When Do You Assume Two Ghosts Was Written And When They Fell Apart? I Just Have A Hard Time Believing

i just have to disagree with anon about ayhtdws and wonderland being the saddest songs out of 1989. ootw at the grammy museum personally crushed me. that’s when you realize the song stripped bare from its heavy production, is actually a very sad song about somehow sensing that this love you held was doomed from the start. trying to protect something you hold so dear and that could break at any moment due to its fragility and then it finally breaking because outside forces ultimately won and you had to give up what you were fighting for because it was too hard. it makes me so sad :(

Sorry about the haylor in your asks but if it is atleast partly inspired by him that means that there must've been more to it than we knew. Like I still can't believe AYHTDWS was the saddest song she could come up with in 1989. I think that she locked her sad songs in vault because she wanted a fun pop album. Especially after people dragging her for red aka heartbreak album in that era. Even wonderland (arguably the saddest one in 1989) is bonus that didn't get much attention. Man I can't wait for 1989 tv

from what we've heard of his side, there was definitely strong emotion, and the fact that she addressed that situation on midnights (and potentially folkmore) at all lends itself to the idea that there could be more beneath the surface there. we know they went back and forth for quite a while. as you mentioned, something i feel is important to recognize about 1989 era is that she was projecting a polished, perfected image on purpose. she had exposed real devastating heartbreak before and been dragged through the mud for it, as far as the media goes, and the response to red back then was quite different than it is now, and we also know about her then making that conscious decision to pivot - into pop, into a "cohesive" sound, into sort of glossing depth on the album in order to seem more...assured and effervescent. she suppressed her romanticism and she attempted to hide how she was struggling. i know i've mentioned that era was really hard for me and i stepped back for a few reasons, but it's more clear now how she was grappling with a lot of difficult things. this is totally subjective, but i've always thought the most emotionally vulnerable song on the record was this love (or at least it's tied with clean), and it's telling it was originally a poem written earlier. she tried to shed that signature heart on her sleeve (even in interviews, 1989 taylor was often at her most cynical), and the sadness and struggles and pressure she locked up tight. it's still good writing, it's fundamentally a perfect pop album, but it's at a bit more of a remove, layered with the slick production, and more weighted with anxiety than sadness. and you're right, some of that was to keep it fun - if you strip AYHTDWS or IWYW or OOTW or I Know Places or Wonderland down to bare acoustics, they'd sound a LOT more sad. i am very curious if the 1989 vault has any of the more vulnerable writing, or if she didn't really lean into that aspect of her pen at the time because of what she was focused on creating. we don't know anything about the songs that could be there, i don't think? it'll be so cool to hear what she held back from that time, and interesting if it illuminates/redefines any of the album the way Red TV did!

May 20th - date of significance? Yes.

Harry released Harry’s House on May 20, 2022. After waiting many months to release Fine Line on Blondie’s 30th birthday, and after writing the bulk of this album in mid 2020, we can assume he chose this date for a reason. Here’s my proposed reason why.

But first - this requires acknowledging that the official, public Haylor origin story of 2012 is incomplete. Yes, they met in late March, eventually took a break, and picked up again in the fall. But based on Harry’s random flights, their mutual habit of vanishing simultaneously (no photos, fan or otherwise) and the lyrical information they’ve disclosed over the years - there is way more to the story.

Let’s call May, June, and very July of that year the Cruel Summer of 2012.

A bunch of stuff likely seemed to have happened in early May (that’ll be a future post about how the Sweeran origin story is also contradictory). But here we are, mid May.

Taylor is living in LA and mostly in the studio. There’s a stretch mid-month where she seems to disappear. Recall - this is the summer where she rents the house in Hyannis Port for many months.

On May 20th, 5 boys and their crew are spotted at the airport in London, flying to Boston Logan to embark on a couple months touring/doing promo in North America. Take a look at young H:

He is CARRYING ON an acoustic guitar, which he can barely play, rather than sending it ahead with all their other instruments and luggage.

The band lands in Boston; 4 guys head to the Mohegan Sun in CT (where they will play a concert soon) and are photographed by fans. And this guy? Vanishes.

Recall the secret message for Everything Has Changed, which Taylor brought to Ed almost totally done for recording on May 27, 2012:

This song, if you’ll recall, talks of a green-eyed smiling man whose eyes “look like coming home”.

Red was finalized at the very beginning of June; Taylor met the Kennedy grandsons on July 4th weekend. The timing does not work, especially since it was recorded in late May (with pap photos of Taylor and Ed outside the Santa Monica studio that day).

But MORE that that, something else occurs that day. It’s described in a 2014 song by Alex and Sierra written by Harry, and outlined in greater detail by Taylor on folklore. It’s a day described in august:

And…ah…perhaps this was also the date for some of the other events described in august?

And lest you think the whole thing wasn’t significant to Harry…by May 27 or 28, the boy gets his second tattoo. It’s a small capital A on the inside of his left elbow, seen for the first time here:

In an interview given by the boys in early July, Harry is asked about the tattoo (which had been drawn by Zayn, our OG Haylor). I cannot link directly to the interview - search for One Direction Granada TV interview on YT. And at 2:30, Harry is asked the significance of the tattoo.

Harry: oh, it’s for my….ah…ah..it’s for me mum.

Boys: laugh heartily at him

Louis: No it’s not! No, it’s not! It’s for a mystery blond!!

Reader, recall that Blondie publishes all of her songs as Taylor A. Swift.

Ten years later, on May 20, 2022, Harry’s House is released.

And on May 20, 2023, during a rain show at Boston’s Gillette stadium, Taylor Swift tells the crowd “I’ve never been so happy in my life in all aspects of my life…my life finally feels like it makes sense.” And that she will play them “this song, which brings me a lot of happy memories”: Question…?

ETA: Want to know what his next two tattoos are? He has them in this late June photo

- the word “Hi” (“all I know is we said hello, and your eyes looks like coming home)

- the (misquoted) lyrics from Temper Trap’s Sweet Disposition, which happen to be the line which follows *the secret message for Treacherous*. Which he starts kissing while singing love songs starting the day after he gets the tattoo.

i’m so serious the way she talks about love in 1989 being imperfect but blazingly beautiful and having to navigate life before, during, and after that because yeah how do you go back to ‘normal’ life after something so worthwhile all while trying to navigate a world full of so many societal pressures as a young adult on your own and how because of those pressures and outside loneliness the world was black and white and dull and so that love was like a meteor and colorful and big and bright

Writing of Red Timeline! (+Vault Songs)

Edit: now that the Vault has been unlocked, I'll edit this post to add the missing titles and delete the predictions. I'm pretty proud of myself, I guessed every song except for The Very First Night.

Please, credit me if you take info from this timeline, thanks!

Watch the video version of this timeline on my YouTube channel!

June 16, 2010: The Story Of Us is the last song Taylor writes before having a writer's block that ended 6 months later.

"There’s a kind of bad that gets so overpowering you can’t even write about it. When you feel pain that is so far past dysfunctional, that leaves you with so many emotions that you can’t filter them down to simple emotions to write about. That’s when you know you really need to get out."

Late December 2010: All Too Well is born during a Speak Now Tour rehearsal.

[Interview with Pop Dust] The lyric I’m most proud of on the album is from ‘All Too Well’: ‘And you call me up again just to break me like a promise / so casually cruel in the name of being honest.’ That was something I came up with while ranting during a soundcheck. I was just playing these chords over and over onstage and my band joined in and I went on a rant. Those were some of the lines I thought of. I was going through a really hard time then, and my band joined in playing, and one of the first things that I came up with, just, like, spat out, was ‘And you call me up again just to break me like a promise, so casually cruel in the name of being honest.’

[Taylor to Rolling Stone] "The first song that was written was All Too Well, and it was a day when I was just like a broken human walking into rehearsal just feeling terrible about what was going on in my personal life. And I walked in and I remember we had just hired David Cook… I think it was his first day meeting me, and I think I ended up just playing four chords over and over again and the band started kicking in, like Amos Heller on bass, and people started playing along with me. I think they could tell I was really going through it. And I just started singing and riffing and sort of ad-libbing this song that basically was All Too Well. And it started with ‘I walked through the door with you, the air was cold’ – like it literally just was that song, but it had probably seven extra verses. And it included the f-word, and I remember my sound guy was like ‘Hey, I burned a CD of that thing you were doing, in case you want it.’ And I was like ‘Sure!’ 

February 2011: All Too Well is reworked. This is probably the Ten Minute Version.

First week of March 2011: Taylor edits All Too Well with Liz Rose's help.

[Liz Rose to Rolling Stone] When we wrote the song, I hadn’t heard from her in awhile. She hadn’t really been writing. I was in Nashville one day, slowly moving the last bits of junk out of my garage so I could move to Dallas. […] I was in my driveway and my phone rings, and it’s Taylor saying, ‘Man, I’ve got this thing and I really need you to help me with it. Can you write today? What are you doing today?’ [I later] drove over to Taylor’s. It was the first song she wrote for that record, I think. She had a story and she wanted to say something specific. She had a lot of information. I just let her go. She already had a melody and she started singing some words, and I started writing things down, saying, ‘Ok, let’s use this, let’s use that.’ She mentioned a plaid shirt, and I wrote that down in a corner, and when we got to the end, I said, ‘Let’s put the plaid shirt in there.’ That turned into one of the best lines. […] It was the most emotional, in-depth song we’ve ever written.

March 27, 2011: While in her hotel room in Dublin, Taylor writes Better Man.

[Taylor talking about it] Transcript: The song Better Man is one that I originally wrote for the Red album. I remember I was on tour, and I wrote it alone in a hotel room. And I remember standing in front of a mirror—I think the first thing I thought of was, ‘I wish it wasn’t 4am, standing in a mirror, saying to myself, 'you know you had to do it.“ That was an actual visual from my life that ended up being the first thing I wrote, and then I expanded outward from there. And it was a song that I really thought belonged on the album and there were just too many songs I loved that I had written in that period of time, so some of them had to be left off. I think I chose All Too Well over Better Man. I think that was what happened. I was either going to put on All Too Well or Better Man, and then I left off Better Man.

[Taylor in May 2011] "I was in Madrid, and I was in my hotel room all day. And I was going through this crazy, emotional thing and I wrote a song about it and it'll probably be on the next record. I'm telling you that. I'll tell you the title afterwards."

Speculation: on March 27th, Taylor posted a picture of her guitar, saying “Writing a song all afternoon in my hotel room. Dublin, Ireland”.

This matches the Better Man origin story, but Taylor said that she wrote it in Madrid, so on March 19th. But in Madrid she was hanging out with Liz Huett, her backup singer and close friend. Liz tweeted about their Madrid afternoon during the 1989 era, so I guess that it was a memorable day for them and I don't think that Taylor holed up in her room to write a song.

May 22, 2011: During a brief interview at the Billboard Music Awards, Taylor says she’s “been constantly writing lately.”

June 11, 2011: Taylor says, during a show in Detroit, that she had written 10 songs, all of them sad.

[New Yorker Interview] "In Detroit, Swift seemed somewhat melancholy. Once in a while, I had the feeling that she was on the verge of bursting into tears. She said that she had recently decided that life is “about achieving contentment... You’re not always going to be ridiculously happy.” She had written about ten songs so far for her next album. Asked to characterize them, she said, “They’re sad? If I’m being honest.” The most recent one, she said, “is about moving on.”

I think that the songs written were: All Too Well, I Almost Do, The Moment I Knew, and Better Man.

“I Almost Do' is a song I wrote about the conflict that you feel when you want to take someone back, and you want to give it another try, but you know you can’t. And you can’t because you know it’s hurt you so deeply that you know that you couldn’t bear to go through that again. So you’re sitting there and wondering where they are and hope that they think about you and that you’re almost picking up the phone call, but you just can’t. I think I needed to write this song in order to not call that person actually. I think that writing the song was what I did instead of picking up the phone.”

June 17, 2011: [From a Lover Journal] Taylor mentions "feeling blissfully happy" especially since she wrote "those 2 songs", which she will record after flying back to Nashville after the show in Pittsburgh, PA. One of them may be State Of Grace.

[On Good Morning America] "I wrote this song about when you first fall in love with someone — the possibilities, kind of thinking about the different ways that it could go. It’s a really big sound. To me, this sounds like the feeling of falling in love in an epic way."

June 24, 2011: Taylor meets up with Lori McKenna at her house in Boston. They write I Bet You Think About Me.

[Taylor on Amazon Music] "‘I Bet You Think About Me’ is a song I wrote with Lori McKenna, who is one of my favorite singer-songwriters ever. I’d always wanted to work with her. And I wrote this with her at her house when I was playing Foxboro Stadium on the Speak Now Tour. We wanted this song to be like a comedic, tongue in cheek, funny, not caring what anyone thinks about you sort of break up song, because there are a lot of different types of heartbreak songs on Red. Some of them are very sincere, some of them are very stoic and heartbreaking and sad. We wanted this to be the moment where I was like, ‘I don’t care about anything.’ And we wanted to make people laugh with it, and we wanted it to be sort of a drinking song, and I think that that’s what it ended up being."

[Lori Mckenna Interview] “That song was about 11 years old,” she pauses before adding, “We think.” Swift happened to be in the Boston area playing two sold-out shows at Gillette Stadium not too far from McKenna’s house. On the day of the second show, she visited Mckenna, they ate lunch and then planned to write together. “She had this little nugget of a song which was ‘I Bet You Think About Me,’ she knew that was the hook.” Swift had asked her if she should lean in the folk direction (which they did) and after that, the rest flowed blissfully as McKenna recalls, “I don’t remember anything other than sitting here watching how incredible she is. She knows what she wants to say and when she says the right thing, she remembers it. She didn’t write anything down. There was no recording of the song.” McKenna was writing the lyrics on her computer but Swift never looked at her screen. “If the line is right, she knows it’s right, and she remembers what it is,” she says. Later that night, McKenna attended Swift’s show with her kids and when she was backstage, Swift played the song they had written together. “I’m like, how is this woman gonna get out there, do a completely choreographed show for 60 thousand people, and she’s singing the song that she just wrote two hours ago,” McKenna exclaims as she revisits the memory. For her to bring back something that was 10 or 11 years old and be true to a song that she had in her heart that long ago is pretty cool. It’s something that a lot of artists don’t get to do.”

[From Lori McKenna Twitter] @taylorswift13 came to my house to write 1 day before 2 sold out shows @Gillette. (My neighbors famously called police bc of the security) Still she was as sweet, human, unassuming & TALENTED as any writer who has ever been here.

June 30, 2011: [From MySpace] Lately, I've been writing a LOT. Like, all of a sudden, everything I've wanted to say, express, or just let out for the past several months has just recently become a song. I'm really excited about that. It's a freeing feeling when all of a sudden one day, you're able to verbalize exactly how you feel in a verse, chorus, verse, bridge, chorus pattern.

July 2011: Taylor writes Starlight. Originally, the demo was more country.

This is mostly based on this Rolling Stone article where Taylor says she has read a 900-page book about the Kennedys, called The Kennedy Women. She also visited JFK's grave on August 3th, and had a Robert Kennedy quote on her arm during the August 3th show.

[Washington Post] I get a lot of style inspiration from the 1960s, so I’ll go and look at black and white pictures, and look at photos from the ‘50s and '60s, and I came across this picture of these two kids dancing at a dance. It immediately made me think of like how much fun they must have had that night. It was back in the late '40s. I ended up reading underneath that it was Ethel Kennedy and Robert F. Kennedy. And they were, like, 17. So I just kind of wrote that song from that place, not really knowing how they met or anything like that.

Description of the Starlight Studio Demo: "3:37 minutes long. This demo is much rougher sounding than the released version. The verses are acoustic guitar-driven, there are less spacey sounds, and there are much louder background vocals as the song builds."

August 26, 2011: Kuk Harrell tweets that Taylor and Justin Bieber wrote a song together, called Cannon Balls.

August 31, 2011: Cannon Balls is reworked. Tom Strahle, one of Justin Bieber's collaborators talked extensively about the song in these lives. Three demos of the songs exist.

September 8, 2011: [From Lover Journal 1] Taylor writes Red on a plane on her way to Nashville. Taylor and Nathan Chapman record the demo in the evening, at the Pain in the Art Studio. A second demo exists. These demos are NOT produced with Dann Huff, unlike the album version.

[From a Lover Journal] "I was suppose to fly to LA after the show in Tacoma WA last night, but after talking to my brother on the phone and missing my mom and my town where I know my way around -- I got homesick and flew back to Nashville instead. It was a long flight but I'm so happy I chose to come home. Mostly because I wrote a song on the plane on the way home called 'Red'. I got in at 6am this morning slept til 10. [...] In the evening, I went to Nathan's studio to record. When I played Red for him, he lost it. He absolutely freaked over the lyrics. I was so happy. As we started recording it, it got more and more awesome with banjo, and this affected vocal part that runs under the chorus going "re - e - ee- e- d". I'd love to have my next album Red. Scott came over because I called him and he was still working at the office. He said the song takes it to the next level. He lost it over this song. My mom loves it too. It's so different than anything we've done. I can't even tell you how alive and worthwhile i feel when I'm writing a new song and I finish it and people like it. It's the most fulfilling feeling, like getting an A+ on your report card. Recording again tomorrow."

[VH1’s Storytellers] "This relationship that I had that was, like, the worst thing ever and the best thing ever at the same time. I was writing this song and I was thinking about correlating the colors to the different feelings I went through. You have the great part of red, like the red emotions that are daring and bold and passion and love and affection. And then you have on the other side of the spectrum, jealousy and anger and frustration and ‘you didn’t call me back’ and ‘I need space."

September 9, 2011: [From Lover Journal 1] She's in the studio to record again.

[Billboard Interview] I turned in 20 songs and I had this immediate sinking feeling, this can’t be done, this can’t be it. I think the reason I said that was because I made the record exactly the same way I made the last three. I knew I hadn’t jumped out of my comfort zone, which at the time was writing alone and working with Nathan. “Red” the song was a real turning point for “Red” the album. When I wrote that song my mind started wandering to all the places we could go. If I were to think outside the box enough, go in with different people, I could learn from and have what they do rub off on me as well as have what I do rub off on them.

[Scott Borchetta Interview] “The song [Red] was brilliant–great melody. But I told them that the way it was recorded, guys, the production just doesn’t match the song. It needs a pop sound.” So Chapman and Swift asked Borchetta if they could take another crack at it. They did and it was worse than the first pass. “And Taylor basically said, ‘All right, would you call Max [Martin]?'”

October 4, 2011: Taylor writes Sad Beautiful Tragic on her ukulele, while on her tour bus, while reminiscing about a relationship that had ended months ago.

[From Twitter] "Leaving Little Rock, headed to New Orleans. Writing a song on a moving bus."

[Billboard Interview] "‘Sad Beautiful Tragic’ is really close to my heart. I remember it was after a show and I was on the bus thinking about this relationship that ended months and months before. The feeling wasn’t sadness and anger or those things anymore. It was wistful loss. And so I just got my guitar and I hit on the fact that I was thinking in terms of rhyming; I rhymed magic with tragic, changed a few things and ended it with what a sad beautiful tragic love affair. I wanted to tell the story in terms of a cloudy recollection of what went wrong. It’s kind of the murky gray, looking back on something you can’t change or get back."

Sad Beautiful Tragic is a demo and it was recorded once.

Speculation:

The secrete message is “While you were on a train” and it might be a reference to Jake Gyllenhaal joining Mumford & Sons in late April on their Railroad Revival Tour… on a train.

October 19, 2011: "I have written 25 songs so far."

Some of these 25 songs might include: State Of Grace, Red, All Too Well, I Almost Do, Stay Stay Stay, Sad Beautiful Tragic, The Moment I Knew, Girl At Home, Better Man. All of them are solo written and produced only by Chapman, which resembles the process of Speak Now.

"The song ‘Stay Stay Stay’ is a song that I wrote based on what I’ve seen of real relationships, where it’s not perfect, there are moments where you’re just so sick of that person, you get into a stupid fight. It’s still worth it to stay in it. There’s something about it that you can’t live without. In the bridge it says, ‘I’d like to hang out with you for my whole life’ and I think that’s what probably the key to finding the one, you just want to hang out with them forever."

According to its US Copyright file, Stay Stay Stay was written in 2010.

According to a Reputation Secret Sessioner, Girl At Home is a demo.

October 21, 2011: Maya Thompson, Ronan's mother, is invited by Taylor to her concert in Glendale. She tells Maya that she has just written a song about her son Ronan.

[From Maya's blog, Rockstar Ronan] "My calmness soon turned to complete and utter frozen shock when these words came out of her mouth. 'I wrote a song for Ronan.'" Thompson added, addressing her late son, "'The tears started pouring down my cheeks as soon as I heard her say those words. But her words didn't stop there. Not only did she write a song for you, but she wanted to know if it would be alright to perform it on the nationally televised show."

November 19, 2011: Taylor writes Safe & Sound with The Civil Wars (Joy Williams & John Paul White) and T Bone Burnett at Burnett's house in LA. The Civil Wars post these two photos on Instagram:

December 2011: Taylor writes Begin Again.

‘Begin Again is a song that I wrote about getting through a breakup, and still being sad about it, and feeling a little insecure about all the things that relationship made you feel are wrong with yourself. And after months, and months, and months, having the courage to stand back up, dust yourself off, and go on that first date. And it’s about, kind of, the vulnerability involved with that, and the idea that you realize that, 'wow, this could be great.’

The song is supposedly for Will Anderson from Parachute. On November 27th, they were photographed together eight months after Taylor had broken up with Jake for good. Additionally, the white dress she wears on the single cover is the same one she wore at his birthday party on May 5, 2012.

December 13, 2011: Taylor turns 22. She's at the Blackbird Studios to record, wearing a pair of bright red shoes. She's probably recording Red and Begin Again which have the same credits.

Late December 2011: Taylor reworks Starlight. While Red and Begin Again have the same credits, Starlight has others mixers, musicians and so on. My guess is that Dann Huff was called to work on Red because Borchetta didn't like the two demos, then he worked on Begin Again, likely on the same session as Red, and shortly after on Starlight. I bet that the guitar in the Starlight Demo was played by Chapman because in the Starlight credits you see "Electric Guitar Solo - Conceived by Nathan Chapman, Played by Dann Huff", which I think confirms Huff's involvement at a later date. I think after this recording session Borchetta was satisfied and wanted to wrap up the album.

January 2012: “With Red, [Scott Borchetta] came to me in January and said, 'I think the album's finished.' This time, I said, 'No, it's not -- I need to keep writing.' At that point, she went to Chapman and told him she wanted to work with other producers, too.”

January 2012: Shortly after hiring Max Martin and Shellback, Taylor starts writing a sad piano ballad called 'Trouble', that will become I Knew You Were Trouble. She emails Max Martin about it, but they have to put the song on hold for 6 months.

January 19, 2012: Taylor meets Rory Kennedy (Conor's aunt), at the Sundance Film Festival, where a documentary about Ethel Kennedy premiered.

January 21, 2012: Taylor meets Ethel Kennedy.

“When asked how the odd-couple friendship came to be, Swift said her acquaintance with the daughter led to an introduction to the mother. “I had read up on Robert F. Kennedy and his wife, and I asked Rory if it would ever be possible for me to meet her mother. She said, ‘Here’s her number.’ Ethel was kind enough to have lunch and spend a few hours talking with me, and ever since then I’ve been so inspired by how full of life she is and the way she tells her story.’’

February 2012: [From a Lover Journal] Taylor writes Holy Ground.

“The song ‘Holy Ground’ was a song that I wrote about the feeling I got after years had gone by and I finally appreciated a past relationship for what it was, rather than being bitter about what it didn’t end up being. And I was sitting there thinking about it after I’d just seen him and I just, I was just like, “You know what, that was good.” It was, it was good, having that in my life, and I wrote the song and I immediately heard Jeff Bhasker’s production. I hadn’t ever worked with Jeff, but he has done some amazing work. I love what he’s done on Fun’s record, and I love his diversity. He’s just so talented, and so I called him and I said “I wrote this song. I really want you to work on it with me.” And I played it for him and he was like, “Let’s go! This is great!” And, and he did such an amazing job on it.”

February 2012: While Taylor is in LA promoting the Lorax, she and Pat Mohanan from the band Train team up to write Babe. This is speculation, but it's mostly based on Train's timeline for their album California 37.

[Pat Monahan interview] “”When [Pat] told Taylor that he wanted to collaborate with her on a song for Train's next album, she asked him to write a song with her for her album, Red. "It's a song called 'Babe,'" continues Pat. "So it's her song; I was just lucky enough to be a part of it with her, and I'm gonna ask the same of her in the future. She's very talented, she's a no-nonsense young kid. I'm not going through different relationships and breakups and all the stuff that young people do, so her perspective is very fresh," he says. "And I think that that's what I admire the most [about her].”

February 2012: This is rampant speculation but Espionage, who co-wrote The Very First Night, know Pat Monahan very well, since they wrote a few songs for Train, including their then-latest single Drive By. So I think that it's possible that The Very First Night was also written in February.

[Taylor on Amazon Music] “'The Very First Night' is a song that I made with a production group called Espionage, and they're so cool, so talented. This is actually the first time anybody gets to hear the work we did together because this didn't end up on the album, even though I loved it so much and told myself that someday it would come out. It's a song about a common theme on the RED album, which is reminiscing. Reminiscing about something that's over now, and reminiscing about the good times, and how powerful memories can be.”

February 15, 2012: During an interview with ExtraTV, Taylor says that she has written around 30 songs.

March 2, 2012: [From a Lover Journal] Taylor writes Nothing New. While still in Australia, she also writes The Lucky One. They have similar themes and were allegedly inspired by Joni Mitchell and Kim Wilde.

“The song 'Nothing New' is a song that I wrote when I was 22 and tour. I was on the New Zealand/Australia leg of a tour, I wrote a little bit in each of those places. It was during a phase of my career when I was on my fourth album, and even though I was only 22 I just felt like old news, I really did. I think that new artists don't realize that when they put out their first or second album that they're in this shiny, new phase where everything you do is interesting and exciting to people. And it's only when you get to the moment after your breakthrough where you realize that you're gonna have to figure out some other shade of yourself to show people. Because people are not responding the same way they did when you were brand new. And I think I was writing from that place, even though I was a very young person in terms of years. Being on my fourth album I felt like, 'Is anybody still interested? Are they even excited by what I do anymore? What happens to me after they're not anymore? What do I do then?' Because you get so attached to the idea of novelty.”

“The ‘Lucky One’ is a song I wrote while I was in Australia.  It kind of talks about some of my fears through telling the story of other people that I was inspired by.  More than their stories being told, I’m pretty much singing about what I’m scared of in that song, ending up kind of caught up in this whole thing and lonely and feeling misunderstood and feeling like when people think you’re lucky that you’re really not.  It kind of expresses my greatest fear of having this not end up being fun anymore, having it end up being a scary place. Some people get there, some people end up there. It’s a story song and it’s something I’m really proud of because it kind of goes to a place that I’m terrified of. [...] There’s the microscope that’s always on you. The camera flashes, the fear that something you say will be taken the wrong way and you’ll let your fans down. You’re scared of a lot of things for a lot of the time, but the trade-off of being able to get on a big stage and sing your songs — it’s worth it.”

April 12, 2012: Taylor has a writing session in LA with Dan Wilson. The first song they write is Treacherous. Taylor posts a picture on Instagram with the caption "Recording for the next album. So happy."

They are at Dan Wilson's house, recording the demo for Treacherous, the only song where Taylor has a guitar credit.

[From Taste Of Country] “I wrote ‘Treacherous’ with Dan Wilson, and we came up with a way to say, you know, ‘This is dangerous and I realize that I might get hurt if I go through with this, if I move forward with you. But… but I want to.’ You know? It’s like that kind of conflicted feeling of it being a risk every time you fall in love — especially with certain types of people. [Laughs] That was a song that I’m really proud of, because it’s got this bridge that sounds like a second chorus. It’s got all these big vocals, and it’s kind of the intensity of that moment when you’re deciding to let yourself fall in love with someone.”

[From a Dan Wilson Interview] “With Taylor, we had been kind of circling around, very much aware of each other’s work for a while. We figured out these two days to work together and she came to my studio super excited and said, “I had an idea in the car.” And she sang me the first three or four lines of it and said, “I want to call it ‘Treacherous’ and maybe the chorus can go like this.” And we were writing the song in 10 minutes and she was just so full of excitement.”

The drums are credited to Wilson in the Treacherous Demo, not to Aaron Sterling like in the final version.

April 13, 2012: Taylor and Dan Wilson write and Come Back... Be Here.

[Red Release Party] “It’s a song I wrote about this guy that I met. You know, you meet someone and then they just kinda happen to go away and it’s, like, long distance all of a sudden. And you’re, like, ‘b-b-but, but, come back, be here!’ So it’s a song that I wrote about having distance separate you, which is something I face constantly.”

A description of Come Back... Be Here Studio Demo (not in circulation): "3:55 minutes long. A gorgeous bare-bones studio demo with drums, acoustic guitar, and Taylor's rough vocals with a few pretty harmonies added." I bet this demo was recorded like the Treacherous one, just Taylor and Dan.

April 23, 2012: Taylor meets Max Martin and Shellback. The first song they write is Message In A Bottle. Before starting the session, a friend of an ex walks in the studio asking if Taylor and his friend were getting back together. Taylor goes on a rant about how she'll never get back together with her ex.

Taylor also tweets: "Sitting in my kitchen. Listening to music. Don't want to go to bed. Was in the studio tonight. Writing tomorrow. Should go to bed. Ok I will."

“'Message In A Bottle' is such a fun song! It is so catchy and the melody is really contagious. Max Martin, Shellback and I...that was the first song we ever wrote together. We went on to write songs like 'We Are Never Ever Getting Back Together,' 'I Knew You Were Trouble.' and '22' and we felt like those songs really represented what we were doing on RED. We kept saying that somewhere down the line we'd put out 'Message In A Bottle' because we loved it so much and this is the first opportunity that we have to show it to the world. We're all really excited about it!”

Speculation:

"It is not confirmed but the friend of the ex seems to be Adam Levine from Maroon 5, a very old friend of Jake. Maroon 5 were in the same studio in LA (Conway Studios) to wrap up their album Overexposed.

April 24, 2012: Taylor, Max Martin and Shellback write We Are Never Ever Getting Back Together.

“I came in and they played a track that they had made in preparation for this. And I wrote something over the track. And then I think after that, I was telling them a story about what I was going through. And then I started just kind of singing, ‘We are never ever ever’…and Max was like, ‘That's great! We're writing that. Like we've got to write that!’ And then Johan was like, ‘And we-eee could be like little kids on a playground!’ And that was the first time that I realized these people think in a way that is so mystical and magical, and the way that you could hear a hook that's not really musical notes. It's a sound, or these kind of pop wizards. I remember being so challenged by writing with them.”

“It’s a definitive portrait of how I felt when I finally stopped caring what my ex thought of me. He made me feel like I wasn’t as good or as relevant as these hipster bands he listened to… So I made a song that I knew would absolutely drive him crazy when he heard it on the radio. Not only would it hopefully be played a lot, so that he’d have to hear it, but it’s the opposite of the kind of music that he was trying to make me feel inferior to.”

[Max Martin Interview] “Me and Johan [Shellback] had our first date with her at Conway Studios. I was a little nervous, you know, the good kind of nervous. Maroon 5 was recording in the studio next door. This guy shows up, a friend of theirs. We literally haven't started the session yet. The guy says, "I heard the Taylor Swift's here. I gotta say hello". I was like, "Really?" and the guy says, "I totally know her, it's fine, we're friends". He walks in and it turns out that he didn't know her. And I started sweating cause I was vouching for that guy. He started talking about some ex-boyfriend of hers. It was really messy. He leaves and I apologize, but she was super cool, no problem at all. Then I asked what that was all about and she told me the story about this guy that she was dating. I can't remember exactly what she said, but she said, "One thing's for sure, we are never ever getting back together", and I said, "That's pretty harsh". She said, "No no, we are never ever ever getting back together". And we're laughing about it, saying, "That sounds like a song title". Then we started on something else [Message In A Bottle]. The next day, she said, "I thought about what you said", and she played us this idea that became 'We Are Never Ever Getting Back Together'. I was so mad at that guy who ruined our session, but it turned into love, cause it never would've happened if he hadn't walked in.”

May 15, 2012: Taylor meets Ed Sheeran for the first time, after his concert in Phoenix, Arizona, at the Ritz Hotel: they write Run, their first song ever.

"I met up with him at one of his shows and we wrote some songs that day."

[Taylor to Amazon Music] “The song ‘Run’ is really special to me because it marks the first song that I ever wrote with Ed Sheeran and it kind of also marks the first day of our friendship. He’s been someone who has been so important in my life, like just one of my closest friends, he’s always been there for me. It’s a song about the escapism of falling in love and how you don’t really care what anyone else says when you feel this way – you just wanna run away with someone. And all the little secrets that you establish with this person, this secret world you create together.”

[Ed Sheeran Interview] “We wrote 'Run' and then we wrote 'Everything Has Changed' maybe like a week later. And I remember always thinking, 'Well, 'Run' is the one that’s gonna make the album.' It was always my favorite. But 'Everything Has Changed' just ended up sounding better because we produced them differently or whatever. So 'Run' has just been there for years and years. I’ve never really wanted to nudge Taylor about it – because it’s her song. But I’ve always been secretly hoping that one day she’d be like, 'Hey, this song was cool!' And so we recorded that and it’s really great! I’m so happy it’s seeing the light of day.”

They both tweet about Run:

May 17, 2012: Taylor has lunch with Mark Foster from Foster The People in Beverly Hills, CA. They write Forever Winter.

[Mark Foster Interview] “We wrote a song that day. It’s a really cool song. We kind of just went into it casually and something really cool came out of it. We’ll see what happens with it. She’s been writing a lot for her next record.”

“The song 'Forever Winter' is about being in a moment in your life where you love someone, or someone is such a good friend of yours, or you feel really close to someone, and you realize all at once that they've been struggling for a very long time. And you feel so guilty that you didn't see it sooner, and you wish you would've checked in on them more. That person means so much to you, but you didn't necessarily pick up on the signs that maybe they weren't okay. So, that's 'Forever Winter'.”

May 18, 2012: Aaron Sterling tweets that he had just finished playing drums in Treacherous and Come Back... Be Here.

In November 2012, Dan Wilson confirms that the songs were recorded a few weeks after being written.

May 27, 2012: Taylor and Ed write Everything Has Changed.

Original lyrics: "All I feel in my stomach is butterflies for a Gemini / who’d never tell a lie / The beautiful kind saying “This feels right" / Making me feel like falling for a Gemini / This feels right / Making me feel like I just want to know you better, grow old together, hold you forever / When you caught my eye / The look said you’d missed me all this time / Meet me there tonight / So I can know that it’s not all in my mind."

[MTV News] "We, for real, were sitting on my trampoline in my backyard 'cause we had been writing a song and I was like, ‘Hey, I just got a trampoline. You want to see it?’ And so, he brought the guitar for some reason. We ended up writing an entire song out there. For portions of the song, we were bouncing around, ‘cause it’s a trampoline and it’s fun, and the combined maturity level of both of us is 8 years."

[Ed Sheeran Interview] "She pretty much had the verse, bridge and chorus done but we argued about that one chord. She didn’t like that but I forced it upon her!"

May 28, 2012: Taylor and Ed arrive in Santa Monica, CA. They start recording Everything Has Changed and Run at Ruby Red Productions with Butch Walker and Jake Sinclair.

May 29, 2012: Gary Lightbody joins Taylor in the studio thanks to Ed. The two of them plus Jacknife Lee write and record The Last Time in less than 9 hours, produced by Lee in his studio in Topanga, CA. The album version is the very first attempt. Gary will also provide background vocals for Everything Has Changed.

[Taylor to NPR] The idea was based on this experience I had with someone who was kind of this unreliable guy. You never know when he’s going to leave, you never know when he’s going to come back, but he always does come back. My visual for this song is, there’s a guy on his knees sitting on the ground outside of a door. And on the other side of the door is his girlfriend, who he keeps on leaving — and he keeps coming back to her, but then he leaves again. He’s saying, ‘This is the last time I’m going to do this to you.’ And she’s saying, ‘This is the last time I’m asking you this: Don’t do this again.’ And she’s wondering whether to let him in, and he just wants her to give him another chance, but she doesn’t know if he’s going to break her heart again. It’s a really fragile emotion you’re dealing with when you want to love someone, but you don’t know if it’s smart to.

[Gary Lightbody to Rolling Stone] It was so fast. She works really fast. She’s extraordinary. We actually did that song, wrote it and recorded it in a day. And that was the version of it on the record, which is very rare. Normally you write and record something with somebody and then down the line they’ll record it, if you’re lucky. With her, the whole thing was done in nine hours. I hope we can do it again sometime!

[Jacknife Lee Interview] “We met through Gary’s [Lightbody] friendship with Ed Sheeran. Taylor was a fan of Ed’s. They were on tour I think. Taylor came to Topanga. Body guards, big black car. We wrote a song in a couple of hours and sang it sitting on the sofa. She had a handheld microphone. Then we had pasta for dinner and hung around with my kids. She left and I finished the song off. Owen Pallett [Arcade Fire/Final Fantasy] did some strings very quickly. It was out of my field of expertise and interest, but I was intrigued and my girls were thrilled. Taylor was nice and very professional. She knew what she wanted and there was no fucking about.”

May 30, 2012: While working on The Last Time, Taylor called Harry Styles to ask him to write a few bombastic songs with her, as requested by the label, as Jacknife Lee revealed.

[Jacknife Lee Interview] “She was seeing Harry Styles at the time, so he came to Topanga on her recommendation. She wrote a few songs with him, and it was the same thing – quick. But this time it was more directed by the management and label. They were after something specific. I wanted more acoustic and gentle, almost Americana, and they wanted bombast. They got what they wanted, and that was the extent of my foray into teen-pop territory. It was fun.”

The date is not confirmed but it's the only week in which Harry was free (1D were on tour).

June 1, 2012: [From a Lover Journal] After the Walmart Shareholders Concert held in Arkansas, Taylor returns to LA and while on the plane she writes 22, which she brings to a writing session with Max Martin and Shellback.

[Interview with Ryan Seacrest] I wrote that about my friends, like finally I’ve got this amazing group of girlfriends and we tell each other everything, we’re together all the time. And I think that was kind of the marker of me being 22, like having all these friends and there’s all these question marks in your life, but the one thing that you have is that you have each other.

«For me, being 22 has been my favorite year of my life. I like all the possibilities of how you're still learning, but you know enough. You still know nothing, but you know that you know nothing. You're old enough to start planning your life, but you're young enough to know there are so many unanswered questions. That brings about a carefree feeling that is sort of based on indecision and fear and a the same time letting lose. Being 22 has taught me so much.»

"'22' is a song I wrote about exactly how I was feeling when I was 22 years old; I felt happy, free, confused, and lonely at the same time, which I think is the way a lot of 22-year-olds feel, you know? We all feel that way all the time. So I brought this song to Max Martin and Shellback, and I had written in on a plane ride and they loved the idea. And it just happened really fast! They were like, 'Oh my God, we get exactly where you wanna go with this.' I just wanted the most infectuous chorus and I feel it really does that."

The song originally had a different bridge that can be seen in the handwritten lyrics:

Sometimes it hits me / We’re moving quickly / Toward something hazy / A future I can’t see / Let’s break the old rules / While we’re still 22 / You look like bad news / I gotta have you

June 2, 2012: [From a Lover Journal] Taylor brings the chorus of I Knew You Were Trouble to Max Martin e Shellback. Both 22 and I Knew You Were Trouble are recorded during this week.

[MTV Interview] «It’s about knowing the second you see someone like, ‘Oh, this is going to be interesting. It’s going to be dangerous, but look at me going in there anyway.' I think that for me, it was the first time I ever kind of noticed that in myself, like when you are curious about something you know might be bad for you, but you know that you are going to go for it anyway because if you don’t, you’ll have greater regrets about not seeing where that would go.»

[Taylor to Amazon Music] «'I Knew You Were Trouble.' is a song that I think really made me expand my horizon of what kind of music I wanted to make, and what kind of music I was allowed to make. At this point in my career I was a completely straight forward country artist that sort of toyed around with pop melodies every once in a while. But when I had gotten this idea, I brought it to Shellback and Max Martin. It was a piano ballad and I thought it was just gonna be a really sad, down tempo song. And I remember Shellback going, 'What if we do like a dubstep bass drop?' And I was like, 'Um, yeah! Let's do that.' It was one of the most shocking moments that we had in the studio, making RED. I think the whole time we were making the song we were all like, 'Can we really do this?' And I love moments like that! Because that means you're pushing boundaries, you're going for it. I've learned that since. I felt that when I was making folklore like, 'Am I allowed to make an alternative album?' You just gotta listen to that feeling sometimes.»

[Taylor to Rolling Stone] «I remember bringing in this slow, sad thing that I had written, called ‘I Knew You Were Trouble.’ I had originally called it ‘Trouble’. I was like, ‘I don't know if we could have some kind of intense bass drop or something, like dubstep is really awesome…’ And they were just like, ‘Yes, absolutely!’ And then Shellback was like, ‘In the verse, let's do this really frantic drum beat.’ And it just was something I would never have thought of; to make the beat of the verse really up-tempo, and then make the intensity drop off the chorus, and then have it build back up, and then have a production explosion at the end of the chorus. It was so thrilling! I couldn't believe the song started where it started and then their added ideas with production. They ended up seeping into my brain and I started thinking the way that I would hope they would think. I would write a verse and Max would be like, ‘This is this many syllables, can you shorten it and make it more succinct, but convey the same message?’ And I would just go off into a corner and I felt like I had like this amazing assignment. So the challenge of it was so thrilling for me.

Somewhere around July 2012: Taylor records State Of Grace Acoustic.

[Taylor to Yahoo!] This one wasn't a demo, but a careful afterthought. When I wanted to do an alternate version of it for the Target bonus tracks, Nathan (Chapman) and I went back into the studio and we did just a completely acoustic version of it. It's really sweet and slowed down and it completely changes the song.

Somewhere during the writing process: Unknown Song with Ryan Adams, Unknown Song with T-Pain (I can't find the source), Unknown Song written in New Zealand (mid-March 2012, mentioned by herself on Amazon Music).

Other Songs: Both Of Us, Safe & Sound, Eyes Open, they were all written and recorded in 2011. None of them were meant for Red.

End of the writing process: "The singer also revealed that she wrote "30 to 35?" songs for the album and but whittled it down to 16 tracks."

The way “I heard that you’ve been out and about with some other girl, you said what you heard is true but I can’t stop thinking about you, I said I’ve been there too a few times” makes the situation sound so sexy and fun and lighthearted and Is it Over Now is like “actually, I wanted to jump off a building!”

Not justifying the dickhead guy in the slightest but this is also why calcium hated harry so much!!!! He knew about their hookups and was probably aware how much she loved harry. Also wondering if she threw herself in that relationship because that would mean she won't go backto h

oh yeah I know why calvin hated harry. and i do fully believe that a part of tayvin's publicness was aimed at harry. harry was SUPPOSED to be hurt at the bbmas. that's why she mentions it in question... cause she was trying to hurt him. showing up your ex who you have unfinished business with is a thing and taylor was playing the game. and yeah i think a part of it was to tell herself not to go back and a part of it was to tell harry it was over.

tayvin started about haylor, there is kind of no doubt in my mind. and that's why calvin hated harry so much... cause he knew that he was a tool, a means to an end. but then it got to the point where harry was no longer a threat and he had won and he was just being a dick. like blocking fans with harry icons or going through the haylor hashtag on twitter (or unfollowing people here, which i still think he was responsible for) was just being a dick. harry wasn't going to win taylor back at that point, and those fans were not pushing her to him. he was just throwing power around.

1989 is not a purely or even mostly happy album and maybe you’ll see that now. there’s a lot of yearning and a lot of truth-telling and a lot of hiding feelings and reckoning with huge life changes and growing up and moving on and crawling back and clinging onto hopes of true love when you have had your heart ripped into pieces but you cut your hair and moved to new york and maybe that’s enough.

New reading https://youtu.be/4hsmu79cQug?feature=shared

https://youtu.be/4hsmu79cQug?si=vE1WKG6KNaIgF4Pq

Thanks for sharing! This reading on TS and HS from last night is quite long and detailed (and interesting!). Here are the highlights that jumped out to me:

Something is coming to an end for Harry.

Something will bring them to a common playing field.

Someone is telling Harry to consider the relationship, and getting back together, maybe even Taylor herself.

There may be someone trying to steal this love and wish fulfillment from Taylor. Someone is being immature and trying to play games to keep them apart. Could be someone they both know.

Taylor doesn’t want to say too much to anyone else, but wants to spend some time together and see if a reconciliation would work. She wants to try again.

She maybe have felt like she couldn’t make him happy in the past, but his unhappiness wasn’t because of her or her fault. There was some disconnect or misunderstanding between them with this.

In the years since, she may have found herself and her worth.

Harry may have been holding back his true feeling for her, but that is no longer the case because he does want to reconcile as well.

Maybe some abandonment issues here. They may have needed time apart to heal.

She was unclear about where she stood with him, because she wasn’t getting what he was trying to say. She thought it was about her when it wasn’t.

Things didn’t go the way Harry thought they would or how he’d planned.

Both of them want to reveal a truth and they both feel guilty about the way things happened.

He may be changing his mind about someone new and looking back at Taylor.

He feels a lot for her. And he’s open to this reunion.

Third-party interference is the obstacle for this reunion.

They both see that they could do this with each other.

They feel at home with one another.

She’s going to confess that she left him before he could leave her, because she was afraid.

He is watching and using his intuition. She’s getting justice (could be something to do with whoever is trying to interfere).

They’ll run into each other. It will spark something new for them.

Reader predicts this will happen within the next 10 weeks or months, maybe much sooner.

They have a lot to talk about and a lot to communicate and express in order for this to work out; this may have been a challenge before but now they will be more genuine with each other.

If they get back together, and don’t let other people get in their way, they’ll do really well together.

They may do a duet or collaboration that would bring a lot of financial success.

They may end up having a family together.

I feel like fine line vault will have the most experimental songs. He was gravitating towards pop with adore you and WS while staying near his comfort zone that was rock. Sunflower was probably a turning point in deciding hsh sound.

sonical things aside I want to listen to his bitter songs about camille's nepo boyfriend and his art gallery lmao

there's a lot of fusion across sounds and genres that happens on fine line and i am in love with it forever. the initial high and glitter and infatuation and freedom and revelation of the first four tracks, the groovy guitar and the gospel choir, swooping down into the sweetbitter sting of cherry and its delicate acoustics and its tinged pink atmosphere (pathetic was his word, regretful is mine), and then the full scale piano soaring vocals drowning heartbreak ballad of falling (that plea: what am i now? i cannot), and then the cheeky/resentful self-deprecating ukulele match strike of to be so lonely, and then the more hs1 old-fashioned rock epic in she, and then sunflower comes in and goes, "hi, so we've been moping for a while, it's time to get psychedelic with it."

sunflower is the light switching back on (lights up and you know who you are, do you know who you are?), some recovery, some happy memories, still the yearning, but it's giving way to something else. the genius of "does he take you walkin' 'round his parents' gallery?" transforming into "i've got your face hung up high in the gallery." HELLO? nepo boyfriend can take you to SEE the art, but to harry...you ARE the art. he's still self-criticizing and reflecting, but in a less harsh way (not the wandering hands or arrogant son of a bitch, just trying hard not to act a fool). kiss in the kitchen like it's a dance floor! keep it sweet in your memory! we're finding our way through! the silly bizarre nonsense mushroom noises because his humor is sparkling back into view. and then! suddenly! bursting onto the scene in screaming bright color, guitars and dulcimer and whistling and sunshine, is canyon moon, and we're going home!!! an old lover's hippie music! you do not understand (actually you probably do), i love the storytelling that happens there SO much. i LOVE the way sunflower was a turning point in the writing and sits as a turning point on the album itself, where it's like, we've grieved, we've paced, we've been lost and questioned everything, we've felt it all, and now it's time to find the sun again. (take me back to the light...i've been thinking back to a time under the canyon moon. golden is answered in sunflower and canyon moon.) i'm going home and looking to treat people with kindness, in spite of everything. go home and take a deep breath and reflect on everything that's happened, and feel that hurt and that mysterious pull, and remember the love that was there, in six minutes and eighteen seconds of catharsis, and it's all just such a fine line. crisp trepidation (the vocal layering and harmonies there. then the horns at the end!), because the fear is crystalline, but we keep going anyway. that's what we always are, constantly walking along it. we'll be a fine line, over and over, in different ways. maybe that's okay. maybe we'll be alright.

perfect album i am so serious.

ALL that said, because it is such a perfect album and told in such a specific way and follows a story, anything extraneous or that didn't directly enrich it, or was TOO cutting or too sorrowful, he took out, which objectively i understand for the sake of the art, but subjectively and selfishly, i want to know what it was. I NEED. i'll take the even more experimental ones, the bitter and angry songs, or sad ones, or earlier adoring ones, please give them all to me immediately. the fact that this will probably never happen??? i can't think about it!

*jenny slate meme* i had to stop thinking about fine line because it made me too crazy! harry would just be like, "loving you's the antidote -> you've got my devotion, but man, i can hate you sometimes." or "i know that you're scared because i'm so open -> spreading you open is the only way of knowing you..." and i was like, "SCREAMS!!!"