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Fan Base: Archived: Taylor Swift (#2)
Member Since: 3/15/2013
Posts: 1,995
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pitchfork should be ashamed that they didn't even reviewed any taylor swift albums tbh
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Member Since: 11/29/2010
Posts: 19,664
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Quote:
""I can't be the lyricist with Taylor Swift because I'm 30 years older than her," she said laughing. "That would be weird. What I do with Taylor is completely different than what I do with other people, She's very lyrical. She's very brilliant. She'd say a line and I'd say, 'What if we say it like this?' It's kind of like editing, but you hate to say it. In some cases it is. We just bounce ideas off each other really well." The two tunesmiths first met at a Nashville club when Swift was 13 and had a development deal with RCA Records. "It was funny for somebody who doesn't sing. I actually did a songwriters round and sang two songs, and she came up to me and said, 'I really like that song. Would you write with me?' I think at the time I had "Songs About Rain" (Gary Allan single) out, a Tim McGraw cut ("All We Ever Find"), and another song, "Why I Hate Pontiacs" (Rebecca Lynn Howard), and she knew those songs. We wrote and figured out that it really worked. She figured out she could write Taylor Swift songs, and I wouldn't get in the way. I didn't say 'Oh, this would be more commercial' or 'You can't say that. You want to say that. Cool, we'll say that.' I'm not 14. We're not writing Liz Rose songs. We're writing Taylor Swift songs." .
"I would just help her. We just had a great mutual respect for each other and had a lot of fun."
Their fun turned into a hit-making factory with the twosome penning together 16 of Swift’s songs, including seven co-writing credits for Rose on Taylor’s self-titled debut album. The cuts included the first two singles, “Tim McGraw” and “Teardrops on My Guitar,” which helped Rose win a Songwriter of the Year award from SESAC in 2007. They also wrote the Grammy- winning Country Song of the Year, “White Horse.” and the 2010 BMI Song of the Year, “You Belong with Me," which also was nominated for a Grammy.
"We just work well together," Rose says of her successful collaboration. "She knows what songs to bring to me. The first time I wrote with her I was like 'Whoa.' At the time she had songs she had written by herself."
Her favorite co-write with Taylor is "All Too Well" from Swift's latest album, Red. "It was more of a story," Rose explains. "It was probably 10 minutes long in her head. She called me and started bouncing it off me, and we whittled it down quite a bit into a song. It was a very emotional time for her, and I'm honored that she trusts me with her feelings to make sure we get it right because it was an important song to her."
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Ugh. They need to release "ATW".  They are ready to throw awards at them again.
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Member Since: 9/16/2011
Posts: 50,981
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1. State of Grace
2. Sparks Fly
3. Treacherous
4. Love Story
5. Ours
6. White Horse
7. Red
8. Dear John
9. You're Not Sorry (CSI Remix)
10. I Knew You Were Trouble.
11. Haunted
12. Last Kiss
13. Sad Beautiful Tragic
14. Holy Ground
15. All Too Well
16. Enchanted
17. Begin Again
Perfect playlist that begins with falling in love and follows the relationship through the break-up, and then looking back on it and then moving on. There were a few other songs I wanted to include, but I couldn't figure out where they fit, so... 
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Member Since: 8/31/2013
Posts: 307
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One of you posted a lookalike here, she shared some stuff: http://www.reddit.com/r/TaylorSwift/..._my_lookalike/
Quote:
When I went to the concert last Saturday I didn't realize the impact I would have on the fans. I got to the arena 2 hours before the show started so I could try to check out the merch and make some new friends. As my friend and I made our way through the crowd outside, a little girl ran up to me and asked for a picture with me. I told her I wasn't Taylor Swift but she didn't care. A semi-circle formed immediately after the picture was taken of people also wanting their own photo. It was overwhelming and amazing and I couldn't make my way any closer to the entrance without being mobbed. My friend with me yelled out, "FORM A LINE HERE IF YOU WANT A PICTURE!" and sure enough, a massive line formed. My friend kept walking down the line telling everyone that I wasn't actually Taylor Swift and they still wanted pictures.
I stood outside for an hour and a half taking pictures with fans. It might have been the most fun I ever had. Here are a few of the pictures I found on instagram
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Member Since: 9/17/2012
Posts: 9,591
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Member Since: 9/17/2012
Posts: 9,591
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THE DRAGGING IN THE COMMENTS. SWIFTIES DID NOT TAKE THIS SITTING DOWN 
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Member Since: 8/17/2013
Posts: 465
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Quote:
Originally posted by JakeKills
"Honestly, that was our MTV version," Miley says. "We could have even gone further, but we didn't. I thought that's what the VMAs were all about! It's not the Grammys or the Oscars. You're not supposed to show up in a gown, Vanna White-style" – a little dig at Taylor Swift. "It's supposed to be fun!"
From Miley's Rolling Stone article. The Taylor mention was added by the author, but Miley was referring to Her.
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She's got a point, though. Taylor always wears the same kind of dress, no matter what the occasion. I've often wondered why she's wasting such an elegant dress on the VMAs or the EMAs or KCAs or whatever. I think it'd be cool if she'd wear something more casual and fun when the event calls for it.
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Member Since: 12/6/2011
Posts: 3,223
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Id kind of like taylor to show up at some of these functions in blue jeans and t-shirt or sweater. And boots. She'd rock that look. That being said, Marley can go @5#$//4#2!
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Member Since: 12/6/2011
Posts: 3,223
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Ive got a question. Why doesn't Taylor get asked to appear at benefit concertsanymore? Are the other performers afraid she'll get all the press?
I see K.P. working over there. Ever since hooking up with Walking A. Null Soar she's been throwing subtle undermining shade at T.Swift
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Member Since: 11/9/2011
Posts: 12,849
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Red is not any less "Indie" (Alternative) than the albums P4k reviewed sans the MM tracks. And BMR IS an indie label with distribution deal w/ UMG. Just like those indie labels with distribution deal w. ADA. Just find this no Taylor review/coverage by P4k to be pretty funny. I mean, should BMR pull a Sub-Pop/Nirvana to get Taylor reviews from them? 
And Speak Now was a full on Traditional Pop record. With one Bluegrass tune. 
Speaking of style. As boring or safe as Hers, She dresses to please no one. Please keep it in your mind that Lord, actually and in her head, is the anti-thesis of "cool" and "in with the crowd." And I love Her for that personally. 
What's this with KP talk here? Can I ever find a place without any Tacky White Lady talk?
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Member Since: 7/23/2012
Posts: 8,113
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"Look, we get it. It’s music for kids. It’s emotions for beginners." 
****ing hickville 
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Member Since: 11/9/2011
Posts: 12,849
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Quote:
Originally posted by WayTooHonest13
"Look, we get it. It’s music for kids. It’s emotions for beginners."
****ing hickville |
Oh he's so Indie & Cool.
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Member Since: 7/23/2012
Posts: 8,113
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Quote:
Originally posted by thediscomonkey
Oh he's so Indie & Cool.
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as GU would say, he isn't recovered from the lashings 22x Platinum and WANEGODSONANDHOLYSPIRIT served. 
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Member Since: 7/23/2012
Posts: 8,113
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QUEEN OF PRODUCT PLACEMENT. 
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Member Since: 12/6/2011
Posts: 3,223
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Member Since: 11/9/2011
Posts: 12,849
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She looks like a mother****ing GIANT.
2006/Curlyhaired-lor were 'awesome' and all, but giving me ratchet chav tea. I don't use.
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Member Since: 12/6/2011
Posts: 3,223
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Who needs Pitchafit when you have *Steven Hyden* at Grantland
http://www.grantland.com/story/_/id/...-new-album-red
The Preternatural
Taylor Swift officially assumes pop's center on her new album,*Red
By*Steven Hyden*on*October 23, 2012PRINTIt's possible to appreciate Taylor Swift as a good singer-songwriter who has become a genuine musical phenomenon. It's also possible to appreciate Taylor Swift as a good metaphor for what it takes to become a genuine musical phenomenon. But now, with the release of her fourth album,*Red, it's suddenly possible to do both, at the same time.To appreciate Swift before now meant accepting her squeaky-clean image and the omnipresent "Aw shucks, is this audience of 20,000 people really here*pour moi?" O-face affectations that came with it. To find her interesting was to peer at the gap between that façade and the reality of a steely, ruthlessly ambitious young woman clawing her way to the top of a crumbling music business more or less on self-generated forward velocity. You can see some of both Taylors in a*60 Minutes*profile from 2011. On the surface, the piece is a humdrum run-through of the Taylor Swift origin story. It covers how she convinced her parents at age 11 to travel from Wyomissing, Pennsylvania, to Nashville so she could shop around her demo tape to record labels. At 13 she was gigging by herself in rock bars. At 14, she walked away from a development deal because the label wouldn't let her record her own songs. Today, she runs her own management company and oversees every aspect of her career. She never reads her reviews, except for the time she was inspired to write the hit song "Mean" about how music critics are like bullies in spite of having precisely zero innate power over anything. Swift ultimately sees herself as a role model, and greets her fans at concerts with the thoroughness of Elvis at the Hilton casino in 1969, or Pope John Paul II on his '79 American tour.Clearly Lesley Stahl intended for viewers to accept this portrait at face value. But what was far more illuminating about Taylor Swift was the story's subtext, which was, Why is she trying so goddamn hard? How does someone who should be smoking weed out of a pizza-roll box with her sorority pals have the wherewithal to run a business she founded that now grosses tens of millions of dollars?*Who is this person really?*In its own restlessly bases-covering way,*Red*answers these questions more completely than any previous Taylor Swift record.Swift was already the*biggest moneymaker in pop, but with*Red*she officially, and with great confidence, assumes pop music's center — or the closest thing to a center that pop music can have these days. Impressively multifaceted and shamelessly mercenary,*Red*is an instant classic of instantaneous trendiness; if you want to know what matters in pop at this very moment in 2012, and possibly for two or three months before and after it, look no further.*Red*tells us that drops have been fully integrated into the pop song machine, and therefore rendered inert. Speaking of pop song machines, Max Martin still owns each and every brain that his hooks are allowed to infiltrate. As for indie rock, it's not bad for a borrowed processed guitar sound or two, but it is most effectively deployed as a punchline for normal people.*Red*reflects all of these current realities, and will likely dictate several new ones.Musically, Swift's songs are a blank canvas. Arena rock, bubblegum EDM, sappy Britpop, twee Mumford/Lumineers-inspired folk, MOR singer-songwriter dirges, and, yes, even a dash of country — Swift pulls off all of it credibly on*Red, and then some, without committing herself fully to a signature sound. Swift's defining characteristic remains the chronic oversharing of her lyrics, but her genius is appearing to reveal more than she actually does. The no. 1 hit "We Are Never Ever Getting Back Together" quickly invited mass speculation about its possible inspiration, ex-beau Jake Gyllenhaal; the album cut "Starlight," with its references to crashing a yacht party, is now doing the same regarding Swift's current boyfriend, Conor Kennedy. Taylor Swift frequently depicts herself as a victim of romantic circumstance in her songs, but the person behind those songs — the one with strength and moxie beyond her years — is elusive.An overachieving millennial to the end, Swift understands the Facebook era of pop music as well as anyone. You offer up just enough of yourself to look attractive, and allow your followers to fill in the rest. Utilize a flash of mall-punk guitar, and somebody will liken you to*the riot grrrl movement.Sing a little about your love life over an acoustic strum, and you'll*be compared to Joni Mitchell. If you still need Taylor Swift to drop into an earnest twang and deliver a hard-luck country ballad like the knockout "All Too Well," she can do that, too. For the first time, Swift's appeal is no longer predicated on a myth that denies the unwavering acumen of the great self-made pop prodigy of our time. If*Red*is a triumph, it's not the triumph of an ostensibly humble songstress who is victimized by John Mayer and waits on Kanye before she can finish speaking. It is the victorious declaration of a very clever girl who decided to take over the world in the fifth grade, and succeeded.The great new*ABC musical melodrama*Nashville*features Hayden Panettiere as a young, blonde superstar singer-songwriter with a taste for older men; the character's sunny exterior hides an emotionally damaged and cynically conniving striver out to bump Connie Britton's Reba-like country music matriarch out of the spotlight and off the charts. Panettiere has*gone out of her way to deny*that her character is based on Swift, which is probably true. But there's also some truth in my favorite scene from the*Nashville*pilot — the part where Britton tells her record producer that Panettiere's music is "adolescent crap" that "sounds like feral cats to me," while a naked Panettiere fumes in bed in an adjoining room — that distills how Swift is perceived in some country-music circles.Swift's songs are "honest" depictions of her life, but she has never really tried to be a paragon of down-home authenticity, which was problematic when she was just a country singer. With*Red, Swift embraces her revolving-door pop star transformations full-on. She's been moving in this direction for a while now, though even 2010's crossover smash*Speak Nowwas heavy on Faith Hill–aping soccer-mom ballads. It's telling that one ofRed's big slow-dance numbers, "The Last Time," is a duet with a guy from Coldplay also-rans Snow Patrol, rather than a Nashville-endorsed side of beef and flannel like Jason Aldean. More subtly, the banjo lick that opens the title track is quickly subsumed by alt-rock synths and surging guitars. When Swift sings, "Loving him is like driving a new Maserati down a dead-end street," it's hard not to miss the millionaire upgrade from the usual pickup-truck imagery of most country songs.But where Swift really diverges from the Music Row script is on her collaborations with teen-pop magnate Max Martin, who co-engineered "We Are Never Ever Getting Back Together" and brings some Kelly Clarkson–goes–Skrillex mojo to "I Knew You Were Trouble" and "22." Both "We Are Never … " and "22" include self-deprecating references to "cool" indie records and "hipsters," which are sly preemptive strikes against a subculture that Swift hasn't yet conquered and that also sucks up to indie-weary music critics. (Swift doesn't completely leave indie rockers in the dust; "The Lucky One" is a blatant knockoff of*Rabbit Fur Coat–era Jenny Lewis.)As canny as Swift is about courting audiences,*Red*succeeds because it is made up, at its core, of very well-written songs that have earned their place in America's Walmarts, hair salons, and car mechanic waiting rooms. This is apparent when Swift is working in catchy cotton-candy pop mode, and also when she's playing it straight as the serious songwriter, like on the impossibly lovely "Sad Beautiful Tragic." At 16 songs,*Redworks a little too hard, but for an artist who is hell-bent on achieving the sort of mass pop stardom that no longer seems possible, you need as many gateways as you can get.As much as I like the music on*Red, I'm still drawn to the Taylor Swift that's just below the surface, the Taylor who really makes it all happen. I don't know what motivates her, or how she seems so preternaturally wise about making songs that are so good at being so popular. I'm dazzled by her ability, but also confounded. For all the talking she does about herself in her songs, Taylor Swift is a little remote, a fitting representative for a generation sharing everything with the world online in lieu of pursuing real-life intimacy. Millions will click "like" on*Red, but to what end? I have no idea, but I'm not as smart as Taylor Swift.
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Member Since: 5/9/2012
Posts: 38,050
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Member Since: 11/9/2011
Posts: 12,849
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But that's not by Bill Barnwell tho.............
It's by Steven Hyden tho, who is a writer for Pitchfork as well. I think it's supposed to be Craig Jenkins or Steven Hyden. OR Tim Finney. But it all came down to the editors, who are hardcore Kanye stans, uber-hipster/wanna-be-black boys. So. *kanye shrug*
I mean, I'm a Kanye stan myself. But he's a mother****ing POP star ffs. And what he's good at is adopting the sounds around him while still sounding like himself. Yeezus was basically him adopting Death Grips' sound. Lyrically it sucks. So how the **** it got a 9? Travesty. Run the Jewels > // Best Rap/Hip-Hop Album of 2013.
EDIT: Nope. It is Death Grips' sound
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Member Since: 12/6/2011
Posts: 3,223
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http://m.theatlanticwire.com/enterta...r-swift/58261/
Quote:
Originally posted by thediscomonkey
But that's not by Bill Barnwell tho.............
It's by Steven Hyden tho, who is a writer for Pitchfork as well. I think it's supposed to be Craig Jenkins or Steven Hyden. OR Tim Finney. But it all came down to the editors, who are hardcore Kanye stans, uber-hipster/wanna-be-black boys. So. *kanye shrug*
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I realized it wasn't Bill after I posted it; before I read your post. For some reason I've thought it was Bill for the last two years. Just acknowledging I did make the mistake as you saw and noted.
Also I like this review; it shows even grown adult men that feel they have to denigrate her voice also can't help acknowledging her mastery of songcraft.
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