13

Eras Tour in Tampa N1. Taylor cries during “Lover" and "Champagne Problems.” People think it's about Joe. I think it's not.

April 14

Eras Tour in Tampa N2. She plays "The Great War" (performed with Aaron Dessner) and "You're On Your Own, Kid."

April 15

Eras Tour in Tampa N2. She plays "Treacherous."

April 21

Eras Tour in Houston N1. She plays "Wonderland" and "You're Not Sorry" (these choices seem…significant. In a not good way.)

April 22

N2 in Houston. She plays "A Place in This World" and "Today Was a Fairytale" (for her mom, who I am sure was being a rock for her at this trying time)

April 23

N3 in Houston. She plays "Begin Again" and "Cold as You"

April 27 and 28

Harry does shoots for the "Satellite" music video and the last episode of the Late Late Show. The scenes for the music video aren't used. In my opinion his face looks puffy on Late Late (maybe from crying?)

Eras Tour Atlanta N1 Taylor sings "The Other Side of the Door" and "Coney Island."

April 30

Eras Tour Atlanta N3 she sings "I Bet You Think About Me" and "How You Get the Girl." She cries again during “Champagne Problems."

May 5-7

Ah, the Nashville Era's Tour shows. Such fond, fond memories. She sang “Sparks Fly,” “Teardrops on My Guitar,“ "Out of the Woods,” “Fifteen” (Abigail was there, and she dedicated this one to her)," Would’ve, Could’ve, Should’ve” with Aaron Dessner and “Mine” (also Speak Now drop).

May 11

Dinner with Matty and Jack and Margaret at Casa Cipriani in NYC

Is it possible the villainy of Matty is that he planted the original story in The Sun that he and Taylor were dating? It ran May 3, two days before he showed up (from Asia) to the Eras Tour play with Phoebe Bridgers as the opening act in Nashville. I just always thought that was odd. Maybe he had a big fat mouth.

May 12

Eras Tour Philadelphia N1. She played “Gold Rush” and “Come Back…Be Here” (Aww, girl….)

May 13

LOT picks up again in Horsens, Denmark. He's smiling to himself all cute like during "Fine Line." Plus he played "Stockholm Syndrome" for the first time in yeeeears and looked delighted. :(

Taylor's surprise songs were “Forever & Always” and “This Love.”

May 15

I think this is when shit hit the fan. Maybe it’s that H was avoiding her for some reason. Or she just thought he was. I just wonder if she was mistaken...Maybe it was all a misunderstanding that spiraled out of control. (I'm sorry, did that come out desperate? Because I feel desperate).

Either way, she leaves Electric Lady studios with Matty in tow.

May 18

"The Black Dog" is recorded at Electric Lady. "Six weeks of breathing clean air/I still miss the smoke." If we're being very specific from this date, that's April 6.

May 19

She plays "Should've Said No" and "Better Man." (Well, that's seems...not good.)

May 20

Ah, the day of the “Question…?” and “Invisible” combo. (Oh, Tay). Matty is seen entering Taylor's apartment with a big Louis bag full of what many people believe is the typewriter. I always assumed it was a synthesizer or some kind of recording equipment. ¯\_(ツ)_/

May 25

This is the last day she was seen with Matty (and the chorus of angels sang)

May 26

Era's Tour Metlife N1. She sings “Getaway Car” with Jack Antonoff and “Maroon” (this was a very angry face Maroon). To me, at this point, Matty hasn't had enough time to ghost her yet (she just saw him the previous night) and thus doesn't yet deserve such an angry Maroon face. Point number bizillion that this song is about Harry Edward Mothafucken Styles.

May 27

Metlife N2. She sings “Holy Ground” and “False God," and cries.

#haylor #have i lost the plot? #i really don't think i have

[existentialmagazine]

Review: Izzy Pingrey ‘roots’

At just seventeen, the rising indie artist Izzy Pingrey has been slowly but surely taking over her current residence of New York City, delivering music that always resonates with her young adult audience. With a sound that feels a little like Taylor Swift, Phoebe Bridgers and Olivia Rodrigo but wrapped into slow, acoustic based indie-pop, she’s already carved out a completely identifiable sound of her own - and with every new release, she only seems to get better.

Her newest release ‘roots’ is the perfect embodiment of soft but catchy, slotting right into her discography like it’s always been a glowing part of it. Through a more laid-back bedroom-pop ease and indie-pop vibrancy, Izzy transports you to a place that’s filled with taking your time, letting yourself live in the moment that often finds itself slipping away too quickly to appreciate. The dreamy electric guitar riff is the reason it’s allowed such tranquility, gentle echoey notes that create such a little experience of dreamlike escapism. Steady drums flow through the verse too, simple but intentional, keeping you hooked on the smoothness of the sound. Izzy’s vocals are just as integral to the sound with such a limited palette of instruments, clean and airily gliding through a light range, a performance that’s enchanting and comforting all in one.

The chorus only picks up a slightly, shifting the staple guitar riff into something a little less slow, all the while the tumbling beats also change their course. Both rise in volume too, a more impactful moment filled with volume and a more consuming sound, still just as ethereal as ever but a little more noticeable. Izzy’s vocals are a bit more bold too, carried by haunting backing vocals on her every line and she is unafraid to cascade into higher ranged little runs and low-toned, rich admissions. It falls somewhere between aching and easy, a mix of emotions hard to pool into one but Izzy has nailed it perfectly, delivering that sense of nostalgia and appreciation that often slips through our fingers when we focus too hard.

It’s no surprise that the sound evokes such feelings either, when ‘roots’ itself plays out as a bittersweet love letter to Izzy’s younger self, working through the changes that adulthood brings. From the opening line ‘you wrote me a letter… delivered to me when I was seventeen’, Izzy places some distance between the person she was and is now, referring to herself as ‘you’ in perhaps a revealing nod to the fact she’s someone completely changed. Some things stay the same though, running through past and future as she admits ‘I still bite my nails’ , as well as ‘got a new dog and a new boyfriend, but my nose looks just like it did when I was twelve.’ Every line seems to flicker between what was and what is, but Izzy always keeps herself grounded in those details that can never be changed, honouring her younger self and in many ways yearning for that childhood experience once again. The chorus is interesting, delivering the hooks that ‘my hair used to be so long, cut it off’ and ‘I went blonde, but you’re coming in with my roots’ , showing that the ‘roots’ in this nature are a little double-edged. From the roots of her hair that connote change, to the real-life roots she’s placed throughout her existence, ‘roots’ shines for its authenticity.

There’s a lot to love and unpack through ‘roots’ , and it’s well worth doing it for yourself, along with everything Izzy’s shared. If you’re finding yourself relating to Izzy’s reflections or perhaps just soothed by her sweet sound, don’t forget to keep listening here.

Written by: Tatiana Whybrow

Photo Credits: Unknown

// This coverage was supported and created via Musosoup, #SustainableCurator.

#tatiana

[viewernahas]

Alicia keys youtube ocean eyes

1 hit song “Bad Guy.”Īll in all, Eilish gathered a total of six nods for next year’s awards, tying up with “Old Town Road” hitmaker, Lil Nas X, who also had six nominations. She has been nominated in the Album of the Year category for her genre-bending, and critically acclaimed debut album, “When We All Fall Asleep, Where Do We Go.” The teen idol has since amassed more than 15 billion aggregate streams across all platforms like iTunes, Spotify, and Youtube is also nominated for Record of the Year and Song of the Year categories for her No. This year, Eilish made history to become the youngest artist to be nominated in the four major categories in Grammys. No one- Alicia keys Not the only one- Sam smith Stay with me- Sam smith Am Royals- Lorde Crave you- Flight facilities Emaj Lady Hold back the river Style- Taylor Swift Bbm Yellow- coldplay My hero- Foo fighters Black and gold Am All that she wants- Ace of base Riptide Can’t get you out of my head-Kylie Minogue Bm Love me like you do- Ellie. Since then, Eilish becomes a household name in the music industry, especially after her breakout song “Bad Guy,” which was released in early 2019. The song was written and produced by her brother Finneas, with whom she collaborates on music and live shows. She debuted her first single “Ocean Eyes” in 2016, which was subsequently released on the record labels Darkroom and Interscope Records. She carted a string of hit singles on the Billboard Hot 100 and is supported by more than 39 million followers on the popular social media platform, Instagram. And Billie Eilish, well, she definitely can sing live! Geez, she can handle a duet with Alicia Keys! Eilish wrapped up the song, and the performance warranted massive applause from a studio audience comprised of only women.Īt the age of 17, the teen pop icon acclaimed for her rebellious music and art style has achieved so much in her career since she started making music. Alicia Keys unveils a cover of Billie Eilishs 'Ocean Eyes. The two traded notes and verses, until the final chorus when they joined forces to give the world a harmony we all deserved.Īlicia Keys is a real diva, and she showed the fact once more with a couple of alternative notes and beautiful runs she inserted into the song. As she sat down the piano, she requested for the lighting to be changed to become more “dramatic.” The two started exchanging notes per notes of Eilish’s iconic debut song. Dermatologist-developed clean skincare and wellness brand co-created by Alicia Keys that offers serious skincare and soul-nurturing rituals for the whole self. “I mean, I didn’t bring this thing here for nothing,” Keys joked as she slid behind the keys. When Alicia Keys asks, you do not say no. As expected, the legendary musical icon who made If I Ain’t Got You the penultimate soundtrack of people who fell in love so hard asked the 17-year-old alternative rock superstar for a duet. What’s better than Billie Eilish’s “Ocean Eyes?” Well, a Billie Eilish and Alicia Keys duet of Ocean Eyes.īillie Eilish appeared in an episode of The Late Late Show with Alicia Keys as the guest host.

#Alicia keys youtube ocean eyes

[ellewords]

i would LOVE to go to a party with the seijoh 4 oh my GOODNESS i know there’s that one official art of them in a karaoke room and i want to do that with them like just singing (although at this point it’s almost straight up yelling) the lyrics to songs and sharing food that they ordered with them.....if you have a crush on one of the boys and the others are aware they not-so-subtly try and get you to sit next to the guy you like or something

this is based off of a personal experience around two years back when some cousins came over to visit during summer break—one day we were bored so we decided to boot up the karaoke system my parents bought and sing fergalicous and we ended up getting a really high score (like 95 out of 100 i think?) and there’s a video of us just YELLING AND LOSING OUR MINDS once the score showed up on the screen and later that night we went on an evening boba run!! anyways this would TOTALLY happen with the seijoh 4 with songs they all know i just feel it......love these 4 idiots so much—🌸

— from elle ! party with the seijoh 4 ?? oh gosh that would be so much fun,, the banter?? the pure chaos?? i haven’t seen the official art of them in a karaoke room but oooh i need to start looking for it ;-; anyways a little scenario based on your karaoke story (so cute aaa !!) thank you sm for this <3

᠃ ⚘᠂ ⚘ ˚ ⚘ ᠂ ⚘ ᠃

“here’s the deal, none of us are going home until all of us get a hundred points on karaoke.” oikawa grinned, eyes alight with mischief as you, iwaizumi, makki, and mattsun groaned in response.

the rest of the team had already gone home, saying their goodbyes before the clock had even struck ten. all that’s left of iwaizumi’s living room was a bunch of empty pizza boxes, emptied out juice pouches, and the five of you trying to figure out how to end the night — well, except oikawa who was just trying to extend it.

“crappykawa, it’s almost midnight.” iwaizumi spoke, pinching the bridge of his nose in frustration.

“on a friday, so what’s your point?”

you sighed. truthfully, you didn’t want to go home either. but you didn’t want to give oikawa the satisfaction of being right. “let’s just get this over with.”

he clapped his hands together, “that’s the spirit, yn! besides, don’t you want to spend more time iwa-chan?”

if looks could kill, oikawa would have been dead on the living room in two seconds flat. but he just looks at you with the most teasing smirk, knowing that he had struck a nerve. makki and mattsun snicker from either side of you, not even bothering to hide it. 

you shut your eyes, trying to keep your breathing even despite oikawa’s continued teasing.

“stop it oikawa and pick a song, i still have to drive all of you home.” iwaizumi groaned, you send him a grateful smile. which did not go unnoticed by makki or mattsun, taking everything in them not to call you out on it. 

__

makki and mattsun immediately got a hundred on their duet of britney spears’ toxic, complete with dance moves. part of you couldn’t help but wonder when they had time to practice choreography when they spend most of their time on volleyball. either way you were impressed, genuinely applauding them once they reached the end of their performance.

“we know, we’re amazing.” makki grinned, shrugging his shoulders like it was no big deal.

mattsun nodded, still trying to catch his breath, a thin layer of sweat covering his forehead. “you can pick your jaws off the floor now.”

oikawa got a hundred on his second song, queen’s don’t stop me now. he’s jumping around the living room, and you’re surprised that his vocals remain somewhat stable considering that iwa and mattsun tossed throw pillows at him while you and makki laughed on. 

the three of them somehow convinced you and iwaizumi to do a duet, mostly because you figured that the night would end faster if you and iwa just did one song. it took a few tries, but you eventually got a hundred on your fourth song: taylor swift’s you belong with me.

oikawa, makki, and mattsun spent the entirety of the song giggling on the couch, wondering why you hadn’t caught on to the other’s feelings yet. 

“now, for the penalty for taking the most tries before getting one hundred.” oikawa stood up as soon as the song ended, like he was a king trying to make some sort of announcement.

“we didn’t agree on a penalty!” you screeched.

“too bad, as winners, there is one now.” makki nodded, going along with their plan.

“there’s a new twenty-four cafe nearby that serves boba, we’re craving some.” mattsun smirked, taking delight at the look of complete shock on your face.

“what? n—”

“fine.” iwaizumi agreed, much to your surprise.“but at least clean up the place while we’re gone.”  

the other three exchanged high-fives as soon as you and iwa exited the door. 

__

iwaizumi has one hand on the steering wheel, the other held your hand, a very small smile on his face as he complimented you. “amazing acting as usual, yn.”

“don’t you think we should just tell them we’ve been together for a month now?” you shake your head, thinking back to all the strings your friends have pulled just to get the two of you alone.

“I want to see how long it will take for them to figure it out,” iwaizumi chuckled, bringing your hand to his lips to press a quick kiss on your knuckles, “besides, how else am i going to spend time alone with you?”

well, you can’t argue with that, can you? 

᠃ ⚘᠂ ⚘ ˚ ⚘ ᠂ ⚘ ᠃

a question: what are the hq characters like at a party?  |  written on the margins masterlist

taglist : @haikyuutothetop @crystal-lilac @tobioespresso @sushijimawakatoshi @itsmeaudrieee @pantherhappy @jesssobs @mysticstrawberryballoon @cloudedsky_29 @sakusasimpbot​

join my hq taglist here. <3

#less party more karaoke oops #anyways last post for tonight i need to sleep #ill write the other margins posts tomorrow #gn lovelies <3 #written on the margins 🔖 #oikawa scenarios #iwaizumi scenarios #makki scenarios #mattsun scenarios #iwaizumi x reader #seijoh four #🎐 — 🌸sakuranon! <3

[kaylorrehabcenter]

Rating Every Song on Fearless Based on How Gay it is

Hello friends! I still have a few song analyses in the pipeline (and one on Lover the album) but today in honor of Fearless (Taylor’s Edition) being announced and Love Story being released in a few hours I thought I’d do something fun to celebrate!

And you know what? Fuck my usual disclaimer, I am the word of god here. Try and change my mind about any of these. I dare you. (I kid I kid this isn’t that serious and you’re free to disagree <3)

1. Fearless 15/10

Everything about this song is so fucking gay oh my god. This isn’t a fruit, this is a whole ass edible arrangement. As a small rural town Gay (my hometown has a population of less that 4,000 and where I’m living now has a population of 2,500) this uh. Hits.

“And I don't know how it gets better than this/You take my hand and drag me head first, fearless”

Y’ALL

The idea of falling in love with someone who makes you less afraid of your homophobic small town…….it’s getting to me.

“My hands shake, I'm not usually this way but/You pull me in and I'm a little more brave/It's the first kiss, it's flawless, really something/It's fearless”

This is making me emotional, I'll be honest. I see so much of my friends and my experience in high school in this song. 

This quote I found on genius is from when the album was released on BMR’s website.

“When I wrote ‘Fearless,’ I wasn’t dating anyone. I wasn’t even in the beginning stages of dating anybody. I really was all by myself out on tour and I got this idea for a song about the best first date. I think sometimes when you’re writing love songs, you don’t write them about what you’re going through at the moment, you write about what you wish you had. So, this song is about the best first date I haven’t had yet.”

This just screams baby Tay writing gay folklore to me, about the gay stories she wish she had. Notice how there are no pronouns in this song??? Fruity I’m telling you.

All that to say. I’m crying because the linear note says “I loved you before I met you” and I want to go listen to Long Story Short and cry now.

2. Fifteen 1/10

Objectively pretty straight as she’s singing about her and Abigail’s dating boys in HS. And Taylor got with a senior guy. Good for her I suppose.

Unless he was one of the shitty ones in which case.

“This is life before you know who you're gonna be”

This however, is a cute line and the whole song makes me warm and nostalgic. You can also hear her crying after the line “and Abigail gave everything she had to a boy who changed his mind” which makes me emo and I’m sure will take on new depth after Abigail’s divorce and hurt me even more.

Other highlights that make me sob include.

“When all you wanted was to be wanted/Wish you could go back and tell yourself what you know now/Back then I swore I was gonna marry him someday/But I realized some bigger dreams of mine”

Bigger dreams of hers indeed :’)

(Also how can you say she’s a gold star lesbian when this song exists. She was obviously dating boys in high school and even if you think she’s a lesbian. Comp het is a hell of a drug kids.)

3. Love Story 8/10

Tried to change the ending indeed.

This is THE Taylor Swift song, and maybe it’s the nostalgia talking but damn I still love it. Written because she wanted to change the ending of Romeo and Juliet (how anyone likes RandJ enough to want to rewrite I have no clue.) and/or because her parents didn’t approve of a guy she was seeing. (according to genius, it would’ve been too early for Joe J so it could possibly be Boys Like Girls frontman, his image did clash with hers and they did release some cute songs together. However if you want my take it’s probably folklore about Emily, take for what you will)

This song has very oft gay vibes with the ‘They don’t approve of our love angle!’ but uses male pronouns so points redacted for that. HOWEVER this is a very early use of ~the male perspective~ in Taylor’s songs and for that it deserves all the love.

“ So I sneak out to the garden to see you/We keep quiet, 'cause we're dead if they knew/So close your eyes/Escape this town for a little while”

More rural town angst!!!

Nothing gets me more than rural town angst.

“Romeo, save me, they're trying to tell me how to feel/This love is difficult, but it's real”

Originally the lyric was “this love is different”. Granted I do not remember the source, i’s just lore implanted into my brain, but make of that what you will.

“"Marry me, Juliet, you'll never have to be alone/I love you, and that's all I really know/I talked to your dad, go pick out a white dress/It's a love story, baby, just say "Yes"”

Marry me Juliet from the male perspective :)

Also worth noting. This is Karlie’s (and Kim K’s lmao) favorite Taylor song which. While basic as hell. Makes this cover sad as hell to this former Kaylor. (thanks @swiftgron-get-married for the tears <3)

Also not to make this about a man AGAIN but the secret message is “Some day I’ll find this” AND SHE DID IM CRYING.

4. Hey Stephen 1/10

The one thing Camilla Cabello and I have in common is loving this song, so I have to live with that for the rest of my life.

This song is very painfully straight.

How can you think this woman is a gold star lesbian.

The only noteworthy thing is that this is one of the few songs she confirms who it’s about. The secret message is “Love and Theft” which is the name of a country music duo who went on to open her Fearless tour. Which, does make me side eye this song a little bit.

Still a cute song.

“Hey Stephen, boy, you might have me believing/I don't always have to be alone”

5. White Horse 1/10

Oh look. It’s track five. 

You know maybe this is just me being a bitch but in my ranking of track fives this is. Pretty low. Maybe on the bottom.

Like I don’t have a lot to say about it. 

She’s going through it over a guy. He was a cheating dickweazel. 

“'Cause I'm not your princess, this ain't a fairytale/I'm gonna find someone someday/Who might actually treat me well”

“Try and catch me now, oh/It's too late/To catch me now”

These lines hit though!!

And she found Joe!! Who treats her well!!!! And she isn’t the princess, she’s the prince who dropped her sword and knocked on her door!!! But this time if they come for them she’s ready!!!

Yes I will make every song about Long Story Short <3

6. You Belong With Me 5/10

Ah yes. The other THE Taylor Swift song.

You know. If I went to a high school with a cheerleading squad. And I had a crush on a cheerleader. I would blast this song. So for that it gets a 5/10. Otherwise. Fairly straight and fairly iconic.

7. Breathe 8/10

Well. We know this one is about a woman. (Emily Poe for those not in the know. Ha. A rhyme!) That alone has an 8/10. And it’s the first time she has a featured artist so bonus points for that!

It was nominated for a Grammy and it fucking lost to Jason Mraz. When’s the last time you thought about Jason Mraz.

I will not have Kaylor feels on a fucking Fearless song but damn is it VERY easy.

“Never a clean break, no one here to save me/You're the only thing I know like the back of my hand”

“It's 2 A.M, feeling like I just lost a friend/Hope you know it's not easy, easy for me”

Also this bridge? Goes off. HIGHLY underrated. 

8. Tell Me Why 3/10

You know. Maybe this album isn’t as gay as I once thought.

This song does bop though, not as good as her other angry songs on this album. But I can vibe with this you know. Why are you being an asshole mysterious man.

“You could write a book on how to ruin someone's perfect day”

This has to be one of baby Tay’s best burns. Damn. 

“Why do you have to make me feel small/So you can feel whole inside?/Why do you have to put down my dreams/So you're the only thing on my mind?”

Men ain’t shit kids. However, bonus points for the shade. 

9. You’re not Sorry 1/10

Ok, ok. Maybe this was a foolish endeavor.

Because yet again we have a very straight song. A good song. That was on Taylor’s episode of CSI. But oh dear. Very straight. Gets a measly one point. We started this post off so very very gay but damn. We seem to be nearing the end on a very straight note.

10. The Way I Loved You 20/10

Hey Remember what I said about this album being very straight.

WELL THAT WAS A LIE.

Is this a comphet album or am I projecting.

This is one of my favorite baby gay Taylor songs. Her masterful use of pronouns (he is sensible! And so incredible! And all my single friends are jealous! But I miss screaming and fighting and kissing in the rain, when it was two am and I was cursing your name!) makes the other person she’s singing about completely vague, while we know she isn’t happy with whichever guy she’s dating.

Mayhaps an early reaction to PRomances?

Either way this song is so good, truly an underrated gay gem I mean. Look at it.

“Breaking down and coming undone/It's a roller coaster kind of rush/And I never knew I could feel that much/And that's the way I loved you”

AND THE BRIDGE. Do all of her gay songs just have kickass bridges?

“He can't see the smile I'm faking/And my heart's not breaking/'Cause I'm not feeling anything at all/And you were wild and crazy/Just so frustrating/Intoxicating, complicated/Got away by some mistake and now…”

Damn. I’m imaging this with 2020 vocals and fucking ascending.

Also please watch the live performance of it from the Fearless tour. It’s such a damn shame this got cut from the movie and some woman in the front row is wearing a cowboy hat. Everyone is holding up those cameras everyone had to have before smartphones. Taylor is being endearing. It’s a good time.

11. Forever and Always 6/10

Bonus points for the ~drama~ of it all. Added last minute to the album? The iconic throwing of the chair in live performances?? All of it very dramatique and for that we stan.

Still pretty straight.

Also Joe Jonas responded to the song and why do I find his response so damn funny. “It’s part of being a musician, I guess. You write songs about each other.”

This is another song where the idea of Taylor’s grown up vocals on this is………..whew

12. The Best Day 0/10

This gets zero points because it’s about her literal mom.

Still makes me cry.

God bless Andrea Swift indeed

13. Change 13/10

We start the official tracklist with a gay song. We end it with a gay song.

We will ignore that it was originally written for Scott and BMR and instead induct it into the hall of gay pride anthems, as it should be. 

“We're getting stronger now, finding things they never found/They might be bigger but we're faster and never scared/You can walk away, say we don't need this/But there's something in your eyes says we can beat this”

“This revolution, the time will come/For us to finally win/And we'll sing hallelujah, we'll sing hallelujah”

The music video is cringe though lol

14. Jump then Fall 10/10

This song is gay because I choose it to be. <3

Like. Picture baby Taylor writing this song and playing it on her guitar to a girl she has a crush on telling her that she’ll protect her and they’ll be safe and in love and happy together. Gah, maybe I’m ~projecting~ but this sweet ass song always gets me and is EASILY in my top five Taylor songs. Super underrated and hecking cute. 

“We're on the phone and without a warning/I realize your laugh is the best sound/I have ever heard”

Like. Look at this shit.

“I watch you talk, you didn't notice/I hear the words but all I can think is/We should be together”

Tell me this is about the first time you get a crush on a girl and she’s your best friend and she’s amazing and beautiful and you realize you kinda want to kiss her and you hope she wants to kiss you too.

“I had time to think it oh, over/And all I can say is come closer/Take a deep breath and jump then fall into me”

And she’s the Romeo who's going to protect her!!!!! She’s the knight in shining armor in this song and I love that for her??

“The bottom's gonna drop out from under our feet/I'll catch you, I'll catch you/When people say things that bring you to your knees/I'll catch you/The time is gonna come when you're so mad you could cry/But I'll hold you through the night until you smile”

I won’t divulge into full on analysis here because. This is what this post is about but PLEASE listen to this song more. It’s such a gay little gem.

15. Untouchable 9/10

How does she make a cover sound gay.

It sounds so gay.

“You got to come on, come on, say that we'll be together/Come on, come on, little taste of heaven”

Gaaaaaaaaaaaaaaaaaaaay

16. Forever and Always Piano Version 1/10

This song gets 1/10 because I don’t like it. There. I said it.

17. Come in With the Rain 3/10

I can see why this is a bonus track. It doesn’t hit me as much as the other songs on the album.

But damn if I don’t want to scream sing this one driving down a high way.

18. Superstar 7/10

You can’t tell me this song is about a man. I simply won’t entertain the idea.

You cannot prove to me that this song is about a man. There is not a male pronoun in sight. 

>:)

19. The Other Side of the Door 6/10

Is this song about having a fight about being in the closet? Probably not. Will my gay little brain make it about that? Yep!

And that, funky little queer pals, is my gay rating of every Fearless song. Like and subscribe, #t3atmidnight

#long post // #fearless the album #gaylor #what do i tag this for it to show up for peope?? #gay rating

[meet-me-in-the-kitchen]

Haylor Thoughts Masterpost

Just Haylor things, just because.

Last updated: 11/22/2021

I ran out of space, here’s the second part to this post for more updated content

Harry’s Songs about Taylor

Taylor’s Songs about Harry

Haylor Kissing in Times Square, NYE 2013 (a new angle showing their faces!!!)

Taylor Walking By Harry at the 2015 BBMAs (Clip)

Why I Think ‘Ready For It’ is About Harry

Masterpost of All Haylor Hangouts (Post "Break-Up" in Public Eye)

Harry Fixing Taylor’s Scarf in a Lobby (cute, lol)

Haylor Communicating Through Cryptic Lyrics from Other Artists' Songs

Timeline for Every Song Written on Fine Line

The Haylor Dynamic Explained

Taylor Wearing Harry's Shirts

The Infamous Attic H & T Would Sneak Into (ft. Ben Winston)

Stevie Nicks Gave Harry and Taylor Exclusive Necklaces

The Haylor Ring

Why If I Could Fly is Haylor

When Haylor Started Dating (Connor Kennedy/Timeline Info) -- Our Story Begins in New York

Sweet Disposition, Riptide, and Harry <\3

Harry and Taylor's Duet of Purple Rain at the 2013 VMAs Afterparty

Bitter Posts Taylor Liked on Socials After Yachtgate (Hendall)

H + T at Jingle Ball 2019

Respectful Discourse on Joe Alwyn/Taylor Swift

Why Only Angel is About Taylor, Not Kendall

Happily & Jealousy for Connor Kennedy

Could Cruel Summer Be About Harry Styles? (Chain Post)

Details on Calvin Harris' Song Olé + How it Touches on the Haylor/Tayvin Dynamic in 2015

Chain Post on Calvin Harris & Haylor

If You Swap 'Creature' with 'Disposition,' Sweet Creature has Some Serious Haylor Parallels

Sweet Creature Theoretical Discourse / II

High Chance that H&T Got Olivia Together

Why ‘Death By a Thousand Cuts” is About Harry (in depth analysis!)

Folklore

The Major Exile Theory Explaining Everything

Addition to the Exile theory (British Crown reference)

Fascinating Theory on How the 'Escapism Chapter' Relates to Haylor

If You Think the lakes Sounds Like 1989--That's Because it Does

Is Harry Styles Behind the Pseudonym, William Bowery?

Taylor Swift's Interview on Exile

Cardigan Footnotes and How They're Similar to Harry's Adore You Monologue @ Tiny Desk (Clip is linked)

Why It's Strange Taylor's Putting out Footnotes

Home and Haylor

Exile is Not Fiction

This is Me Trying Main Theory (Lyrical & Historical Haylor Parallels)

August and One Direction’s Summer Love Parallels

Interpreting Taylor's Interview (Ships passing in the night could be referring to Jaylor & Hamille)

This is Me Trying Theory--Alternately Why it Could Be Harry's Perspective

Haylor at the Lake District in 2012 (Windmere)

The Lakes, Hoax, and Haylor

Why The Lakes Has a Good Chance of Being Haylor

Taylor’s Response to TBSL

Exile is About Jealous Harry at the 2015 BBMAs, Response to Woman

Two Ghosts x August Parallel

Betty x FTDT Parallel

So it Goes x The 1 Parallel

Every Song on folklore About Harry

Exile is also a Response to MMITH (Proof Haylor Broke Up in a Hallway?)

Illicit Affairs is About Haylor

Taylor Mimicking Harry’s Falling Music Video for Cardigan

Taylor Indirectly Apologizing for Calvin (The 1)

My Theory on How the Teenage Love Triangle Parallels Haylor (James vs James Dean)

Falling x Cardigan GIFs (omg)

Cardigan lyrical parallel with Olivia (HS) and Clean (TS)

Cardigan Referencing Haylor Park Outing (High Line, NYC)

More Cardigan x 1989 References

Mirrorball is Taylor’s Response to Sign of the Times

1989

You Are in Love is About Haylor (Photographical Evidence)

part one , addition to part one

Taylor Referencing OOTW in her Maid of Honour Speech

Proof Haylor was Together in 2014

Taylor Talking About Harry Being the Person She’d Expect to Interrupt Her Wedding

Taylor Wearing Harry’s Shirt (2014)

Haylor Secretly Together for T’s 24th Birthday and into 2014

Harry’s Post Indicating their Reunion on Same Day ‘This Love’ Was Written

Picture of H+T at VSFS 2014 Afterparty (Taylor performed Style)

At 3:12 of OOTW MV, Taylor Wears Harry’s Initials on the Side of Her Wrist

Haylor After Meeting At Caleb Followill’s Bday Party (2015)

How You Get the Girl is About How Harry Got Taylor Back

Miscellaneous (1D, Lover, Fine Line, etc.):

Pretty In-Depth Analysis on WITW and Haylor Songs from Fine Line (with pics XD)

Why Walking in the Wind is About Taylor (With Photographical Evidence)

Common Sense on if Haylor Was Together

Why Afterglow, Fine Line, FTDT, etc. Are Haylor AF

Why ‘Sign of the Times’ + Its MV May Be Haylor

Why Golden Parallels the IKYWT MV (the music video’s monologue) and why the song is about Taylor

Explanation on Why Riptide is Significant to Haylor + Sweet Disposition

Furious Love at First Glance

Two Ghosts Unreleased MV

Olivia is About Taylor

For Those Who Live Under the Delusion Haylor Was for PR to Feel Better About Themselves

Short Fan Edit of Haylor Moments (Taylor talks about Harry)

Another Fan Edit of Haylor Moments (All You Had to Do Was Stay)

Anne Twist Posts a Cover of Cornelia Street (2020) Fun Fact: she still has a picture of Gemma, her, and Taylor’s sock clad feet on December of 2012 on her Instagram.

Early Days

List of Videos on Their Relationship Timeline (up to 2017)

Harry Looking for Taylor at Jingle Ball

Harry Staring Shamelessly at Taylor’s Ass

Harry Touching Taylor’s Arm in Front of Paparazzi

Harry’s Multiple Posts About Taylor Being His ‘Winding Wheel’ Decoded

Lyrical Parallels in their Music

The Last Time & Where Do Broken Hearts Go

Clean & Olivia

Wonderland & FTDT

Afterglow x Fine Line Parallel

From the Dining Table

@taylorswift

Also: check my haylor tag. It fills up with content I don’t always put on here :)

#will update #haylor #taylor swift #taylurking #1989 #folklore

[thgreatestblue]

you're alive (in my head)

➜ pairing: sanemi shinazugawa x gn!reader ➜ warnings: angst, mention of dead character, manga spoilers, fluff. ➜ words: 7.6k ➜ a/n: i had the idea for this fic while listening to marjorie by taylor swift. it’s such a beautiful and touching song, i definitely recommend it. this one turned out quite big but anyway, happy holidays! ➜ ao3

summary: The man looks at you again, between white lashes that were still wet from his tears. He was a broken man whose pieces you didn't know how to put it back together. A puzzle you found yourself staring at without any clue of what form it should shape. It doesn't mean you weren't going to try anyway.

I.  

The piano would always call your name at the old restaurant your parents owned. It was an old and ugly thing; battered through time, but it would make the same wonderful sounds your grandmother used to do when playing it. That’s how you learned how to play in the first place. And how the tradition of having a musician in the family kept going, much for your parents' disdain.

You worked at your parents’ restaurant as a waitress. It was a family legacy you didn't quite like; working at the old restaurant for the rest of your life was not what you had in mind while growing up. It wasnt that you didn't like cooking and talking with strangers — it was quite a pleasant interaction that you had refined throughout the years. 

However, you wanted bigger things for your life. That’s why playing piano and writing songs were something you would always look forward to when the restaurant wasn't full. At some point, people started to demand to see you play, asking when they would hear your songs again; and that was enough to put a little bit of confidence inside your very cowardly heart. 

Each time you played, slender fingers touching keys like they were made for it; it would always take you to another place, one that you didn't need to step down the stage and go back to real life. Your mother once told you and your grandmother were too alike, and even though she meant it as a bad thing, you held onto that as the best compliment you had ever received.

Tonight, you were too nervous and focused on playing a song that you had written for your long-passed grandmother; it had taken an entire month to come up with lyrics and a melody that felt just like her. After all, it was her birthday. There were so many things you wished you had said, you wished you had done. But instead of mourning, you decided to pour your feelings into a song — it’s been 5 years already, all the wounds that were open had already healed, but that didn't mean they didn't itch from time to time. 

As you sit down on the worn out bench, the floor of the improvised stage cracks under your feet. Your father had built for you after realizing that you weren't going to stop playing it, even if he put the piano outside in the rain. Your mother had convinced him, after all, you were still doing your job and the customers liked to hear live music, there was no hurt in letting you play. 

You can feel eyes on you already; there was always an expectation every time you appeared to play the piano, and you would always try to meet them. Always staying up till late, trying to come up with new lyrics, trying new sounds. Even though your life was pretty boring, you still managed to write about interesting elements; situations you could only imagine, like living a fancy life, or loving someone. 

While you arrange the papers that you had written the song on the piano’s rack — not that you needed, it was just to put your mind at ease, that you weren't going to screw this up — you take a long look at the crowd; most of them still eating and talking to each other. You knew their attention would only fall on you when you started playing. 

However, there was someone looking directly at you. You knew that face all too well by now; it was impossible to miss the hair as white as the driven snow, or the scars that crossed his face that would make many people shrink away, scared by the intimidating aura he carried with him. However, you knew it wasn't the case; his eyes — even though you didn't have the courage to stare for too long — were gentle.

The man would come to the restaurant every now and then. Your cousin who worked at the bar, would always try to talk to him, but the man would always be short and sharp; preferring paying attention to his food, and mostly to alcohol which he would drink until it was time to close.

It wasn’t something unreal, since there were a lot of people who did the same. But what made him so different was that every time someone would come closer without warming, he would snap, always on guard. It reminded you of your grandfather, that would always carry with himself a knife; after a long life battling in the countryside, he never forgot the things he saw.

You offer him a tiny smile; despite not knowing the man — not even his name — you still wanted him to feel at ease in the restaurant, everyone was more than welcomed at this tiny place that your grandfather had fought so hard to build. 

Speaking of each, was nowhere to be seen. You weren't sad that he was going to miss your first performance of the song since you two wrote it together. He was almost tired of listening to you go back and forth, memorizing until it was carved on your mind like a detailed wooden piece. Besides, you were sure he was at her grave now, making her some company on this special day. 

The man doesn’t turn away, nor return the smile, which is fine to you. At least he didn't completely ignore your presence, being the complete mystery he was, you felt lucky that he had come to watch you play. 

Taking a deep breath, your fingers flew over the keys with ease; it was almost like a second nature by now, almost as easy as breathing. It had taken you some time to learn, to understand how the structure of the piano worked and how you could turn separate notes into a song. Your grandmother was patient enough to teach you the basics; to teach the same thing over and over until you had printed on your mind like a tattoo. 

The song was quite easy to play, you chose not to do something so out of your comfort zone because you knew your emotions were going to take over once you started to sing. The lyric had you and your grandfather crying once it was finished. But he didn't seem sad  — not entirely — he smiled and hugged you, saying that wherever she was, she was proud; and you believed in his words with all your heart.

Your voice trembles in a few parts, but nothing that would mess with the entire song. It only added more intensity and weight onto your words. Most people that frequented the restaurant knew about her, so it wasn’t something coming out of the blue - they understood the feeling behind it. And you are glad that you could remember your grandmother the way she always loved: playing the piano. 

As you played the last notes, the small crowd of the restaurant applauded your performance, a sound that made your heart jump in anticipation; it was the best reward you could ever receive. You notice that some people were weeping away their tears while you bow in gratitude for their attention. 

Stepping down from the makeshift stage, your mother gives you a hug, she wasn't good with words but you knew she was pleased with the performance. Although, before you could say anything, she shoves an apron in your direction, motioning towards a table that had a couple waiting to order. You shake your head in disbelief, but takes it anyway and starts to get ready to work.

The night goes by in a blink of an eye, there were more people than you were used to. You highly suspected it was because there was a festival coming up in the city in a few weeks, and many people came to see the fireworks. You swing among the tables; dividing your attention between taking orders and thanking the compliments and praises people would throw at you as you walked by. You took each one of them and put close to your heart — they were enough, for now. 

When your father decides to close the restaurant, you're more than tired. Even though in your mind the night went by in a flash; your bones were screaming because of the constant walking and talking. It was good for business, but not for you. Your father was a proud man that didn't accept outside people working in his restaurant, so you had to endure the amount of work and hope that the next day you were fully recharged. 

The trash of the day is by the door and by the looks of it, no one is going to take it out. You glance at your cousin but he immediately shakes his head, showing that he was still cleaning the glasses from the bar. You sigh loudly, getting up from the chair you were comfortably seated in. 

Grabbing the two huge bags, you open the door with your foot. A breath of fresh air hits your face — it smells like rain and grass — it's cold against your skin. You didn't notice the rain had come and gone, too absorbed in your job to pay attention; although you were content since you liked how the earth smelled after it.

You walk to the alleway right beside the restaurant, the huge bins still wet with a few raindrops. As you throw the trash inside, something; no, someone catches your attention from the corner of your eyes.

How fast you recognized the white hair was something to worry about another time, pushing down the thoughts that were starting to rise in your mind to take a better look at him. 

The man was seated against the wall, with his arms on his knees and a bottle of alcohol still hanging from his hand. His head was dropped into his chest, and for a moment you thought he was sleeping. You feel your heart spiking up with anticipation, your hands clench and unclench, million thoughts swing around your mind but you can't hear any of them. Against your better judgement, you start to approach him, making sure your feet make enough noise to announce your arrival.

He probably sensed that you were approaching because you notice how his body jerks slightly, slowly raising his head to look up at you. And your heart sinks in your chest as you catch a glimpse of his eyes, red and watery, some tears traveling his face down his cheeks to his chin. 

“Are you okay?“ You ask out of habit, because of course he wasn't. A man with a bottle of alcohol seated against a dark alley definitely wasn't doing fine. You want to slap yourself as soon as the words come out of your mouth.

“That song…” He starts, his voice is hoarse, barely audible. As if he had screamed the entire night at the top of his lungs. “Was really beautiful.”

“Thank you,” You answer, not knowing what else to say. 

There was a growing feeling on your chest, one you couldn't ignore when seeing the man in such a miserable state. You didn't consider yourself an altruistic person, that would run to help people wherever they had a problem. In fact, your mother once said that you were a little bit too cold when outside of your comfort zone that was music. 

However, contradicting everything you thought you were, you found yourself stepping closer to the man. Since it had rained almost all night, the ground was still wet, and you could see his trousers were wet in a few spots. The place he had chosen to sit wasn't the best either, with a huge puddle right next to his feet.

And again, against your better judgment, you slowly kneel next to him. He didn't flinch nor made any movement that would be a red flag for you to step away. Rather, he looks away and stares at the bottle he was holding, lips trembling; You didn't know if it was because of the cold or because he had been crying. 

“Fuck...” He curses in a whisper, rubbing his face, a few fugitive tears falling down the prison of his eyes “...It’s been a year.”

You couldn't think of anything to say to the man. Comforting people had always been hard since there wasn't anything you could say that would make them feel better — you knew that by experience. He was clearly in pain and going through something you could only imagine. As much as you wanted to help, to offer at least some comfort, you didn’t want to prey and ask unwelcomed questions to a stranger that was in such agony.

“I wrote that song for my grandmother.” It's the first thing that comes to your mind; you heard once that sometimes, changing the subject would make the person focus on other things instead of what is causing distress to them, it was worth a shot, “Everytime I sing it’s like she’s with me.”

The man looks at you again, between white lashes that were still wet from his tears. He was a broken man whose pieces you didn't know how to put it back together. A puzzle you found yourself staring at without any clue of what form it should shape. it doesn't mean you weren't going to try anyway.

"How?" His voice breaks under the pale shine of the moon. You could see his hands trembling, an urge to hold it almost takes over your body, but you stop yourself before you could regret. Instead, you put your hand on his shoulder. 

Men are proud creatures. You knew he would probably avoid you after tonight, being seen as vulnerable was the last thing they wanted. Something you never understood why, because right now, the only thing you felt was that this man was human, that he had feelings and regrets. Most men you had the unpleasant chance to meet at the restaurant were not even half of the man in front of you. 

“Well, she taught me how to play the piano.” You say with a smile growing on your face. The memory was still fresh on your mind, one that you kept revisiting when the longing was too strong. “It’s a small part of her that I made into mine.”

He looks at you, eyes still red from the tears that dared to escape, but you pretend that you didn't see them, preferring to ignore his state for his pride. He opens his mouth to say something but falls in silence again. You still have your hand on his shoulder, and you squeeze it a little bit before getting up. Your knees were wet but it wasn't a problem.

“Sometimes, we need to fully accept that it happened in order to move on.” You say, looking in his eyes. You didn't know what he was going through, but if it was something like what you felt when your grandmother passed away, then you could say one thing or two. “It took me some time, now it’s bittersweet instead of full on bitter.”

You smile at him again, waving goodbye as you make your way back to the restaurant. You don't dare to look back as you turn the corner, but you can feel his eyes following you until you disappeared from his view.

II.

The next morning, you wake up sensing something strange. There’s a peculiar feeling settling on your stomach as you lay on your bed staring at the ceiling, thinking about the man from last night. After coming back home, it took you some time to finally get some sleep, tossing and turning around; his face still playing on your mind like your favorite song. 

Why was yesterday any different from the other times you had seen him? 

He was a common client at the restaurant; you had seen him stumbling on his feet when going home more than once. Had even exchanged a few words while filling his cup or bringing something he had ordered. Not that he had paid any attention to you, but it was small victories that you collected like seashells. 

You knew the answer, just didn't want to admit. Because you are itching to know him better since the first time you laid your eyes on him. You’re a curious brat who can’t stop interfering in others' lives. Because you had seen him vulnerable. 

You sigh loudly, rubbing your hands on your face. Fine, you could debate later why you were ceaselessly thinking about a complete stranger — who probably had a heavy amount of baggage and definitely didn't need someone looking at the content inside and making a mess of it. 

After taking a quick bath, you head over to the first floor; despite still being morning, there were a lot of things to get done before opening the restaurant again in the afternoon. You didn't completely dislike the routine, but after repeating the same thing everyday, things tend to get blurry and more often than not, boring. 

The only thing that took you out of the endless circles of cleaning and cooking was when you were seated on the piano bench; when you were allowed to travel to other places and write about whatever you wanted. However, today was an exception for the rule; your eyes instantly go wide as you watch the white haired man come through the door.  

“We are closed, didn't you see the sign?” Your mother screams from the counter next to the door. 

She has a dishcloth over her shoulder; her apron had a few stains of water and you suspected she was washing the rest of the dishes from yesterday. The man stops at the entrance, blinking a few times, mouth open midway but no sound coming from it. And you have to suppress the teasing grin that threatens to appear on your face. 

“It’s okay mother, I invited him,” You say without thinking twice. Not quite sure where the burst of courage came from. 

Both of them quickly turn their heads in your direction and stare at you. Your mother frowning in disbelief — it reminds you of the times you were still bold enough to voice your desire to become a singer, a silly dream that was erased throughout the years. The man had his mouth slightly open, the look of surprise on his face is almost comical. 

Your mother gives you a suspicious look, hesitating for a brief moment before turning around to go back to the kitchen; mumbling something under her breath between what are they thinking? and well at least their are talking with someone. You roll your eyes and decide to ignore the last part. 

Taking a better look at him in the morning light, you realize how his eyelashes were long, longer than any eyelashes you’ve ever seen; they’re pretty. But what would always hold your attention was his eyes; even though he wasn't looking at you, they were a different shade of purple, and you could stay staring at them for hours because that color was so unique.

“I…” He starts, looking anywhere but you. There’s a brief pause but you don't push the conversation, waiting for him to continue. He cleans his throat and tries again, “I wanted to apologize.”

Your brows arch in curiosity; that was the last thing you expected him to say, leaving you speechless. You didn’t understand. Well, it wasn't that you didn't completely understand what he meant by that, you were just caught by surprise. You could swear he would avoid you like the plague and pretend that nothing happened.

He runs his hand through his hair, seeming nervous with the interaction. You watch the movement, noticing how he had more scars running down his arms, and probably down his chest too. Where did he get that many? Your grandfather had one on his knee, but that was all the marks he had to remind him of the bad days in the countryside - one story that he would tell you from time to time. This man must have a lot of them if his body was covered in so many. 

“For the other night, I mean.”

“Ah,” Returning from your train of thought that often had you spacing out; you offer him a genuine smile, “You don’t need to apologize.”

“Fuck, this is embarring,” He drops his hands at his sides, clenching and unclenching his hands, “Look, I drank a lot and…”

“I said, you don’t need to apologize,” You cut him short, saving him from the embarrassment that would be telling a story he clearly didn't want to revisit; to a stranger above everything else. As much as you wanted to know, you weren't in the position to demand anything from him, “I understand.”

Because you really did. Although you dealt with your grandmother’s death in a different way, since you were still a child when everything happened, you could still remember the hurt and the grief. People deal with problems in a variety of ways, it wasn't up to you to judge. He finally looks at you, mouth opening to say something, but you wave your hand, stopping him from saying anything else

“Are you hungry?” You ask, looking at the clock. it was half past 9. There were still some hours until lunch. If he was here at this time, he probably didn't eat anything since yesterday, the man needed something on his stomach after drinking so much. “My father just finished baking some bread, come eat with me.”

And again, you don't know where the burst of courage to invite him to your house, to your table came from, but you accepted it anyway. You had always been afraid of taking the first step since your parents discouraged you every time you tried. After some time you stopped dreaming about becoming a singer, or playing for a huge crowd. However, there was something about the man that made you want to act, to do something. 

He looks surprised by the invitation, and you don’t blame him. it was a surprise for you as well. Since when did you become so bold? You would blame the curiosity that lingered every time you looked at his face; the odd feeling growing on your chest every time you thought about his beautiful purple eyes. 

“Sanemi…“ Looking away, he rubs his neck. “My name is Shinazugawa Sanemi.”

“Oh, right!“ You can help but laugh, clapping your hands together. Such a simple step that you two had totally overlooked, jumping straight to the heavy stuff, “Y/N, nice to meet you!”

You offer your hand, and after a moment of hesitation, he holds your hand and squeezes it gently. It’s a firm grip and you can feel how calloused and rough his skin truly is. You don't mind though. 

“Come,” Before Sanemi could back off and rethink the invitation; you pull him towards the kitchen, hand still holding his’ in a tight grip, “My father just took it out of the oven, it’s better when it's still hot.”

He stumbles a little over his own feet, mumbling something underneath his breath. But follows you inside nevertheless; not letting go of your hand either.

III.

When a song is created, it starts with different types of attempts; you could try changing the rhythm first. Then the words; should they rhyme? should they be separated in the chorus? It’s a long process until you reach the final piece; and it’s even a longer process to make something you’re proud of. 

It’s the same process with your relationship with Sanemi. It started with only a few words thrown on the paper, none of them making any sense together. It took you some time to figure it out, how to use those words to create something nice. 

The words would come to your mind every time he showed up at the restaurant; every time he talked to you and you could have a glimpse inside his mind. It was a tough task, to say the least. However, your heart has had a change of weather lately; rather than staying inside because of the rain; it started to go out, looking for the sun. 

Sanemi would always appear if you invited him, especially on the days when you played the piano. He had told you once that he liked to hear you playing it, and since then you tried your best to come up with more songs and more rhythms. It was almost as if an imaginary dam had been breached inside your brain, and now each night you poured your heart into the paper, there were never enough words to describe everything you wanted to say. So you played.

His presence started to become more familiar; your mother knew his name, your father did too. Even your cousin now would talk to him without receiving a death glare. It was rather amusing seeing them interact because Sanemi was still, well, Sanemi. Although he would slip every now and then, he would always come back to his feet. It was a slow progress, one that you were more than lucky to see it happening. 

You never mentioned that you were worried about his habits, what people did with their lives was up to them. However, after that night, you were always looking out for him. Talking and keeping him company when you weren't too busy with other customers. In the beginning he had told you to fuck off; but there wasn't any real threat on his voice, so of course you didn't. 

You noticed, then, that he had stopped coming back home with a bottle of alcohol; had stopped getting angry at the other customers who would  bump into him sometimes. Had a more friendly voice when talking to your cousin, and didn’t fall asleep on the counter with a glass still full. It was those small details that would make your heart warm, spring finally arriving after a long winter. 

“Did you drink tonight?” You ask, leaning over the counter. He was the last client for the night. 

The restaurant was closing; what once was relief, now would leave you feeling gloomy because you had to say goodbye to your favorite person. You never knew when Sanemi would come back. He never told you exactly what his job was; or where he worked. So you had only blank spaces that you had to fill in with your own imagination. You were up for the challenge, anyway.

“No,” He smiles at you, a sight you could never get tired of. Sanemi had a different type of beauty; it was endearing to watch. “I decided to stop.”

You can help but open a huge smile after hearing that, “That’s good news!” 

It was the little details that transformed him into someone special; not only his beauty was captivating but the way he carried himself, tall and strong. You liked to hear whatever he had to say because it was always interesting. It wasn't half assed excuses or lies most people — most men — would tell you on a daily basis. 

There was something else about him; about his scars; about his mysterious past that you felt drawn to, like a fly is drawn to the light. You could only hope one day you would be able to sail on those mysterious waters without sinking after the first storm. 

“Well, it’s time to close...” An idea crosses your mind, and like everything you have been doing lately, you don't give a second thought, you don't hesitate. It flows out of your mouth as easily as breathing “But why don’t you come sit with me before you go?”

Sanemi raises a brow at you, and you laugh at his hesitation. Without wasting any more time, you grab his muscular arm and pull him off of the bar stool, heading to the stage. You often find yourself taking the first step yet again; it was rare the times where he would seek out for you. In the beginning, it would make you second doubt everything you said or did, worrying that he didn't like you. 

However, it wasn't that he didn't like you, he just didn't know what to do; because everytime you pulled him to do something or talked to him, he would gladly follow, never complaining — unless you asked him to help clean the restaurant, that he would complain, a lot.

“Have you ever played piano before?” The floor of the stage creaks under your steps, not used to have more than one person standing over it. You sit down on the bench, tapping the small space beside you. It was tight, but it would work. 

“No…” Sanemi stands behind the bench with his arms crossed over his chest, still unsure about what you were doing. You angrily tap the space beside you as a warning. 

He lets out a loud sigh before coming to sit next to you - you knew he only did that to appear tough; it was too easy to see that he wasn't really annoyed. Sitting by your side, his thigh completely touching yours sends a shiver down your spine; instantly coloring red your cheeks, and you have to shut down the thoughts that were starting to rise in the back of your mind. 

“My grandmother used to say that sometimes music is even more powerful than words,” You say, fingers hovering over the keys. If there was one thing that you would never stop talking about it, it was her. Somehow it felt like she was still alive, remembering her so tenderly. “She would just play away her thoughts and feelings, it was fascinating to watch.”

When Sanemi looks at you, there's a strange fog in his eyes, clouding his view; as if the weather had closed and it was about to rain. It stirs something inside you, an odd feeling that you knew all too well. Sometimes you would catch him staring at nothing, with the same clouded stare. 

You knew that something had happened in the past and he was still grieving over it, not only he had told you that night, but every time you talked about your grandmother he would react the same way. You could only hope that your company was enough to distract him from those feelings. 

“Why don’t you give it a try?” You offer, showing him the keyboard, for now this would have to be enough. 

“Me?” His voice has a hint of hesitance. You nod, encouraging him with a smile and a tap on his shoulder.  

He looks at you, to the piano, then to you again. It was amusing to watch, a grown up man afraid of touching simple keys. Although, to be very honest, when you started playing you would feel completely intimidated with the size and the sounds it would make. But what was most intimidating was the amount of work you had to put to actually learn how to play by yourself. It took you some years to finally overcome that fear of failure before jumping head first. 

He touches one key, but there’s almost no sound coming from it since he didn't put too much force on it; when you hesitate to touch the keys is when you first start to fail. He tries again, but this time, his finger slips and touches another key, the combination has you two flinching. You bite your lips as he continues to touch random keys; making a rather interesting combination. 

“You’re laughing.” 

“I’m not laughing.”

Sanemi sighs and retreats his hand, looking defeated, “I’m not made for this shit.”

“Oh shut up, here.” 

You gently hold his hand; skin warm under your touch. He doesn't complain about your boldness, so you keep going, putting his hand over the keyboard again, lightly tapping his index finger over a key so he would play the note. It’s a slow process, having to move at a pace that would allow the movement, but the opportunity of holding his hand is worth every minute. In the end, you two played the beginning of an easy song.

“See, it’s not that hard,” You say, letting go of his hand. “It’s all about feeling it.” Your face is warm for some reason. And Sanemi is still staring at the piano, and you could swear that his ears are a little bit red. 

“I’m shit at feelings,” He confesses, rubbing his neck. 

Well, you couldn't argue with that. He definitely semeed like someone who would rather show than say, but that’s the beauty in people right? Learning with mistakes, growing with the years as you grasp the nuances of reality and the world around you. 

“We all have to start from somewhere, right?” You smile at him, bumping his shoulder. 

Sanemi laughs, and doesn't miss the opportunity to bump your shoulder slightly harder, making you almost fall off the bench. He laughs even harder when you try to push him off but don't get even close to move a single inch of his body. However, you wouldn't give up so easily.

The small fight ends when Sanemi accidentally hits his elbow on the keyboard, making a loud noise that has you two jumping and your mother appearing from the kitchen yelling that it's already too late. The smirk on his face doesn't go away though. 

IV.

The festival was even prettier this year. The paper lamps shining on top of the buildings give an ethereal feeling to the scenario; the sakura’s trees were adorned with ribbons of all colors, petals flying around in a beautiful dance while the night was captured by the anticipation for the fireworks. However, that wasn't the only reason. 

Seated next to you, was Sanemi. His hair reflecting the colored lights from the lamps only made him radiate beauty; they danced across the white canvas. His face looked so peaceful, there was not a single wrinkle on his forehead as he ate the food you had prepared for the night. For a moment you forgot he was really there with you. It all seemed part of a dream, but not even your dreams could come up with such a dazzling view. 

To say that you were surprised when he invited you to come with him to the festival, was an understatement. It took you so long to process the information that he thought you had denied; and it was almost a battle to make him believe that yes, you really wanted to go with him, and no, you only hesitated because you were caught off guard. Truth be told, a few days had passed and you still couldn't believe. Not even now, when you were looking at him from the corner of your eyes. 

It also took you long hours of begging and whining for him to tell you that his favorite food was ohagi. You couldn't believe how silly he acted when he told you; almost as a kid, stomping his feet and all. You tried your best not to laugh, but failed miserably, which only made him even more embarrassed. When he left, you had your hair all messy but the smile on your face didn't disappear for the rest of the night.

You had prepared everything in anticipation, counting the days and hours to this moment. Your father gave you a day off only for this occasion — he would never admit, but after the white haired man had helped fix a few things in the restaurant, lending a hand whenever they needed, he came to like Sanemi. 

Your mother happily helped you prepare the ohagi and a few other things for the festival. Even suggested buying new clothes for you, which you denied. It wasn't a date, at least he didn't say it was. You were only keeping him company, right? Oh hell, who were you trying to fool? You wanted this to be a date so bad. 

The spot Sanemi chose was near the lake. As you looked around you noticed that there were reflections of the lamps on the water; like an infinite mirror, you could find stars in the sky or down there on earth, even in Sanemi's eyes. An infinity of beauty surrendering you, bouncing around like shooting stars; all you could do was close your eyes and make a wish. 

“I don't know, just…” You trailed off, thinking about his question, “You only die when you are forgotten, memories can keep you alive throughout the decades, don't you think?”

“You sound awfully like someone I know.” He throws his head back with a smirk on his face, drinking the sake.

He had promised it was only because of the festival, just for fun. And you didn't need him to promise that he wasn't drinking anymore, because you believed. You trusted him enough to know that he knew what he was doing. Also, you had seen his journey, there was no need to be reassured when you knew by heart. 

“Hmm, I bet they are wise and smart!” The sake tastes strong on your mouth, but you didn't mind. It wasn't often that you drank, but the feeling was nice and very welcomed.

“No, actually he’s a really annoying brat,” Sanemi chuckles, “But you aren't annoying.” He confesses, and if it wasn't too dark you could see a hint of red on his cheeks. 

“But am i still a brat?” You raise a brow at his direction. The smirk on his face tells you everything.

“Don't you dare finish that sentence or else there's no ohagi for you anymore.” You try narrowing your eyes as a threat, but the tiny smile tugging on the corner of your lips is enough to give you away. 

Sanemi’s smirk is still visible even in the low light, it has become a trademark of him by now, the curl on the corner of his lips, the chuckles that would follow after. And you would take notes of each of his mannerisms, remember every word, pay attention to what he liked and mostly what made him angry. Even if he wasn't someone that talked about himself in general, you had your own way to find out about him.

He picks another ohagi, and you watch him as he takes a bite, humming in delight. It makes your heart warm, your skills with cooking finally paying off for something else rather than just for the restaurant. Watching him eat your food and liking it hits you differently than anything else. You take another sip of sake, the drink burning a little as it goes down your throat is a welcomed feeling. 

“Genya,” Sanemi suddenly says. You look at him confused; the smirk long gone, replaced by the same melancholy look that would everytime cloud his eyes, “It was my little brother’s name.” He explains.

You look down at your hands holding the cup, contemplating. It was the first time Sanemi ever spoke about his family, his past. Even knowing him for quite some time now, even after becoming his friend, building a relationship with him from scratch and turning into something you can’t see yourself without it; his past was never brought up. Moreover, you truly believe he was a good man, there was no need to open old wounds only to satisfy your curiosity. 

“You don’t need to talk about it if you don’t want to,” You immediately ensure him, touching his shoulder. 

The last thing you wanted was him feeling like he owed you an explanation. Yes, you wanted to know, of course you did. Because you wanted to help, pick his pieces and put them back together, Sanemi wasn't a broken man, not entirely - he still had a bright and beautiful light inside him, it was only obscured with a few debris, leftover of a hurricane that he never recovered from. 

“It’s fine…” He’s gazing at the lake, mind elsewhere, far from reality, “I feel like I’ve been mourning for so long that I can't think about anything else.”

It breaks your heart seeing him like this, even harder than the night when you found him crying in the alleway. Because now you knew him, his name, his personality, his favorite food. Because now you held him so close to your heart that you were afraid of crushing it. Because you cared, more than anything. 

“But that’s why we struggle. It never goes away,” Your hand shifts from his shoulder, running down his back, caressing with small movements. Almost embracing him with one arm. “It only gets easier.” 

Sanemi goes quiet after that, closing his eyes. But you keep rubbing his back, face so close to his that you could see the difference of the skin that healed and formed his scars; the texture is rougher in contrast with the rest of his face. 

“Were you there? When it happened?” You find yourself asking. There are sirens going off in your head. Yet, you can’t stop. It’s an intense feeling of yearning. If you could only understand, just a little bit; having a glimpse of what the man was so hurt by it, then maybe you could help put his former self back together. That’s all you wanted. 

“Yes,” His voice breaks a little, words caught on his throat. He squeezes his eyes, closing his hands in a fist. However, he doesn't flinch nor say anything. So, instead of retreating, you put your other hand on his arm, the other still gently caressing his back. 

“He… He said I was the sweetest person in the world,” He whispers, placing his hand over yours, “Shit, I wasn’t even a good brother, I treated him badly, I pushed him away. I don’t deserve his words.”

“But he forgave you in the end,” You quickly say before he would go down on a spiraling hate towards himself, words flooding your mouth before you could stop, “He could have said anything, and he chose to let you know that you were still loved by him, even after everything.” 

You didn't know what everything actually meant, there were still so many blank spaces that needed to be filled for you to fully understand the man beside you. However, you knew one thing: blaming yourself was so much easier than forgiving. 

“Fuck… I don’t,” He tries, the grip in your hand a little bit too tight, but you don't pay any attention. All your focus was on his expression, his words, “I wanted him to be happy, to get married and have a family. And now…”

“Sanemi…” The look on his face is devastating, defeated. 

He had probably held all these emotions for so long, all these words of regret and shame, kept inside his heart and let it loose on his mind; torturously haunting him at each step he took. Now you understood why he had resorted to alcohol. The pain in his words touches your heart, making it quiver under it. 

“Please, don't blame yourself. We can't choose which path people are going to take, it’s out of our hands.”

Silence falls between you two, but it isn't uncomfortable. And you are more than happy to sit there and hold him close, trying your best to show through actions how much you cared about him. If your words couldn't do the job, at least you hoped your touch was reassuring him. At least, it worked for you — every time your grandfather patted your head was enough to remember to keep going, even when the longing was too much. 

“You deserve to be happy, Sanemi,” There were so many things you wanted to say, but you couldn't find the right words, “Your brother wouldn’t want any less, right?”

You hold his calloused hands in your small ones, slender fingers touching and tracing his scars, feeling the roughness of it. Since the first time you saw him, It had awakened something inside you; something about his hands, arms, his chest, his face, drawn with a pattern that made him so fascinating and interesting, traced with stories of pain and joy; a map that you couldn't help but want to explore every inch of it. 

“This world is cold and we are desperately fighting to be heard, to be seen.” Because it was the truth. Every day when you open your eyes; every day when you close them; each day is a small battle you need to live through. “Being alone in a place like this it’s just cruel.”

You don't know what possessed you at the moment, but when you realized, your lips had touched his skin, planting a gentle kiss, overflowed with affection, on his fingers. 

“That’s why I’ll be here for you, whenever you need me.”

The first firework explodes behind Sanemi, lighting him in an endearing aura that takes your breath away. Although, you can’t hear them; your heartbeat is even louder in your ears. His face is so close to yours that you can feel his warm breath against your skin. His hand comes to rest on your chin, squeezing slightly. He tilts your head in his direction and you close your eyes. 

Then, he kisses you.

#sanemi shinazugawa #sanemi x reader #demon slayer #kimetsu no yaiba #kny x reader #kny #sometimes i write

[strawberrielarrie]

Music Industry Stunts and why they happen

Stunts are a big part of the music industry, you may not know it, but they are.  The purpose of stunts is to push a certain narrative to the general public. Now this could mean many different things, PR relationship; coverups; or to peak the publics interest. Why? You may ask, why would the artist do this, why wouldn’t they just be truthful? Well, many don’t have a choice, the music industry is a place that I wish no one would have to be in, it is a cruel and awful place to be if you don’t know how to get around it, or if you don’t have the correct connections. In the past (and still now), many big brand music industries, such as Sony Music and Warner Music have controlled artists immensely.

George Michael

As a legend in the music industry, George Michael is a well-known name in the average household. From his time in the hit duo “Wham!”, Michael’s music was distributed through CBS, but in 1987 Sony took over and that’s when things went downhill. Michael reveled in the popularity of his hit album “Faith” in 1987, and so did Sony, because he was earning them money.

But that ended quickly with the news of his next album “Listen Without Prejudice” in 1990, Sony refused to promote the album and appear in the music videos for it. Michael in turn, disputed his contract with Sony, but he could not do close to anything, because Sony possessed the power of approval over everything that he put out. Meaning, George Michael could not release music without it going through the board of Sony, and if he did, he could get sued and fired.

(Sony is a whole other world of fucked up, they fucked MJ up so badly, Sony Kills)

During this whole time, George came clean, saying that the board of Sony, used many different homophobic slurs against him, and wouldn’t let him release any music that seemed to allude to the fact that he was gay.

George Michael brought Sony to court in 1993, claiming that between 1987-1992, he had made worldwide profits of £7.35 million ($9.8 million) compared to Sony making £52.45 million ($70 million). Ultimately, the case lasted till June 1994, and Michael had lost, the judge claiming that it was fair. Michael retaliated saying how Sony is “Professional Slavery”.

Suzanne Kessler, Entertainment attorney at Bone McAllester Norton and former in-house attorney at A&M Records and Universal Music Group stated, “There are two sides to this tale,” she said. “The music business is a relationship business, and he was uneasy with what was happening. A label often wants an artist to continue to trade on their established brand with the public. But after “Faith” Michael was trying for a new direction, to be taken more seriously as an artist instead of just as a pop star sex symbol.”

This brings me to my next point,

 Closeting in the Industry

(Now I could go on for day about closeting in the music industry, but I will only give you the basis and then I will link another post that goes further in depth.)

Closeting is not a rare thing in the music industry, it in fact happens more than you might think. Many different artists have come forward, saying how their management said they should remain closeted to the general public, in order to maintain the brand that has been established. A popular example of this would be Sam Smith, they were offered multiple times by their management to have a beard. More closeting in the industry comes from Colton Haynes, who has been open about how his management closeted him because he “could not be gay and work in the industry”.

Colton link

Beard: A woman or man who fake dates a person of the LQBTQ+ Community, to hide their real sexual orientation or identity

 The Types of Stunts and Stunt Songs

“Pap Pics”

Stunts are common, we all should know that. From the amount of staged paparazzi pictures and videos that get posted to twitter on the daily it is not surprising that stunts happen. One of the main reasons stunts happen is for publicity, I can tell you now, living in LA for as long as I did, the paparazzi aren’t at every corner just waiting for a celebrity to walk past. They are called to meet at a place where the celebrity is going to be, in order to get pictures. This call is made by the artists management normally, and many times it is done against the artists will.

“Relation-shit”

These types of stunts are the relationship stunts, normally it is two popular celebrities dating to gain publicity for a movie or song that they are doing. A popular reference to this would be Joe Jonas and Demi Lovato, Joe was approached by a head of Disney, who asked him to date, at the time, co-star Demi Lovato. This stunt was to push the new Disney movie that both were starring in, Camp Rock 2: The Final Jam. Now at the time Demi was unaware that Joe was approached to do this, so when Joe and hid dad approached her about it… wow that must have hurt.

Another example of a relation-shit would be Shawmilla. Now before you attack me for this, let’s look at all the facts. Everything that relationship has done has been staged, let’s look at the timeline.

 August 2015

-       the first time they publicly hung out (at the 2015 VMA’s), sparking rumors of them dating

September 2015

-       pictured together at the iHeart Radio Festival, sparking rumors of Camila branching off of Fifth Harmony

November 2015

-       “I Know What You Did Last Summer” was released and performed many different times, Camila was still in Fifth Harmony at the time

June 2016

-       Shawn and Camila win an award for IKWYDLS and accepted together

-       Camilla ultimately starts her solo career

December 2017

-       Shawn is pictured with Hailey Baldwin (Bieber)

February 2018

-       Camila is in a serious relationship with Matthew Hussey, confirmed by a trip to Mexico together

April 2018

-       Shawn and Hailey go to the Met Gala together (Iconic)

December 2018

-       Camila hints at music between her and Shawn on twitter (6 months before Senorita)

https://twitter.com/Camila_Cabello/status/1070381510740598785?s=20

May 2019

-       Matthew and Camila last spotted together, returning from a vacation in Italy

-       Met her family on May 14th

June 20th, 2019

-       Senorita is released, now this had been in the works for over 6 MONTHS, so this was all very planned out

-       On release day, the Senorita music video was also released, which is literally soft porn, I do not know how it is still on the internet, gross

-       But, Camila? Aren’t you still dating Matthew? Why would you release this very VERY touchy music video with Shawn, if you are still dating Matthew?

June 21st, 2019

-       Shawn and Camila in V Magazine, still very touchy

June 26th, 2019

-       Breakup articles about Matthew and Camilla, Weird since he met her family only a month before.

July 3rd, 2019

-       Staged photos of Shawn and Camila out and about

4th  

-       more staged pics

5th

-       Camila at Shawn’s Concert

6th

-       Shawn denies that him and Camila are dating

 https://twitter.com/PopCrave/status/1147700409919778816?s=20

7th  

-       Shawmila in San Francisco all day

12th

-       That god awful making out pics that shook the entire internet

-       More pics in SF

 Ok you get the point, they are pictured together only when one of them has music to promote, In this case its Senorita. Now for more recent proofs of this entire relationship being a sham. Shawn just released an album called “Wonder” and guess what we wonder Shawn? Why do you not post any pictures of Camila until you have an album to promote? And now you have a puppy? Pulling an Elounor are we?

Senorita is a total stunt song to “prove” to the public that they are together.

“Style”

Now this type of stunt gets its name from the queen of stunt songs herself, Ms. Taylor Swift. The notorious song Style, supposedly about “Ex” Harry Styles, is probably one of the most stunty stunt songs I have ever heard. Like come on! “James Dean Daydream look in your eyes” if you didn’t know, here is a short recap on the icon himself James Dean.

Taylor has time and time again written amazing songs, I would be lying if I did not call her one of the greatest lyricists on the 21st century, the woman can write extremely well. So why would she put a nod to James Dean, a famous actor, who was a closeted, RAGING bisexual in a song so clearly about Harry Styles? She knows what she is doing.

Talking more about the “Haylor” stunt, can we please end that? It was a 3-month PR stunt that happened 5 years ago, please just get over it, they never really dated. And to the hardcore Haylor fans, there is no chemistry between them.

Haylor; The Stunt

“I hate you because I’m getting paid to!”

Now I do not go into this one much, but basically it is when you see two artists publicly fighting and releasing diss tracks. A popular example of this would be, Machine Gun Kelley and Eminem, with their songs called “Rap Devil” and “Killshot”. Their “beef” was totally staged to boost views on both sides, its even more prominent because they have the same record label, INTERSCOPE.

Eminem v. MGK

 I will be adding to this the more things happens, but it you have and questions feel free to ask them!

#I cantbelievesispent3daysonthis imsotired imgladadderallexists #Stunts Taylor Swift George Micheal Haylor Larrystylinson James Dean shawnmendes shawn mendes camilacabello harrystyles #harry styles #ihateithere #idontknowhowtagswork

[gaylorlyrics]

the last great american dynasty

Rebekah rode up on the afternoon train, it was sunny

Her saltbox house on the coast took her mind off St. Louis

Rebekah is Rebekah “Betty” Semple West Pierce a sculptor, and philanthropist born on April 17, 1915 in St. Louis. She also composed music, one of many similarities between her and Taylor.

Bill was the heir to the Standard Oil name, and money

Bill refers to William Hale "Bill" Harkness, the grandson of David Harkness who invested with John Rockefeller in Standard Oil. When David died he left what would today be over a billion dollars to Bill’s father, who was also named William Harkness. Eventually Bill inherited what would today be approximately $185M dollars from his father (approx 70% of this wealth was from Standard Oil shares).

And the town said "How did a middle class divorcée do it?"

In 1939 Rebekah married Dickson Pierce, descendent of President Franklin Pierce. However they divorced in 1946, and then in 1947 she married Bill. Her father was a stockbroker, and her grandfather started a trust company - so she wasn’t exactly middle class, but her wealth was significantly less than the wealth of the Harkness family.

The wedding was charming, if a little gauche There's only so far new money goes They picked out a home and called it "Holiday House"

Holiday House was built on Watch Hill in Rhode Island by Mrs. George Grant Snowden who, contrary to the song, named it Holiday House. Seems like this house has been having raucous 4th of July parties for a long time - at least according to this NYTimes article from July 6, 1941:

Their parties were tasteful, if a little loud

The language here mirrors that of the first verse - “the wedding was charming, if a little gauche”.

The doctor had told him to settle down

Bill died in August (interesting!!!!) 1954 of a heart attack - he had also had a heart attack the year prior, but that one was obviously not fatal. He and Rebekah had one child together named Edith who eventually committed suicide at the age of 34. 

It must have been her fault his heart gave out

This line calls attention to how women are frequently blamed for, well, everything. Something that is explored more in mad woman.

And they said "There goes the last great American dynasty" Who knows, if she never showed up what could've been There goes the maddest woman this town has ever seen She had a marvelous time ruining everything

The chorus and the title of this song seems to come from the title of a book about Rebekah called “Blue Blood: How Rebekah Harkness, One of the Richest Women in the World, Destroyed a Great American Family” written by Craig Unger. The from cover of the book reads “The story of Rebekah Harkness and how one of the richest families in the world descended into drugs, madness, suicide, and violence”. [Also, interesting that the background of the cover I found looks a lot like the blue/pink in the Lover cover!]

The chorus also references “mad woman”, another track on folklore. This song subverts the idea of a mad woman. The title and subtitle of Blue Blood use Rebekah as a scapegoat for everything that went wrong, blaming her solely for violence, drugs, mental illness, and loss. It uses several classic, sexist tropes of a gold-digger, a “crazy” woman, and the whore. However, in this song Rebekah is not taking the blame or feeling guilt about what is happening - she is having a marvelous time.

Another interesting thing is changing “great American family” - family is defined as “a group consisting of parents and children living together in a household” - to the word “great American dynasty” - dynasty is defined as “a line of hereditary rulers of a country.” I find this specifically interesting because dynasty, unlike family, acknowledges a long lineage of people and decisions that lead to this outcome, as opposed to placing all the responsibility and blame on Rebekah, who only entered the picture at the tail end of this story. The title of Blue Blood has no accountability for the people who were involved with the dynasty before - framing it as if David Harkness didn’t choose to leave his wealth to his lineage, as if Bill Harkness did not choose to marry Rebekah, and as if the wealth Bill inherited wasn’t already diminished by 81.5% from what the family’s original wealth was (as passed down from David Harkness to Bill’s father).

However, Taylor is changing the narrative here to give Rebekah a more joyful way to be remembered.

Rebekah gave up on the Rhode Island set forever Flew in all the Bitch Pack friends from the city

Rebekah and her fellow debutantes formed a group called the Bitch Pack and were known for causing a scene at parties, doing strip teases on the tables or putting mineral oil in the punch, which acts as a laxative.

Taylor is drawing a parallel here to her famous squad days, when her and her group of girl friends were constantly under fire from the internet/press.

Filled the pool with champagne and swam with the big names

Rumor has it that Rebekah cleaned her pool with Dom Perignon. Being a socialite and one of the richest women in America, she frequently kept high profile/famous/successful company - hence the “big names”. Stories of her involve J.D. Salinger, Alvin Ailey, and Andy Warhol, to name a few. However, swimming in champaign is also a metaphor or the carefree life of the rich and famous - something that she used in This Is Why We Can’t Have Nice Things, from Reputation, where Taylor describes a similar scene:

It was so nice throwing big parties

Jumping to the pool from the balcony 

Everyone swimming in a champagne sea 

And there are no rules when you show up here 

Bass beat rattling the chandelier

Feeling so Gatsby for that whole year

Another interesting tidbit is that the house where The Great Gatsby (1974) was filmed is the Rosecliff Mansion in Rhode Island, about 1 hour away from Holiday House.

And blew through the money on the boys and the ballet

Rebekah married twice more after Bill’s death, once in 1961 and once in 1974. As a life long dancer, she spent the majority of her time and energy founding (in 1964) and developing The Harkness Ballet Foundation, which still exists today as The Harkness Foundation for Dance. As part of this endeavor she also established a ballet training school and the Harkness Theater. She paid for everything for the company, from teachers to housing to plastic surgery. The company went on tour and performed at the White House, although it had a generally negative critical reception. At the peak of the company’s success Rebekah abandoned the project and started a different company

And losing on card game bets with Dalí

Although I couldn’t find anything specifically referencing a card game, Rebekah was good friends with Salvadore Dali. Here they are pictured holding a press conference together.

A portion of Rebekah’s ashes are in a $250,000 urn created by Dali called “The Chalice of Life”. The urn was designed to spin, so that Rebekah could always be dancing.

And they said "There goes the last great American dynasty" Who knows, if she never showed up, what could've been There goes the most shameless woman this town has ever seen She had a marvelous time ruining everything They say she was seen on occasion Pacing the rocks staring out at the midnight sea And in a feud with her neighbor She stole his dog and dyed it key lime green

According to the NYTimes, Rebekah dyed her neighbors cat green 

Fifty years is a long time Holiday House sat quietly on that beach Free of women with madness Their men and bad habits, and then it was bought by me

Weeee the classic Taylor Swift storytelling twist! This is a great flex by Taylor to just casually drop in a reminder that she is a rich woman who has made her own money and can buy whatever she wants. The phrasing of this also let’s us know that the house is no longer free of women (plural, more than one woman) with madness (we’ll hear more about being a mad woman later in the album), their (possessive, something owned or bought) men, and their bad habits (bearding?). Taylor is admitting to having all of these things. Who knows, if I never showed up what could've been There goes the loudest woman this town has ever seen I had a marvelous time ruining everything I had a marvelous time Ruining everything A marvelous time Ruining everything A marvelous time I had a marvelous time

This makes me think of the line at the end of Miss Americana - “Sorry I was loud in my house. That I bought. With the songs that I wrote about my life.” 

Taylor, like Rebekah, is used to being blamed for everything and causing a scene. Even her purchase of Holiday House caused considerable backlash and commotion - with the governor creating a tax in 2015 (two years after Taylor purchased the house) called the “Taylor Swift tax” on homes worth over $1M dollars - something that affected many people in Rhode Island, especially those with large houses and vacation homes. All Taylor did was buy a house to live in (with her money, that she got from writing songs about her life), and she was immediately brought under fire.

However, like she did with Rebekah’s story, Taylor is flipping that narrative and focusing on how much fun she is having instead.

#last great american dynasty #the last great american dynasty #folklore #taylor swift #rebekah harkness

[foxes-that-run]

Clean

I'm so sad we didn't get videos for 1989TV, but we did get some great visuals in the lyric videos. Especially Cleans, which references a lot of other songs. I see similarities to the music video for Style, Out of the Woods, Late Night Talking, Falling and Cardigan. I think this fits how often this song has been referenced in other songs by Harry and Taylor.

Timeline

Clean was written on 9 February with Imogen Heap. Taylor said in the Grammy Pro event:

“When you get your heart broken, or you loose someone from your life, or when you’re trying to recover from a breakup, it’s almost the same kind of struggle that someone goes through when trying to beat addiction. It’s not one habit your breaking, it’s every single minute of the day you’re breaking a habit. And it’s exhausting. I had this metaphor in my head about being in this house. There’s been a drought but you feel like there’s a storm coming, and so instead of blocking out the storm you punch a hole in the roof and just let all the rain come in. And when you wake up in the morning, it’s washed away everything that used to hurt you. And then you’re clean.”

Taylor also said it and Shake it Off were the last song's written, but Style was actually the last song written on 19 February 2014.

Live performances

Clean was on the 1989 mainset list proceeded by the Clean Speech which changed slightly every night. There is a wonderful Masterpost of Clean Speechs most of these. The Speech generally stated with a scene setter that they are all there together, going through things and would end with variations on " And then I think that if you continue to move through your life, and replace old habits with new ones, I think you can erase that feeling that everyone sees your mistakes when they’re looking at you. And that’s the moment you know that you’re finally clean." The middle section of the speeches varied depending on what Taylor wanted to say. I think these are a nice call back to Speak Now Arm Lyrics, which started after she may have first met Harry.

Since the 1989 World Tour it has been played Clean on:

21 July 2018 - end of (Cruel) summer end of Live on Tour, Camille BUA, Harry went to Italy, she went to Turks and Caicos with Joe.

1 April 2023 - show after Joe BUA

28 May 2023 - Between Maroon and Hits Different. TR and TK first seen soon after.

Lyrics

The drought was the very worst (Oh-oh, oh-oh) When the flowers that we'd grown together died of thirst It was months and months of back and forth (Oh-oh, oh-oh) You're still all over me Like a wine-stained dress I can't wear anymore

Is it over now? "With the wilt of the rose (Uh-huh)", Harry responded to this in Sunflower Vol 6 with "Plant new seeds in the melody"

Wine on clothes is many songs: Olivia: "This isn't the stain of a red wine, I'm bleeding love", Little Freak: "Red wine and a ginger ale / But you would make fun of me for sure", Maroon: "The burgundy on my T-shirt when you splashed your wine into me" and "Your roommate's cheap-ass screw-top , that's how", The 1: "Rosé flowing with your chosen family" and Grapejuice "There's just no gettin' through / Without you / A bottle of rouge"

Hung my head as I lost the war And the sky turned black like a perfect storm

Taylor has used war as a metaphor for a fight in several songs. And described dark skies for relationship trouble.

This Love: "Skies grew darker, currents swept you out again"

Coney Island: "Did I paint your bluest skies the darkest gray?"

Rain came pouring down When I was drowning, that's when I could finally breathe And by morning Gone was any trace of you, I think I am finally clean (Oh, oh, oh, oh)

The imagery of rain pouring down, washing away but also as a metaphor for depression has been a theme in Harry and Taylors songs. Most remarkably in the music videos for Falling/Cardigan, which references these lyrics in Clean.

Clean is referencing Everything has changed, a song about the start of Harry and Taylor's relationship, Clean being an (ending at that time.)

Everything Has Changed: "All I know is pouring rain and everything has changed"

How You Get The Girl: "Stand there like a ghost, shaking from the rain"

Peace: "But the rain is always gonna come if you’re standing with me"

There was nothing left to do (Oh-oh, oh-oh) When the butterflies turned to dust that covered my whole room So I punched a hole in the roof (Oh-oh, oh-oh) Let the flood carry away all my pictures of you

Everything has changed is also the only other song Taylor has referred to Butterfly's "And all I feel in my stomach is butterflies, the beautiful kind" which Harry referenced in Olivia "The summertime and butterflies / All belong to your creation / I love you, it's all I do"

Dust is also only in:

Holy Ground: And the story’s got dust on every page

Everything Has Changed: So dust off your highest hopes, and

Right Where You Left Me: Dust collected on my pinned-up hair

Finally, as the closing track, 1989 was a very photo driven marketing campaign, the line of 'washing my pictures of you' and references to photos in the album bring that story to a close.

The water filled my lungs, I screamed so loud But no one heard a thing

Harry referenced this line in the Falling Music Video, which Taylor then referenced in the Clean TV Lyric Video:

Ten months sober, I must admit Just because you're clean, don't mean you don't miss it Ten months older, I won't give in Now that I'm clean, I'm never gonna risk it

Clean likens their relationship to an addiction, which they do in several songs (Grapejuice "There's just no gettin' through / Without you A bottle of rouge", MMIH “gotta get better / give me some morphine.”)

Is it over now? "Let's fast forward to three hundred takeout coffees later" 300 take out coffees, one a day is 10 months.

The song was written 9 February 2014, 10 months prior was April 2013. One Direction was playing UK shows and Taylor on the US leg of the Red Tour. They were MIA on tour breaks 23 - 25 April 2013 after Harry arrived alone in LA, Harry wearing the Peace Ring when he left LA. Finding that timing makes me feel:

#haylor #taylor swift #1989

[oneweekoneband]

her Nebraska (1982)

In July I flew to Massachusetts with a plague on, and I felt that it was wrong, but my mother had begged and I’d been out of work for months. Mornings there I ran in long, uneven ovals on the same roads I’d memorized in high school. There’s no sidewalks, but the few feet of dirt between the craggy pavement and the open mouths of the fields serve all right for a single body in motion. When a truck comes up close from behind, the ground shakes, and I step away bouncingly from the street toward thigh-high yellow weeds and grass, and keep going. I was slowly picking my way back in that dirt, sweat-slick from only a plodding couple of miles in peak summer heat, and sucking the wet cotton of my mask in between my teeth on every inhale, when Taylor Swift announced she was releasing a surprise album produced by the guy from The National. Not the guy from The National, like, the voice, but the guy from The National whose photo was circulated on Twitter earlier this year as some kind of antifa super soldier, which isn’t the case, but would’ve been rad. First, I stopped dead to send some outraged, misspelled text messages, and then I ran home faster than I’d moved in years.

Tall, blonde, patrician pop star Taylor Swift is to me something like a cross-between a wife and a boogeyman. Bound we’ve been since we were really children. Time and its changes haven’t rid me of her, and what’s worse is I have never quite been able to wish they would, though I claim as much all the time. Countless hours of my one wild and precious life have been spent on endlessly analyzing the minutiae of Taylor Swift’s music, the mind that made it, the real world events which influenced it. And though all the while I have known she is only a person, and that people, while each strange and lovely in their own ways, are, in the end, mostly dull, needful in just the regular manner, the fantasy is better, the sick dream of a megalomaniac songstress, curious, thrilling, probably evil, and I choose that. I don’t know Taylor Alison Swift, born to this world in, I presume, the usual way. But my Taylor Swift? I’m a renowned expert. I’ve always eaten up stories—movies, music, celebrity news, the one my grandfather tells about falling off his bike once in Ireland as a boy and his face “cracking open like an egg”—like a starved dog. I’m obsessive about my interests, but not inclined to intense fandom, and certainly not fandom in the mode of the stan. For one, I’m too self-absorbed. But caring intensely for a famous person is falling in love with a ghost, and that’s all right—I mean, what the hell? We’re here together just dying... Let’s enjoy—but is an affair best undertaken with the knowledge that everyone alive has their own complex interiority, as unruly as your own, and that you, a stranger, are not in any real way connected to the lawless, blurry middle of that celebrity, and will never be. It’s freeing and fun to know this. I mean, these people are basically in your employ. Glamorous dollhouse dwellers. Acknowledging that uncrossable distance allows for a different, healthier closeness of pure imagination. My feelings, then, can comfortably be at once both fiercely intense and entirely silly. I am a foremost scholar in the art of the Taylor Swift who exists in my head. The real person raised in Pennsylvania I don’t know at all. I have some conjectures on the matter, and, as with all my conjectures, every hackneyed theory, each picky little opinion, I’m sure they’re perfect, brilliant, just absolutely right, but that’s still all they are. Taylor Swift, figure of the cultural imagination, is the Jodie Comer to my Sandra Oh in Killing Eve, annoying and pretty in frills, taunting me endlessly and holding us trapped together in a dance of most enchanting death. But the real Taylor Swift has favorite bed sheets and a social security number and a British boyfriend, none of which I have any desire to know about, and if I saw her at a restaurant I’d politely avert my eyes before, yes, dive-bombing the group text. There’s nobody on Earth I’d stand in line to speak to, but then I’ve been speaking to a certain figment of Taylor Swift for nearly half my life.

I went to a Taylor Swift concert the night before I moved into college in 2009. My father’s work friend, firefighter by day, near professional gambler by night, got comped tickets to the Fearless Tour stop taking place at the nearby casino, and he let me have them as a reward, mainly, for happening to be seventeen. Live in-person and performed acoustically, “Fifteen” made me cry. A few years after that, in the thick, sticky part of my first post-college summer, I wrote approximately twenty-three million words about her in these very pages.  (”Pages”) At that point, Taylor’s most recent release was 2012’s Red, and the work I produced that long ago July about Taylor and her career, writing I was fairly pleased with at the time, feels now, besides just being extremely clearly written by a twenty-one year old, strange to me for the way it favors the sweet over the sour almost uniformly. There is a wholesome kind of ardor in that writing which maybe I’ve outgrown the ability to hold. Or maybe Taylor just proceeded to spend the next half a decade plus releasing one bad single after another, and it was taste—and trespasses against taste—and not some shift in my nature which altered the tenor of our bond. I have real love for my particular image, gleaned from public statements and published art, of smart, bizarre famous woman Taylor Swift, and I admire the bulk of her output very much. I’m just no longer so inclined to fawn. This is not to say I am here to offer a Taylor Swift hate screed. I couldn’t swing it, and, anyway, I’m not a pop feminist-for-hire circa 2010. But we’re older now. Things are different. At twenty-eight, twenty-nine this month—Taylor will, also this December, turn thirty-one—I regard Taylor Swift warily, like an ex with whom you have a tentative friendship, perpetually on the brink of falling one way or the other into hatred or delight, only to wobble back the opposite direction again at the slightest provocation, but still, despite best efforts, even, I regard her all the time. 

folklore was released at midnight on July 24th 2020, but I was at a cabin in rural Vermont without Internet or cell service. I drank Bud Light seltzers with my mother while watching the eerie pandemic return of Major League Baseball, and when I got into a strange bed there I stewed, knowing there were people out in the world all over who were hearing Taylor Swift songs I never had, and that this was a fundamental wrong, a disruption in the balance of the universe. I listened to it the next morning in a Dunkin’ Donuts parking lot. 

And folklore is great. That’s the terrible thing. Slightly less great, maybe, than some people have insisted, tricked, I think, by just the pronounced shift in sound. But it’s great. A little gift I asked for a thousand times and was still surprised to get, like a wife who didn’t expect her henpecked husband to ever follow through and buy the paraffin wax hand bath as-see-on-TV. For years, I’ve been halfheartedly insisting that Taylor had a great album in her. I’d say it even, perhaps especially, while she stubbornly fed me gruel. Or worse, gruel with the occasional whiff of something better. With a ripe, little raspberry dropped into the slop. The bright, villainous thrill of “Getaway Car” made me believe Taylor, my Taylor, was in there somewhere under the lacquer of sequins and synth, which, while not objectionable by default, seemed a costume, and an ill-fitting one. The lived-in world of “Cornelia Street” made those old scars sting. That gay “Delicate” video. When she did “Call It What You Want” on SNL and played guitar while wearing an ugly sweater. If the abominable “ME!”, lead single off Lover, was the stick, 1989’s “Clean” was the carrot. I was Charlie Brown, and Taylor my Lucy, yanking the football back again and again. Over drinks I still yelled that Taylor Swift’s next album would be, “her Nebraska”, referring to my favorite Bruce Springsteen record, and learned to live with that egg on my face for good. I suppose I even came to like it. There was something inherently funny in taking up, like, “blind faith in the as of yet untapped greater artistic potential of massively wealthy and popular singer Taylor Swift” as my totally inane personal cause du jour, and eventually it was a bit, a gag I performed to be obstinate and didactic, but way down somewhere awful near my kidneys I meant it the whole while. And then she did it. A pandemic befell the world and amid a sea of human suffering Taylor Swift remembered she can write. She wrote, and with a massive, crucial assist from Aaron Dessner, whose music on this record is sometimes so beautiful it actually angers me, as the last thing I needed in already perilous times was to be made to try and marry my uniquely perverse emotional responses to beloved divorced dad band The National and fucking Taylor Swift,  she made an album which, if not her Nebraska, per se (I’ve come to realize that a major part of believing Taylor Swift will one day make an album I find as quietly devastating and gorgeous as Nebraska is knowing that no album will ever actually be Her Nebraska... That each will, rather, to me, be more and more evidence that it’s coming still, more proof that the limit is untouched, on and on ad infinitum, or at least until the seas take us into a place of salty peace.) is a shocking credit to all my hard-fought and deluded confidence. folklore is great. This fact has made me feel almost equally as disoriented from my understanding of the world as the time-melting COVID-19 lockdowns have, and it turned my Spotify year in review annual collective AI humiliation kink thing into a glaring indictment of my mental state, but still, I mean... It’s great.

In talking about folklore a bit this week, there are a number of specific topics I intend to cover—what a thrill it is to hear Taylor say “fuck”; Taylor’s terrifying birth chart; the astoundingly perfect bridge of “the last great american dynasty”; “because my ass is located at the back of my body”; the bit in last year’s “Lover” where deranged WASP Taylor Swift implies that to “leave the Christmas lights up til January” is some signifier of being a love-struck bohemian, when actually everyone who doesn’t employ domestic staff to take their lights down does this; how reputation is the best of the Taylor Swift records released in the latter half of the 2010s, actually, and the people who can’t see that are cowards—but intend mostly to let the muse move me where she will. Against the advice of my better angels, she—that tie-in marketing eldritch terror—always does.

#taylor swift #folklore

[1962dude420-blog]

Today we remember the passing of Nina Simone who Died: April 21, 2003 in Carry-le-Rouet, France

Eunice Kathleen Waymon (February 21, 1933 – April 21, 2003), known professionally as Nina Simone, was an American singer, songwriter, musician, arranger, and civil rights activist. Her music spanned a broad range of musical styles including classical, jazz, blues, folk, R&B, gospel, and pop.

The sixth of eight children born to a poor family in Tryon, North Carolina, Simone initially aspired to be a concert pianist. With the help of a few supporters in her hometown, she enrolled in the Juilliard School of Music in New York City. She then applied for a scholarship to study at the Curtis Institute of Music in Philadelphia, where she was denied admission despite a well-received audition, which she attributed to racial discrimination. In 2003, just days before her death, the Institute awarded her an honorary degree.

To make a living, Simone started playing piano at a nightclub in Atlantic City. She changed her name to "Nina Simone" to disguise herself from family members, having chosen to play "the devil's music" or so-called "cocktail piano". She was told in the nightclub that she would have to sing to her own accompaniment, which effectively launched her career as a jazz vocalist. She went on to record more than 40 albums between 1958 and 1974, making her debut with Little Girl Blue. She had a hit single in the United States in 1958 with "I Loves You, Porgy". Her musical style fused gospel and pop with classical music, in particular Johann Sebastian Bach, and accompanied expressive, jazz-like singing in her contralto voice.

The sixth of eight children in a poor family, she began playing piano at the age of three or four; the first song she learned was "God Be With You, Till We Meet Again". Demonstrating a talent with the piano, she performed at her local church. Her concert debut, a classical recital, was given when she was 12. Simone later said that during this performance, her parents, who had taken seats in the front row, were forced to move to the back of the hall to make way for white people. She said that she refused to play until her parents were moved back to the front, and that the incident contributed to her later involvement in the civil rights movement. Simone's mother, Mary Kate Waymon (née Irvin, November 20, 1901 – April 30, 2001), was a Methodist minister and a housemaid. Her father, Rev. John Devan Waymon (June 24, 1898 – October 23, 1972), was a handyman who at one time owned a dry-cleaning business, but also suffered bouts of ill health. Simone's music teacher helped establish a special fund to pay for her education. Subsequently, a local fund was set up to assist her continued education. With the help of this scholarship money, she was able to attend Allen High School for Girls in Asheville, North Carolina.

In order to fund her private lessons, Simone performed at the Midtown Bar & Grill on Pacific Avenue in Atlantic City, New Jersey, whose owner insisted that she sing as well as play the piano, which increased her income to $90 a week. In 1954, she adopted the stage name "Nina Simone". "Nina", derived from niña, was a nickname given to her by a boyfriend named Chico, and "Simone" was taken from the French actress Simone Signoret, whom she had seen in the 1952 movie Casque d'Or. Knowing her mother would not approve of playing "the Devil's music", she used her new stage name to remain undetected. Simone's mixture of jazz, blues, and classical music in her performances at the bar earned her a small but loyal fan base.

After the success of Little Girl Blue, Simone signed a contract with Colpix Records and recorded a multitude of studio and live albums. Colpix relinquished all creative control to her, including the choice of material that would be recorded, in exchange for her signing the contract with them. After the release of her live album Nina Simone at Town Hall, Simone became a favorite performer in Greenwich Village. By this time, Simone performed pop music only to make money to continue her classical music studies, and was indifferent about having a recording contract. She kept this attitude toward the record industry for most of her career.

Simone married a New York police detective, Andrew Stroud, in December, 1961. In few years he became her manager and the father of her daughter Lisa, but later he abused Simone psychologically and physically.

In 1964, Simone changed record distributors from Colpix, an American company, to the Dutch Philips Records, which meant a change in the content of her recordings. She had always included songs in her repertoire that drew on her African-American heritage, such as "Brown Baby" by Oscar Brown and "Zungo" by Michael Olatunji on her album Nina at the Village Gate in 1962. On her debut album for Philips, Nina Simone in Concert (1964), for the first time she addressed racial inequality in the United States in the song "Mississippi Goddam". This was her response to the June 12, 1963, murder of Medgar Evers and the September 15, 1963, bombing of the 16th Street Baptist Church in Birmingham, Alabama, that killed four young black girls and partly blinded a fifth. She said that the song was "like throwing ten bullets back at them", becoming one of many other protest songs written by Simone. The song was released as a single, and it was boycotted in some southern states.  Promotional copies were smashed by a Carolina radio station and returned to Philips. She later recalled how "Mississippi Goddam" was her "first civil rights song" and that the song came to her "in a rush of fury, hatred and determination". The song challenged the belief that race relations could change gradually and called for more immediate developments: "me and my people are just about due". It was a key moment in her path to Civil Rights activism. "Old Jim Crow", on the same album, addressed the Jim Crow laws. After "Mississippi Goddam", a civil rights message was the norm in Simone's recordings and became part of her concerts. As her political activism rose, the rate of release of her music slowed.

Simone performed and spoke at civil rights meetings, such as at the Selma to Montgomery marches. Like Malcolm X, her neighbor in Mount Vernon, New York, she supported black nationalism and advocated violent revolution rather than Martin Luther King Jr.'s non-violent approach. She hoped that African Americans could use armed combat to form a separate state, though she wrote in her autobiography that she and her family regarded all races as equal.

In 1967, Simone moved from Philips to RCA Victor. She sang "Backlash Blues" written by her friend, Harlem Renaissance leader Langston Hughes, on her first RCA album, Nina Simone Sings the Blues (1967). On Silk & Soul (1967), she recorded Billy Taylor's "I Wish I Knew How It Would Feel to Be Free" and "Turning Point". The album 'Nuff Said! (1968) contained live recordings from the Westbury Music Fair of April 7, 1968, three days after the assassination of Martin Luther King Jr. She dedicated the performance to him and sang "Why? (The King of Love Is Dead)", a song written by her bass player, Gene Taylor. In 1969, she performed at the Harlem Cultural Festival in Harlem's Mount Morris Park.

Simone and Weldon Irvine turned the unfinished play To Be Young, Gifted and Black by Lorraine Hansberry into a civil rights song of the same name. She credited her friend Hansberry with cultivating her social and political consciousness. She performed the song live on the album Black Gold (1970). A studio recording was released as a single, and renditions of the song have been recorded by Aretha Franklin (on her 1972 album Young, Gifted and Black) and Donny Hathaway. When reflecting on this period, she wrote in her autobiography, "I felt more alive then than I feel now because I was needed, and I could sing something to help my people".

In an interview for Jet magazine, Simone stated that her controversial song "Mississippi Goddam" harmed her career. She claimed that the music industry punished her by boycotting her records. Hurt and disappointed, Simone left the US in September 1970, flying to Barbados and expecting her husband and manager (Andrew Stroud) to communicate with her when she had to perform again. However, Stroud interpreted Simone's sudden disappearance, and the fact that she had left behind her wedding ring, as an indication of her desire for a divorce. As her manager, Stroud was in charge of Simone's income.

In 1993, she settled near Aix-en-Provence in southern France (Bouches-du-Rhône). In the same year, her final album, A Single Woman, was released. She variously contended that she married or had a love affair with a Tunisian around this time, but that their relationship ended because, "His family didn't want him to move to France, and France didn't want him because he's a North African." During a 1998 performance in Newark, she announced, "If you're going to come see me again, you've got to come to France, because I am not coming back." She suffered from breast cancer for several years before she died in her sleep at her home in Carry-le-Rouet (Bouches-du-Rhône), on April 21, 2003. Her funeral service was attended by singers Miriam Makeba and Patti LaBelle, poet Sonia Sanchez, actors Ossie Davis and Ruby Dee, and hundreds of others. Simone's ashes were scattered in several African countries. She is survived by her daughter, Lisa Celeste Stroud, an actress and singer, who took the stage name Simone, and who has appeared on Broadway in Aida.

#april 21 #2003 #r.i.p. #nina simone

[omgthatdress]

How to make Cats a good movie.

I watched Cats, and once I got over the initial horror, I was actually pretty entertained and found myself enjoying the shit out of it. Like god bless it, for as nightmare-inducing as much as it was, Tom Hooper was clearly *committed* to his vision and you gotta give him credit for that. The scenery was actually really beautiful and the cinematography was frequently breathtaking. Like it really did have a lot of elements that really worked for it. But for every bit of genius, there was something terrible that the movie just couldn’t overcome. So let’s dive in.

First of all, you kind of have to understand Cats: the musical. It’s an adaptation of poems that T.S. Elliott of nihilistic lost generation fame wrote for his godchildren about cats. And the poetry is charming af and totally captures the nature of cats and why they’re so lovable. In the in the 1970s, Andrew Lloyd Webber did a shit ton of cocaine and decided to make a musical out of these poems. As a result, Cats has no plot. It’s a bunch of cats singing their songs about who they are and doing a lot of dancing. The thinnest of narrative devices is created with the “jellicle” ball and the deciding of which cat gets to ascend to heaven or some shit. So yeah. Cats is actually pretty controversial among theater nerds, it’s very much a you either love it or hate it thing. Is it stupid? Yes.  Is it going to make everyone happy? No. Does it lend itself well to film adaptation? fuck no. I get the feeling that Tom Hooper was really going for deep, meaningful poetic cinema here and trying to make another Les Mis (which was way overly long and ultimately sank under its own sheer weight as a movie and probably is better viewed as a play). I’m operating under the assumption that Hooper was going for ground-breaking cinema that would have made millions and swept up during awards season and cemented him as a legendary director and gone down in movie history, because every little detail of Cats is clearly meant for maximum impact. You kind of need to drop all expectations going into Cats, so once you’re there, you can have fun with it. So how do you make it a good film?

1. The HORRIBLE hyper-realistic cgi human-cat hybrids. YES, it’s a technical marvel, and the CGI artists who made it all deserve a ton of credit for the work they did. And I understand why the actors were kept in their human shapes: live dance is a huge part of what makes Cats work. One of the smart decisions made was hiring theater veterans for the filler roles in the cat chorus, so when you have the choreographed numbers, it’s really spectacular. It’s just the end result was way too uncanny valley and bizarre for any of the film’s good parts to ever rise above it. I think a minimalist approach would have actually worked best. Cat ears and simple costumes with clean lines that show off the dancer’s bodies. Go for the suggestion of cats, and kind of let the viewer’s imagination take over, and showcase the cat’s personality. A huge part of what I enjoyed was hearing the poetry and imagining these cats and how they all relate to cats I’ve known. The dance and the music helped heighten this experience, but hybrids kept reminding me of the joke: what do you get when you cross a human and a cat? An immediate cessation of funding and a stern rebuke from the ethics committee.

2. The schlocky, honestly amateurish attempts at slapstick humor. I’m gonna come out and say it and say that Hooper is pretty deeply entrenched in *dRaMa* and has no sense of how comedy works. There was a lot of added in comedic bits from Rebel Wilson and James Corden, and it was honestly terrible. I mean really, a crotch hit? That kind of lowbrow comedy is so crude and base that it’s actually really hard to pull it off well. Slapstick comedy actually lends itself to the whimsical tone, and slapstick done well can be utterly sublime, but Cats seemed satisfied that fat people falling over is the height of comedy and should be left at that. And a second note on the comedy? Weirdly fat-shame-y. A saw a post about how odd it is to see James Corden, who has been very frank about how he’s struggled with dieting and come to accept that his body is fat and can’t be made not fat, playing this role where fat is added to his body, his CGI vest strains at the buttons, and he’s literally stuffing his face with garbage. The theme of fat people as lazy, stupid, and slovenly carried over from Rebel Wilson’s role, in which she also plays a fat lazy cat who is leaned on heavily for comic relief. I know the role is about a fat cat, and gently laughing at a fat lazy cat who loves to eat is fine, but, speaking as a fat person myself, this felt like a gleeful exploitation of a nasty and cruel stereotype. James Corden and Rebel Wilson are both extraordinarily funny people who happen to be fat, and their comedic gifts were tremendously mis-used here, reducing them to simply two fat bodies to be laughed at.

3. Jennifer Hudson. She’s a talented actress who can sing and emote like a motherfucker. And emote she did. She was clearly GOING for that second Oscar. I really don’t want to call her performance bad. The same level of emotion, tears running and snot flowing, in another movie, would have been devastating (Hello, Viola Davis in Fences). But this isn’t Fences, it’s fucking Cats. You need a level of character depth and development that Cats doesn’t afford to make those tears hit. All the crying and misery was an odd maudlin and over-dramatic break in the fun and whimsy. With a subtler performance and a hint of self-awareness, it could have actually brought in an emotional anchor for this light-as-air film, but Cats doesn’t make any attempt at nuance, and as a result the scenes just hit you out of nowhere like a load of bricks. 

4. Francesca Hayward. Okay, before we go anywhere, I want to say that this girl is not un-talented. She’s the principal ballerina of the Royal Ballet, and has a very long list of ballets that she’s lead in. So it makes sense that she’d be hired for a role that’s primarily ballet. This girl is a really really great DANCER. But Cats was clearly trying to make an A-list actress out of her. They tried to make her into Florence Pugh, who has been acting for a while and is blowing up right now because she’s very talented. Like everything about Francesca’s role in the film said “This is a star-making role.” A new song was written just for her to sing as an addendum to Cats’s show-stopping signature song. But the song was just okay, it didn’t carry nearly the emotional weight or all-around beauty of “Memories,” and all in all felt wedged-in and totally unnecessary and really just felt like a grab at that “best original song” Oscar. Francesca’s voice is high, thin, and child-like. It’s not unpleasant, but next to the richness and depth of Jennifer Hudson’s voice, it crumbles, and it’s not the sort of voice that I want to seek out to listen to over and over again. As for her overall performance, she largely keeps the same look of wide-eyed wonder throughout her numerous close-ups, so much so that I found myself thinking of the the MST3K “dull surprise” sketch. But I don’t know if that’s really entirely her fault. There was an attempted romantic storyline with the magic cat, but again, because of the nature of Cats and its lack of real character development or depth, the chemistry fell flat. There really isn’t much of a chance to show off a lot of dramatic range, so to keep going back to her character, it kept reinforcing the one-notedness of her performance. Really, I just kept wanting to see Francesca dance. Ironically, I think they really blew an opportunity trying to make an A-list actress out of her. All she really need to make people want to see more of her is one spectacular dance number, but for some reason, she never really gets that show-stopping moment. 

5. Dignity? I guess this goes back to the whole CGI cat thing, but there were a lot of moments when I felt this tremendous wave of second-hand embarrassment hit me on behalf of the talented actors in this film. Watching Gandalf lap up milk from a saucer was a wholly uncomfortable experience, like come on, grant the great Ian McKellan some fucking DIGNITY here. Which goes back to whatI said earlier that a suggestion and interpretation of cats would have worked better than all-out just being a cat. Or it could again just be how much Cats just fails its attempts at comedy. But then again there was no fucking reason at all for Idris Elba to be that fucking NAKED. I guess they were trying to make him sexy? But his sexy smolder and just being Idris Elba wasn’t enough they had to make sure that we all saw his chiseled pecs and thick thighs. And then at the end when he’s dangling off of the rope of a hot air balloon and what’s supposed to be a funny scene, I think, I kept thinking “I’m so sorry this is happening to you, Idris.” 

There’s a bunch of other small, nit-picky things that I could go into. Those cockroaches would have worked so much better if they weren’t humans with an extra set of arms. Watching them get eaten was some horror movie shit. Taylor Swift’s Macavity song would have worked a lot better if the cat chorus full of cats we’ve gotten to know had sung it, but instead Taylor Swift is brought in as a new cat we don’t know whose only purpose is to sing the Macavity song? but of course a big oscar-bait movie needs to have that pop star that draws in the people who wouldn’t otherwise see it and making her a part of the cat chorus would have had her performing throughout the whole movie and she would have floundered the way pop stars tend to do when performing musical theater around a bunch of musical theater actors. So I guess I get why she was thrown in.

So.... yeah? Is there anyone else who found themselves enjoying it in spite of everything? I’m glad I have dogs and didn’t have to watch this mess with actual cats around me.

#Cats 2019 #Cats

[tabloidtoc]

National Enquirer, November 16

You can buy a copy of this issue for your very own at my eBay store: https://www.ebay.com/str/bradentonbooks

Cover: Jeffrey Epstein’s madam Ghislaine Maxwell’s nights with Prince Andrew and teen Virginia Roberts Giuffre

Page 2: Brad Pitt kicked married galpal Nicole Poturalski to the curb after getting flak from his ex Angelina Jolie -- Brad’s relationship with Nicole hit the skids after Brad decided he needed to shore up his image during his ongoing custody battle with Angie and his focus right now is to get his dad image back on track and give Angie no more ammo to fling back at him

Page 3: Tiger Woods’ romance with Erica Herman has gone off course over legal troubles and wedding pressure and bickering over where to live and Tiger is so fed up he’s considering ditching his nagging girlfriend in Florida and moving back to his native California -- Erica’s been pressuring him to put a ring on it ever since she moved into his Jupiter Island mansion and that’s something he just won’t do and she’s already taken over his household buying new furniture and remodeling the master bath and building a new closet and hiring a gourmet chef -- California is looking better and better to Tiger who only moved to Florida to play on its tough Bermuda grass which helped improve his swing but now Tiger’s ex Elin lives in Florida with their two kids 

Page 4: Miranda Lambert is scoffing at ex Blake Shelton’s newly announced engagement to Gwen Stefani and she’s convinced Blake’s third walk down the aisle has failure written all over it because she thinks Blake’s bad to the bone and this marriage will wind up being a total disaster and after the hell Blake put her through Miranda can’t imagine his life with Gwen would be any different, lifelong bachelor Simon Cowell has had a change of heart since his horrific August accident and he’s finally ready to tie the knot with baby mama Lauren Silverman -- after spinal surgery to repair his broken back the entertainment mogul feels lucky to be alive and walking and the one constant in his difficult rehab after surgery has been Lauren and he wants to pay her back with a ring 

Page 5: Train-wreck Wendy Williams’ wacky behavior has TV producers scrambling behind the scenes to find her replacement after her unhinged performance on a recent episode of her talk show where she slurred her words and rambled incoherently -- there had been a hope a chatfest helmed by Nick Cannon could be a safety net should the daytime diva who spent a stint in a sober living house last year not be able to continue hosting but plans for that were pushed back after the comic made anti-Semitic rants in a podcast -- they also tried Jerry O’Connell when Wendy was out for three weeks last year but he tanked with viewers -- Wendy’s a mess and it remains to be seen how long producers will be able to put up with her problems before they decide to pull the plug 

Page 6: Grey’s Anatomy star Ellen Pompeo hinted that she may be making her final rounds -- Ellen who has starred on the show since 2005 and makes $20 million a year admitted she’s considering slipping out of her scrubs after the current season 17 but her departure could spell the end of the beloved series and show creator Shonda Rhimes has said it’s unlikely the show could continue without her but Ellen has also expressed her desire to spend more time with her husband and their three children

Page 7: Mariah Carey’s brother Morgan blasted her memoir as filled with lies and distortions and he’s considering legal action -- the book called Morgan and sister Alison her ex-brother and ex-sister and Mariah wrote Morgan had a long history of violence and when she was six he slammed their mother into a wall -- Mariah also wrote her siblings and mother were heartless in terms of dealing with her as a human being and once she got famous they started treating her like an ATM with a wig on but Morgan is fighting back and looking to hire a lawyer

Page 8: Reese Witherspoon’s marriage to Jim Toth is in the muck after the stunning collapse of his new business venture and tensions are mounting in the Hollywood power couple’s already troubled union now that the streaming service Quibi crumbled after less than six months leaving content acquisition president Jim out of work while Reese’s star continues to rise and there’s a real balance of power that’s been building up and that’s put a serious strain on the relationship -- living in quarantine added to the stress between them as Reese has been holed up with her two kids with ex Ryan Phillippe Ava and Deacon and her son Tennessee with Jim at the family’s ranch in Malibu

Page 9: Dementia patient Kenny Rogers cut his three adult children out of his $250 million will and now sources fear the late country legend could have been tricked into signing the document -- Kenny left everything to his 16-year-old twins sons with fifth wife Wanda and the will also stated it was his intent to specifically exclude his daughter Carole with his first wife and son Kenny Jr. with third wife and son Christopher with fourth wife and their issue as beneficiaries of his estate -- Kenny Sr. would never disown his own children according to the source especially since the singer’s son Kenny Jr. is incorrectly referred to Kenny Rogers III throughout the will -- the wording is not like Kenny Sr. and something is not right and his older kids are thinking about contesting the will 

Page 10: Hot Shots -- Kate McKinnon shot a Saturday Night live skit in NYC, Sophia Bush hit the road in L.A. with her co-pilot pup Maggie, pregnant Jinger Duggar Vuolo in Venice with daughter Felicity, Heidi Klum walking the streets in her native Germany, Snoop Dogg saluted young rappers as he accepted BET’s I Am Hip Hop award 

Page 11: Unwitting Jennifer Aniston and Gerard Butler once dabbled in the secret sex cult NXIVM -- the organization masqueraded as a self-help group but in 2017 it was exposed as a pyramid scheme for founder Keith Raniere who forced high-ranking female recruits to become his sex slaves -- in 2010 Jen and Gerry who were dating at the time wound up at one of the introductory seminars but they were turned off by the level of commitment expected and never returned -- they thought it was just a networking opportunity and had no idea what they were getting themselves into, cash-crunched Gwyneth Paltrow is facing hard times like everyone else and is looking to change her free-spending ways -- the belt-tightening caused by the coronavirus pandemic has even hit her lifestyle empire Goop causing her to shut down the London branch and make hard choices for the future -- Gwyneth may be worth $100 million but she and husband Brad Falchuk spend money like it’s going out of style on private jets they use on a whim and they own a fleet of fancy cars and pay steep salaries for staff who are at their beck and call 24/7 and it’s all draining their bank accounts -- they’re looking at making cuts across the board from personal trainers and chefs and drivers to the masseurs and beauticians who come to their house several times a week -- plus the couple believe it’s a bad look for them to be living so high on the hog when the rest of the world is suffering during the pandemic

Page 12: Straight Shuter -- Angelina Jolie spent years developing her own version of the Hollywood classic Cleopatra and now she’s livid that Gal Gadot has stolen the Egyptian queen -- Angie’s dream was to play Cleopatra the role that made Elizabeth Taylor an icon and it was to be the part that won Angie an Academy Award for Best Actress and now that’s over thanks to Gal who will be playing the Queen of the Nile instead, after ABC scrapped plans to honor Regis Philbin with a prime-time tribute Jimmy Kimmel insisted on honoring Regis on Who Wants to Be a Millionaire?, MSNBC talking head Rachel Maddow is fleeing New York for her Massachusetts farm after hanging a $2.3 million price tag on her NYC pad but Rachel didn’t want potential buyers looking through all the personal stuff at her apartment so all the personal pictures and books and clothing and everything else was shipped out and replaced with staged furniture, Ariel Winter and her dog (picture) 

Page 13: Ailing Joni Mitchell opened up about how she’s still struggling to get back to her old self five years after a debilitating brain bleed -- after Joni was found unresponsive in her Bel-Air home in 2015 she said she was forced to relearn everyday tasks because the aneurysm took away her speech and her ability to walk and although she’s showing slow improvement she hasn’t been writing or playing the guitar or the piano, Randy Travis is defying all the odds as he plans the greatest comeback in country music history as he is making amazing progress after suffering a massive 2013 stroke that most believed would end his career forever and he was given just 1% chance of survival and even after he pulled through doctors believed he would be bedridden and unable to speak -- instead his grueling rehab efforts have miraculously put him on the road to realizing his dream of returning to the spotlight -- some of his motivation is financial; last year he sold his Nashville home and released his memoir which was fueled by his need to pay medical expenses after years of not being able to perform

Page 14: Hollywood Hookups -- Channing Tatum and Jessie J have split again, Cole Sprouse and Reina Silva dating, Kate Beckinsale and Goody Grace split 

Page 15: Ariana Grande is raising eyebrows with her raunchy new record Positions -- the former squeaky-clean Nickelodeon star who has been dating real estate agent Dalton Gomez spouted off X-rated odes to an unnamed lover on the LP, six months after sidelining her marriage to former quarterback Jay Cutler Kristin Cavallari admitted there are good days and bad days but insisted it’s been nice to be able to focus on herself and figure out who she is now and what she ultimately wants out of life, hotel heiress Kathy Hilton is joining The Real Housewives of Beverly Hills as a friend of the main cast which includes her half-sister Kyle Richards

Page 16: Crime 

Page 17: On Drew Barrymore’s talk show a psychic guest channeled the spirit of one of the host’s former in-laws but the man in question is very much alive -- medium Anna Raimondi told Drew she sensed the aura of a judge causing Drew to burst into tears and named David a relative of her ex-husband Will Kopelman claiming he’d passed but Judge David Kopelman is alive and still going strong -- Will slammed Anna was a submental hack and said he was surprised that Drew chose to give oxygen to someone like that

Page 18: American Life 

Page 20: Cover Story -- Prince Andrew is desperate to quash explosive testimony by his pedophile pal Jeffrey Epstein’s accused madam Ghislaine Maxwell but the socialite’s second secret deposition is torpedoing his return from royal exile -- after Ghislaine danced around details of her relationship with the disgraced Duke of York in testimony released a few weeks ago Andrew is sweating bullets about her second grilling under oath which contains details of their intimate friendship and nights with Epstein’s teen sex slave Virginia Roberts Giuffre 

Page 22: Don McLean viciously slammed ex-wife Patrisha Shnier as the worst person her ever knew but in their ongoing war of words she maintains he was abusive to her -- Don is still bitter over a 2016 domestic incident at their home in Maine that landed him behind bars and led to divorce after 30 years of marriage

Page 26: Matthew McConaughey confessed he nearly turned his back on Tinseltown to be a wildlife guide like late Crocodile Hunter Steve Irwin -- he made a splash in a string of blockbuster rom-coms in the ‘90s and ‘00s but he was eager to move on to meatier movies and even passed on a $14.5 million paycheck in 2010 to seek more substantial roles and the struggle left him considering other careers such as a wildlife guide, Jamie Foxx has been crushed by the death of his beloved sister DeOndra Dixon who was born with Down syndrome

Page 28: Good Catch -- Bachelor stars who are still up for grabs -- Jon Hamm, Owen Wilson, Drew Carey

Page 29: Benicio Del Toro, Ryan Seacrest, Matthew Perry, some stars seem to say I do at the drop of the hat -- Larry King, Jerry Lee Lewis, Billy Bob Thornton 

Page 32: Olivia Munn was caught on camera flashing what looked like engagement bling on her left ring finger as she exited a gym following a morning workout in Los Angeles but she reportedly broke up with boyfriend Tucker Roberts last year leaving fans wondering who bought the stunning sparkler 

Page 36: Health Watch 

Page 42: Red Carpet -- Michelle Pfeiffer 

Page 45: Spot the Differences -- Allison Janney on Mom 

Page 47: Odd List 

#tabloid #grain of salt #tabloid toc #tabloidtoc #ghislaine maxwell #prince andrew #jeffrey epstein #virginia roberts #virginia roberts giuffre #brad pitt #nicole poturalski #angelina jolie #tiger woods #erica herman #miranda lambert #blake shelton #gwen stefani #simon cowell #lauren silverman #wendy williams #ellen pompeo #grey's anatomy #mariah carey #reese witherspoon #jim toth #kenny rogers #jennifer aniston #gerard butler #nxivm #gwyneth paltrow