tylerchokely:

*skips tutorial* how the fuck do you play this game

Many of us who value Taylor’s music do so because she is the rare artist who makes her real feelings transparent, both in the words of the song, the music itself, and how she performs it.

Not everyone cares. Some people are happy to just hear nice-sounding music, and I don’t fault anyone who does so.

For anyone who cares about Taylor’s emotions in her songs, here is what is wrong with WANEGBT and the other Max Martin songs:

Taylor simply gave a superficial reaction to Max Martin, in response to the comment about getting back together that someone made while she was recording with Max Martin. The reaction probably was not actually the whole story, just an off-the-cuff remark. Max Martin turned that ad-hoc remark into a song, and Taylor liked the sound of the song. So what we end up with in WANEGBT is a song that does not reflect her relationship accurately, does not reflect her emotions correctly, and ends up putting Max Martin’s sound on something that is not quite Taylor’s feelings in the first place. For those of us who like Taylor’s music primarily because of the accessibility of her emotions, that leaves us with one seriously screwed up song, and we just scratch our heads wondering “what the heck was that?”

poetrydude66 on We Are Never Ever Getting Back Together (via neverbeenanywhere-cold-as-you)

I think WANEGBT did represent one aspect of her feelings towards that relationship. We know Taylor is both extremely mature and extremely childlike. Red chronicles a wide range of feelings and I think WANEGBT fits as the Better than Revenge or Forever & Always or Picture to Burn of the album. I think her attitude in WANEGBT was a very clear defense mechanism. When she was introducing Treacherous at the live chat, her voice started to crack when she talked about knowing something could completely “annihilate” you if doesn’t work out and we know that the breakup and subsequent on/off relationship with Jake completely annihilated her. By December 2011, I don’t think she was over Jake, but I think she had moved on as much as she could and from there on out she needed to project that she didn’t care to keep herself from falling back into the darkness of missing him. Picture Adam Levine (or whoever it was) coming into the studio and him telling her that Jake still thinks they’re getting back together. Her walls go up and she sits there and rants like a kid to Max Martin & Shellback about how they are never ever getting back together because she needs to convince herself more than anyone. She mentioned in an interview one time when she was talking about the song that her friends and family literally started rolling their eyes because their breaking up and getting back together was so constant that they couldn’t keep up and they were getting tired of hearing about it. It was the kind of high drama situation you get sucked back into if you’re not actively avoiding it. Taylor has talked about how insecure Jake made her and whereas Begin Again was an introspective song about recognizing and moving past those insecurities, WANEGBT is meant to be a childlike anthem that makes her feel like she has some power regarding that relationship and be the obnoxious song that he doesn’t “get” in Begin Again. It’s also repetitive and obnoxious, exactly like their on/off relationship. It was still signature Taylor with woodsy acoustic guitars and the songwriting was specific but generic enough for pop radio. The problem was Martin & Shellback adding that annoying massive-pop-song-bass, but Taylor likes that shit even though she’s better than that. Even so, nobody has been able to pull off that song in covers because it is so quintessentially Taylor. It may not be an accurate snapshot of her overall feelings, but that relationship was so much more complex than the others and that means a wide range of emotions from the beginning to the bitter end. 



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