album Taylor Swift - 'THE TORTURED POETS DEPARTMENT'

[vale9001]

10 minutes ago, scottstreet said:

Does anyone else also think Taylor opened her own vinyl factory? I remember there were a lot of articles about Adele making people delay their albums bc she printed 1M vinyls for 30. But Taylor has printed like over 5M vinyl copies in the last 3/4 years lmao.

 

I don't think that's possible without her opening her own factory, specifically since the media would go crazy with the story of Taylor monopolizing vinyl factories. 
 

30 was 3 years ago.

 

In the last years the numbers of factories doing that had a boom. There was an article about It. If americans can do something is responding fast at what the market asks. 

 

It the industry planned a release for ariana, Taylor, Beyoncé all in a month or something with all their multi variants It's cause they know they can respond at the demand. 

Edited March 31 by vale9001

[wehavetostan]

My prediction is TTPD will outsell Midnights' first week, TS12 will sell less, and then she'll hit a new first week sales peak with TS13 (with 13 different vinyl and cd variants of course)

[Kern]

do you guys think something will happen this week?

[vale9001]

No. If you have to release something before you make It at least One month before. If you didn't nothing you're not gonna make something 2 weeks before.

 

Only thing i think can happen is like some cover and even an interview. If you mean any material released the answer is no.

Edited March 31 by vale9001

[LostInStereo100]

7 minutes ago, stupidjock said:

do you guys think something will happen this week?

Yes Fortnight from album release is Friday  Would be dumb to miss this opp 

[omrimayo]

What Beyoncé did with her Vinyls is a crime, noting less. Even the cover is the WRONG!!! Album name. Plus 5 songs missing, random ones (one of them is the best on the album)

And the world keep spinning… 

if Taylor, oh god…

[Mandalore]

HAPPY BIRTHDAY JACK

"THEY CAN NEVER MAKE ME HATE YOU"

 

 

 

Thank you for giving us some of the best Taylor songs of all time!

 

Spoiler

 

 

 

 

Edited March 31 by Mandalore

[wastedpotential]

Today, i ReAlly Can't Kwite believe we're only NINEteen days away 

 

 

Spoiler

once again, anyone who reports this (or gives it points):

 

 

 

Spoiler

nnnn anyway lets get to the mess:

 

1. this is me trying

2. coney island

3. Getaway Car

4. Wildest Dreams

5. Enchanted

6. You're Not Sorry

7. Guilty As Sin? [NEW]

8. Should've Said No

9. Cornelia Street

10. Bejeweled

11. Stay Stay Stay 

 

Spoiler

This is truly the hardest thing I've ever had to do, I can't believe I'm forcing myself to rank these tracks and write them up which took me over two hours to finish nnn. 

 

12/10: this is me crying is a ******* masterpiece. I don't want to speak too much on the substance of the song because it hits really close to home for me (and a lot of people), but this was the third most successful folklore song in the discography rate last year for a reason. It's a beautiful piece of art that I hold very dearly (I mean, my ******* username is literally derived from one of its lyrics, what else can I say lol?). This is a perfect song and hosts some of the most cutting and tragic, and yet also hopeful, words that she's ever put to paper. The Long Pond version just... I can't even put it into words. 

 

 

11/10s: Christ's Island is her best male/female duet, I will die on that hill. It's better than exile, it's better than evermore, it's wayyyyy better than The Last Time (spoiler for tomorrow lol), it's a billion times better than anything she's made with Ed. It is that song, that girl, that *****, and y'all are EVIL for how little respect you pay it (aside from the random praising session we had yesterday lol, that was beautiful to see. I won't rehash too much of what was said then, but I do want to comment on the substance of the song as a whole. Writing this piece of music of... reconnecting after the end of the "long-haul", and apologizing for not doing enough to save things is powerful. I honestly still haven't decided if it was an earnest apology from either (winning an arcade ring and making her centerfold are both... pretty shallow points of contention to apologize over, so I've been wondering recently if this is coming from almost a place of bitter sarcasm, in the sense that they're saying "I'm sorry for not giving you every little thing you wanted" and "I'm sorry for not giving you all of my attention and ignoring everything else in my life", but that's a whole different undercurrent I don't have the time (or brain wattage) for, because there's also "when I walked up to the podium I think that I forgot to say your name", which is so earnest and actually genuine as a symbolic "I'm sorry I didn't recognize you for what you did for me"). This song is a tangle of conflicting emotions and stories and sides and the characters at play here are nuanced and fleshed out very well for a four and a half minute song. The way Taylor's voice plays off of Matt Berninger's is, as I said above, done so well that it outshines anything she ever did with Justin Vernon, let alone Ed Sheeran. His wavering hesitancy and her dry resolve shine through with such clarity. Also, I really really really love the use of Coney Island as a setting here. It paints me this picture of a seaside resort and amusement park that's still in existence but has seen better days, and it's the dead of winter (because it's evermore lol) so nothing is running and no one is around. It's not haunted, but it's sad, and there's clear signs of faded glory that's been lost to time. Two final points (because I have some essays incoming, and I want to try to save my word-vomit explosions for those songs), but one: "The question pounds my head/what's a lifetime of achievement? If I pushed you to the edge/but you were too polite to leave me" (hell, really the entire second verse) is such an emotionally biting line that acts as a proto-You're Losing Me. We'll never know how much of the folkmore songs were inspired directly by Taylor's relationship with Joe, but I really have to wonder how long these sentiments were building within her before the breakup. Two: there is absolutely a twisted connection between "did I paint your bluest skies the darkest grey" and both "you paint me a blue sky and go back and turn it to rain" and "you put up walls and paint them all a shade of grey". Taylor's utilization of those colors over the years has always been highly symbolic, but here it's extra poignant because of how Taylor coded Joe to be blue, and has also made the blue -> grey connection when describing some of her most tumultuous and unhappy relationships, so again, I have to wonder how much of this is founded in the reality of their relationship. 

 

GrammyWin Song is a perfect song, in every measure of those very strong words. I enter this into evidence as proof 1A that Taylor and Jack can make magic together, and that OJH are just blinded by their hatred of like three songs on Midnights that they slander his name without reason. This is the superior version of Cruel Summer, and I will not hear any comments to the contrary. The narrative of this song is so ******* vivid and has such clarity of purpose that is truly insane. I can't believe this is one of the very few mentions Calvin gets across all of Taylor's discography, but the story of Calvin -> Tom -> Joe wassuch a wild ride to live through, and this song is such an excellent representation of it. Using basically a criminal, Bonnie and Clyde framework to tell a REBOUND story was brilliant, because it set the record straight about who was metaphorically driving the relationships, and played up the shamefulness/criminal framing while giving it this... cops and robbers aesthetic, in which Calvin and the media play the cops. I'm just babbling here but it's genius and I think you know that. Every lyric just... paints an additional detail into the story of how the summer of 2016 all went down for her, relationally. This is one of the few songs in Taylor's discography where literally every single lyric is the best version of itself, and every single line without fail would be a standout lyric on another song. The verses and pre-chorus are packed with insane couplets: "best of times/worst of crimes", "struck a match/blew your mind", "ties were black/lies were white/shades of gray/in candlelight" (referencing that match strike), "we never had a shotgun's shot in the dark/it hit you like a shotgun shot to the heart", "great escape/prison break/light of freedom on my face", "go go go/sideshow" (also, that "GO GO GO" was such an abrupt thing to hear when I first listened to the song that needs to be commended for really grounding the listener in the story), "and a circus ain't a love story/and now we're both sorry" and on and on and on. The chorus is pop PERFECTION, from a melody so catchy that I think I might need to be vaccinated against it for personal protection to the insane ******* lyrics ("there were sirens in the beat of your heart" is diabolical, by the way) and the pulses and slams of the production. The way she kinda grunts to a tune before the last "nothing good starts in a getaway car" of each chorus is probably her best sonic filler moment to date (oooh-oh-oh-woah-oh-oh in CS could only DREAM of being this good). Her enunciation of "git-uh-way" scratches my brain deeeeeeply. The bridge is the stuff of legends, I don't think I have to say anything about it because you already know how amazing it is. I will say that this song seems to be at least a partial admission from Taylor that her relationship with alcohol at the time wasn't the healthiest. As Taylor's second song to have a full step-up key change in the bridge (after Love Story and before Betty), that's such a rare element across her discography that she wields as a weapon here, using it to convey that she and Tom were temporary and that she was moving on. The key change was a main character in the arc of the song, and it really tells as much of the story as the lyrics do. Oh and the OUTRO literally ended careers, I'm sorry. The way it went from "I was riding in a getaway car" to "I was crying in a getaway car" to "I was dying in a getaway car" to "said goodbye in a getaway car", and then did it again with even more intensity... yeah, that was a classic. Unlike my other "why wasn't this a single!!" picks below, I think this was the one that the fans desperately wanted to follow up Delicate (which, given how much this has obliterated IDSB in the intervening years, means that our side of that war was right lol), and the fact that it was a single... in Australia... was EVIL. We all thought it was coming worldwide with an insane visual sometime that September, and that just never happened. Hopefully that one fan who asked her for the video outside of the NRJ building in Paris while she was promoting ME! there will kick her ass into gear to live up to that ******* Jimmy Kimmel (or was it Fallon?) clip of "I know which songs the fans want videos for"... I want a video for this song, and I would sacrifice my first born child to make that happen. Of all the track 9s, I think this is the one I'm still listening to the most on a daily basis in 2024 (which is to say, I listen every single day). I have such high expectations for the re-recorded version of this, but I know Lord has been tinkering on Reputation (Christina's Version) for years now and she has Jack chained to a wall in the studio, so I know it's going to turn out just as perfect as the original did. 

 

Winning Grammys was my stan song for years and years and years, so I can't believe that Lord has topped it three times. I vividly remember sitting in my dad's car in our driveway listening to my 1989 CD for the first time after school on that Friday, and I remember just ascending to this song. I literally laid the seat back and listened to it again with my eyes closed and went to Heaven (and it's a good thing I did, since the next song on the record is such a steep decline in quality...). The day that Lord tweeted this was going to be the fifth single from 19K8T9 was like the second best day of my life, because I'd been wanting a music video so ******* badly if I dig far enough, there are probably Tumblr meltdowns from me when both Style and Bad Blood were announced as singles because I wanted this so bad and knowing that she and Joseph Kahn were going to produce a visual masterpiece literally kept me going. I remember not giving a single **** about the Miley and Nicki drama at the VMAs that year, because we had the new Wildest Dreams video, which delivered upon all of my wildest dreams (wink wink) and even exceeded them all. This remains, to this very day, my favorite Taylor music video, for a million reasons, of which I shall list a few: It's visually stunning and cinematic (I'm a sucker for 50s aesthetica and old Hollywood - why I'm so excited for Clara Bow), the story is giving (and considering the tea about this song, it's probably the video that most closely resembles the song in question), Scott Eastwood is one of the hottest men on the planet (I know the girls fawn over Sean O'Pry, but Scott Eastwood is more attractive, I'm sorry), and it plays the extended radio edit, which was so good that I would literally watch the video on loop for hours while studying or reading or whatever, and I never burned out on it. I remember being so scared when as a fanbase we learned there was going to be a radio edit (because her radio edits are usually terrible), but this one was such a tasteful addition that really elevated the last chorus and gave it a build and bombast that made it even better. Before diving into my thoughts on the beauty and earnestness of this song, which are so evocative and vivid, it's worth a cackle of the fact that this is probably the song in her career written about the most attractive man (befitting the video). Her having a one-night stand with Alexander Skarsgard while filming The Giver (which was such a random movie for her to be in lol, I loved the book but the producers butchered the entire concept for the movie, the romance should've been burned) in South Africa... that was fandom history. The night the paparazzi pictures from them in that restaurant in Cape Town were published was a similar experience for me to the night the Taylor And Tom Kick Rocks photos came out lol (though the restaurant pics didn't have them kissing, and have been totally lost to time), in the sense that I didn't sleep all night and spent hours and hours and hours and hours melting down online. Either way, it was such a moment to be a fan lol, and is one of my top Swiftism memories. Now, the song itself is also God-tier, I don't make the rules. Call it the Lana influence or the Taylor Discovers What Sex Is phenomenon, but the sensuality, delicateness, and earnestness of this song will go down in history. The only songs she's made that match that energy are Dress and False God, but there was NOTHING like it before. Lyrics like "red lips and rosy cheeks" and "no one has to see what we do/your hands are in my hair, your clothes are in my room" literally lit my mind on fire (Wildest Dreams eras tour visuals tea). Taylor placing herself into the story of this song as being in this relationship and knowing it's going to end and hoping he remembers her well when they move on is such a perfect Taylor concept. It literally feels like I also went off to Africa to shoot a movie and had a fling with a co-star I knew wouldn't ever last, but by God did we have fun while it was happening. The bridge is a top 20 career defining bridge, where she fully addresses the fact that she knows he'll be haunted by her memory once they go their separate ways. I also love a good repeated bridge moment from Taylor, and this one builds perfectly. The repeating "follow! you! around!" are perfect, especially when succeeded by the near-acapella first half of the chorus (with just the synth line beneath it), before everything comes roaring back again to close out the song. I could go back and go line by line, but that's too much, even for me and my rambling essays. The day the Mariah's Version came out by SURPRISE was a literal meltdown, because my internet was dead for the entire day so I was sitting in the public library just crying and crying because I'd already been on ******* edge because the song was viral on TikTok and now it was getting re-released, just for the hell of it. Then, when it came out, I was so relieved that she didn't butcher it at all, and even though I can still pick out minute differences in the synth lines and her breath patterns, they don't bother me nearly as much as they used to. Finally, even as a fan of this song who knew it would be a big single, I can't believe how well it's endured and how much its popularity has grown. The viral moment was one thing, but I kinda thought it would come and go, but here we are now, 2 and a half years later, with each version of the song doing hundreds of thousands of streams per day (I'm glad that the MV has fully killed the original here, it took a long time but it's clear now that it will catch up and exceed the billion+ streams of the original), plus the beloved success of the Bridgerton strings edition. As a Wildest Dreams truther from day 1, I truly can say to y'all that it's been a ride, but that I still stand by this song. My LastFm stopped working a few years ago, but even then before the re-recorded version came out, I had over 8,000 plays on this song alone and by now it's probably well over 10k 

 

Just like auGod yesterday, there's absolutely nothing I can't say about Outcharted that hasn't already been said. A month before the Blue (Joni's Version) release, the GeePee re-discovered this song and decided they loved it, and it almost re-charted on the Hot 100, but the literal Taylor Album Bomb blocked it, the chart irony of all Taylor-related chart ironies, rivaling the time when Anti-Hero got shoved out by the 1989 (Annie Lennox's Version) album bomb. For what it's worth, in the past fourteen years I have overplayed the everliving **** out of this song and now only listen whilst listening through Preach Now (Shania's Version) and I can't be bothered to skip, but I can still recognize that this song deserves a very high ranking. Yes, this song is written about that hideous dork from Owl City, and yes he does not deserve a song as good as this, but that doesn't bother me in my placement here. I can pretend it's about when she met like Alexander Skarsgard (nnn just like the previous entry) or something, because then it would actually make sense. I will say that the mashup with Swift 5:9 (again, reinforcing my Alexandar Skarsgard thing) on the 1989 World Preaching Circuit was one of the greatest musical mashups she's ever fathomed, and I would do anything to get a studio version on streaming services. Enchanted is an excellent song that I rarely listen to, that is all. 

 

I cannot believe that a song in contention to be the very best on Fearless ends up this low on this list, but that's the power of the track 9s I guess. You're Not Sinful is one of the most perfect pop ballads of Taylor's entire careers. I have literally hundreds of thoughts about this song, but I'll try to distill them and only dive into the most important. The way she weaves the guitars and the strings and the top-line vocal melodies is some of the best instrumentation of her entire career (and it was actually elevated even further by the Whitney's Version release, which is a very hard thing to do). Her vocals, even on the WV, especially on the last word of each line in the first verse: "around", "let me down" "figured you out" are some of the most delicate and soft of her entire career, and add such a depth and richness to the song. The way the instrumentation (including the rare instance of percussion coming in totally seamlessly) is dropped in at the start of the first chorus belongs in a masterclass of pop music production. Now, I genuinely believe that this should've been the followup to You Belong With Me, and that it would be Lord's biggest ballad in such an eventuality. It basically takes the best bits of insanely successful songs (OneRepublic's Apologize, Kelly Clarkson/Beyonce's Already Gone/Halo (they're basically the same song lol), Leona Lewis's Bleeding Love etc), the piano and strings combo with a percussive chorus and melancholic lyrics and throws them over a ridiculously easily accessible melody. I will forever be dying on the hill that this is one of Taylor's biggest hits that got away, but unlike some of the other hits that got away on this list, I really feel like I'm the only person carrying the banner for this song. Quite literally, if I had a time machine and had the chance to go back and intervene in Taylor's career at any point, it would be to bully people at Big Machine into making this the single instead of fuckass Fifteen. Abigail could've still been in the ******* music video for this song, it wouldn't have held the same symbolism, but it would've given her the same money to put toward her university tuition (honestly probably more, since this would've been significantly more successful than Fifteen ever was). They made this a countdown pre-release song AND shipped it to CSI with that Godawful remix, so they knew it had potential, and they IGNORED it. Even if for no other reason, Scott Borshitta isn't seeing Heaven because he screwed this song up so royally. The Fearless era faded fast after YBWM because they picked that crappy ass high school loser song when they had options like this sitting there just waiting for a day that never came. It makes my blood boil, actually. Alas, there's only so much ranting about radio single choices 15 years ago I can do before I become blue in the face and have to admit that it's obviously a lost cause and a major digression from a discussion of the merits of this immaculate song. It really is that, though. The instrumental build, growing and receding and then growing, before fading away during the bridge, only to explode back in with the last chorus and the magnificently catchy outro. Those repeating "no's" ascending up and down the melody and gliding alongside the strings are literal sonic crack cocaine, in the sense that I cannot stop listening to them and will often stop the track before it ends to listen to the last 45 seconds again. It's so insane to stan Taylor, because she can make one of the best songs of all time, then abandon it as a random album track with an atrocious CSI remix, and then only play 1/2 of it on its actual tour (because she mashed it up with that random Justin Timberlake while thrashing her head around - I vividly remember thinking it was deranged even back in 2009 when I saw it live on tour), 1/3 of it on the next tour (the fact that she mashed it up with the McSong she was trying to make a hit at that time and ******* Apologize, the song whose success I knew it could replicate and succeed), and then play it like five more times across her entire career is insane. Every artist on the planet would KILL for a song as good as this one, and Taylor has so many that she can literally just... let it exist and play it 5 times in a decade and call it a day. Maybe I do hate her sometimes. 

 

 

10/10s: Should've Prayed No was always my favorite song on Carrie Underwood, and for good reason. Lord's pen is sharp and dry, cutting right to the core of the issue with "You should've said no, and you might still have me". She's tied this man to a tree and is now cutting strips out of his back with these eviscerations (the way she sings "Was she worth it? Was she worth this? No." is just so emotionally biting, she'd better not **** up the Whitney's Version). I love the little melodic changes at the end of the second verse, and all of the transitions from verse -> pre chorus -> chorus are all just immaculate. The Reputation Swiftism Conversion Tour mashup of this with Bad Blood was a stroke of genius (but I guess that's par for the course from Taylor). A bit of a personal anecdote but my mom would play this in the car (as if I wasn't already spamming this album on my own) to use it as a tool to teach me that it was best to say no if someone ever offered me drugs nnnn. This would've been a smash crossover, and it still baffles me that Taylor and her team was about to ship this to mainstream radio before pulling it at the last second, several months before Love Story. I fear the crossover push of Should've Said No would've driven another million sales for Miranda Lambert, which would've shoved it up into the top 10 best selling albums of the 2000s, so it was a bit of a fumble (and given that this was when it was peaking in sales, might've actually driven it into the top 3 or even to #1 on the BB200). Still, I have a feeling this is going to do quite well when the Mariah's Version comes out, because it's country nostalgia, but it's not too country and is very accessible. 

 

 

8/10s: Cuntnelia Serve has aged rather awkwardly given the end of Taylor's relationship with Hobo (if one of you widow's clocks me for that istfg), but as a piece of music in a vacuum, this is still very good. The stuttering flute-y synth line is fluttery and slightly apprehensive and very perfectly matches the energy of the song. I love the thought of tying a relationship to a place, and though Taylor and Joe's relationship did outgrow Cornelia Street, I have to wonder if Taylor still associates it with him. This tells the story of what I believe to be their first relationship strife (aka, the girls on Tumblr think he cheated while she was away proselytizing on tour and he talked her out of believing it). CSt also exhibits one of the first instances of intense relationship insecurity ("I'm so terrified if you'd ever walk away, I'd never walk Corny Street again"), and really should've thrown up red flags. One of my favorite lines of Taylor's entire career is "memorize the creaks in the floor", because it's such an evocative line that provides a lot of imagery without saying much at all. They've become so rooted to this place, as a couple, that it's almost a part of them and their relationship, to the point that they recognize every little creak in the floor. She's a master at that kind of storytelling, and this is a prime example. The way her voice cracks a little in the "I hope I never lose you" and "Never again" right before the last chorus is so Swiftian is almost hurts. One random observation that I find funny is that he was the one that caused the relationship strife, but she's the one storming away to the tunnel while he stays in the house she's renting (and was renting before they even got together...) like... surely if she was on her way to the tunnel, she'd have already called Erica and the people in security to get Joe and his things tossed out... right? Still, I can't believe that we didn't see any red flags in her relationship when she was writing songs about how she'd feel if it ended (usually not done during lasting relationships, it's like Wildest Dreams except without the knowledge that it was just a fling - especially since she stayed with Joe for several years after this). It's quite an ominous listen in 2024 with the benefit of hindsight. On a meta level, I kinda hate this song for driving some of y'all to leave ******* offerings outside a random house in New York that Taylor hasn't lived in for years, but I guess Swiftism affects us all differently. 

 

Bejesused is really one of the most fun songs in her entire discography, it really sticks out like a sore thumb on this list. It's deeply unserious, but unlike say Swift 4:9 or Swift 10:8, it's backed up with a really strong and fun instrumental. This song got a modified ******* princess themed music video that begins with Taylor cleaning vomit, peaks with a burlesque mid-section, and finishes with a talent show where Taylor ******* ghosts the prince to keep the castle (which ties into Call It What You Want and her beloved castles are crumbling metaphor (s/o Miss Hayley Williams and Christ Is Coming). It's just... fun. The instrumental is literally bejeweled, sparkling and popping and just worming its way into your head, it's no surprise to me that this tested very well with radio audiences when they were trying to figure out the followup singles from Midnights, but I also see why it wasn't chosen. It's very sweet, and it wears on a listener quickly, so it probably would not have lasted long or peaked high, and Taylor was deep in her radio recovery era, so she needed something a bit more surefire. However, the tour dance is so adorable and I'm glad it gets that real attention. Now the lyrics, Lord was very tricky there, letting us all believe it was about Calvin and his neglectful club antics before it becoming evident that it was really Joe being awful that drove her to want to go out and remind herself that she still is that girl™, she still is the HBIC™, and she still is Taylor motherfucking Swift™. Honestly, what sums it up better than "I miss you, but I miss sparkling! 'NICE!'"? Those little "NICE!" shouts are just the literal cherry on top of this very saccharine song, and hammer home the entire ******* thesis statement. Taylor's man used to keep her down, and she still misses him, but she wants to go have a good ass time and he's getting in the way, and well, "what's a girl gonna do?" other than to "make the whole place shimmer.". 

 

3/10: Oh, **** **** ****, what can I say? The instrumentation sounds like royalty-free YouTube library music and some interpretations of the first verse lead some (un-nuanced) listeners to believe that Taylor was emotionally abusive (it's never been decided who this was about, but the only logical contenders are Jake or John, and I think she was well within her right to throw her phone at either, but some fans just like to hate on everything Taylor does to look cool). The chorus is a literal crime against humanity and a crime against good taste, and would be better utilized in torture facilities to extract information from prisoners. However, I do have a bit of a soft spot for the second verse and bridge: "Before you I'd only dated self-indulgent takers who took all their problems out on me", which lands really ******* funny when considering again, that this song was most likely written about (either inspired by, or inspired by the opposite of) her relationships with Jake or John... two of the most self-indulgent takers she's ever had the displeasure of knowing. The little giggle and "that's so fun" at the end, while probably intended to be cutesy, makes me irrationally angry, though considering how little I actually hear it (probably once a year), it doesn't bother me too frequently. I literally can't stomach this song, it's a solid contender for the bottom 3 of Lord's entire career discography (I'd put it there with IFTYE and ME! personally), which I don't think is a particularly controversial take. This song has a few defenders, but they're on the opposite side of the fanbase from those who think this is abusive - those who think Taylor is incapable of making anything bad. 

I ran this through an online word counter and it clocked in over 5300 words, I'm so sorry to anyone who actually reads through it all

It's quite insane that Guilty As Sin? is one of the tracks from TTPD that I'm most excited for, and yet the list of Track 9s stacks up so strongly that I don't think it'll even make my top 6 nnn. I fear I won't have as much to say about any of the other track placements, but this really does reinforce that her track 9s are the BEST, and kinda devour the track 2s, 3s, and 5s. Anyway, I'll see y'all tomorrow for another meltdown 

[wastedpotential]

16 minutes ago, Mandalore said:

HAPPY BIRTHDAY JACK

"THEY CAN NEVER MAKE ME HATE YOU"

 

 

 

Thank you for giving us some of the best Taylor songs of all time!

 

  Hide contents

 

 

 

 

Oh what inspired song choices to recognize Jacksus 

[Donquizote]

My prediction is this will do 1.8M first week.

I won't be surprised if it did >2M.

[kayliah]

Jack has made some of taylors best songs like august, getaway car, call it what you want,look what you made me do,cruel summer,anti hero, i dont wanna live forever,OOTW, YAIL. Put some respecton the man's name.

[SLUTTVFTV]

thank GOD the album is 19 days away because every day here is starting to be the same. 

 

1. pre-sale argument/chart debuts

2. jack hate

3. jack love/defending

4. i hope ttpd sounds like this [insert random ass song]

5. omg this [insert non-sensical theory] HAS to be true, the stars are aligning

6. ai leak discussion (on good days)

7. ranking

8. another day has come, start again at #1

Edited March 31 by SLUTTVFTV

[Sprawl]

4 minutes ago, SLUTTVFTV said:

thank GOD the album is 19 days away because every day here is starting to be the same. 

 

1. pre-sale argument/chart debuts

2. jack hate

3. jack love/defending

4. i hope ttpd sounds like this [insert random ass song]

5. omg this [insert non-sensical theory] HAS to be true, the stars are aligning

6. ai leak discussion (on good days)

7. ranking

8. another day has come, start again at #1

Don't forget the random meltdowns 

[Bonicap]

12 minutes ago, Donquizote said:

My prediction is this will do 1.8M first week.

I won't be surprised if it did >2M.

1.8M is more or less my prediction too, but to be honest, once it's +1M I don't really care that much if it does 1.2M or 1.9M. The difference between those numbers is massive, but at the end of the day is the +1M what stays in people's minds.

[idkwiam]

11 minutes ago, kayliah said:

Jack has made some of taylors best songs like august, getaway car, call it what you want,look what you made me do,cruel summer,anti hero, i dont wanna live forever,OOTW, YAIL. Put some respecton the man's name.

How about Glitch, TIWCHNT, Question, Labyrinth etc?

 

[kayliah]

3 minutes ago, idkwiam said:

How about Glitch, TIWCHNT, Question, Labyrinth etc?

 

I'll give you question and this is why ....but labyrinth is cool and glitch is avant garde and beautifully experimental;a lifestyle.

[Maroon legacy]

5 minutes ago, SLUTTVFTV said:

thank GOD the album is 19 days away because every day here is starting to be the same. 

 

1. pre-sale argument/chart debuts

2. jack hate

3. jack love/defending

4. i hope ttpd sounds like this [insert random ass song]

5. omg this [insert non-sensical theory] HAS to be true, the stars are aligning

6. ai leak discussion (on good days)

7. ranking

8. another day has come, start again at #1

1. ttpd flop, Rhodeo Haven outsold
2. peaked at mastermind
3. he has a massive d***
4. i hope ttpd sounds like ME!
5. reputa drop tomorrow (no explanation, just amputation)
6. Fortnight leak is real
7. ranking her tracks #27 on april 18 when there's nothing else
8. ttpd flop, Rhodeo Haven outsold

[vale9001]

Hey Clara Bow

Do you ever stop and think about me? 

[Feanor]

The fake sales intel being posted all over Twitter.

 

 

Swiffers love to set her up for failure…

 

[TaggedGalaxy]

2 hours ago, Mandalore said:

HAPPY BIRTHDAY JACK

"THEY CAN NEVER MAKE ME HATE YOU"

 

 

 

Thank you for giving us some of the best Taylor songs of all time!

 

  Hide contents

 

 

 

 

Happy birthday Daddy Jack, what a Holy day thanks for providing our Pop girls the hymns we love

[vale9001]

Sales are gonna be bigger than 1989 karaoke version. Be real. Not set up up but neither set her down.

I don't know if this is gonna have the legs of midnights but in the first days more people than ever are in this precise moment are interested in listening an album by her 

Edited March 31 by vale9001

[vale9001]

I mean she's so big right now and people consume literally everything  by her after the eras tour 1989 karaoke version not only sold big on First week like the other karaoke versions made but still sells like a new album after 6 months.

 

 

 

Edited March 31 by vale9001

[Squall]

We need 2M+, 1.8 would be TANKING

[PoisonedIvy]

I severely and sincerely need yall to stop wanting her career to ramp up to even higher heights

 

Yall are really going to accentuate that fall from grace when she begins to underperform

[Dear Reader]

1 minute ago, PoisonedIvy said:

I severely and sincerely need yall to stop wanting her career to ramp up to even higher heights

 

Yall are really going to accentuate that fall from grace when she begins to underperform

Some users would rather report rankings and believe fake numbers tea 

 

But I definitely agree. I just want the music to be good. I want to be instantly blown away when I press play on April 19th