I was just close to sobbing to francis forever in bed at 1am as is usual , when I noticed from the lyric 'And autumn comes when you're not yet done With the summer passing by' reminds me of 'To Autumn's by john keats. A poem that compares autumn to the fairer months and how they have gone so quickly etc. and it happened to be the last poem he did to symbolise the end of his career. And it all like added up to me that I'd made this random connection that had nothing to do with the actual lyrics but oh well I found it interesting.

According to the Blur issue of Mojo, this was what made it to the cutting room floor for Parklife:
“Returning to the studio, the band recorded 14 more songs between December and the middle of February, 10 of which would appear on Parklife. To give an idea of the sheer variety of material being attempted, these 14 tracks included two waltzes; a song that nodded musically to Magazine; another with a rhythm based on the Tom Tom Club (featuring a surging Robert Fripp-style solo from Coxon); a William Blake poem set to music; a samba; an inventory of moons and stars sung by Alex James; a conceptual piece based loosely on the character of Ziggy Star-dust; and an emotional finale to the album with lyrics inspired by a handkerchief showing a map of Britain and its shipping regions. Just as there is much more to Sgt. Pepper than Billy Shears and the band you've known for all these years, there is much more to Parklife than Phil Daniels and dirty pigeons.”

Exploring the Intricacies of the Sestina**

Summary:
A sestina is a complex and structured poem consisting of six six-line stanzas (sexains) followed by a three-line stanza (tercet or envoi). The end words of the lines in each stanza follow a specific pattern, creating a unique and challenging form.
Examples:

1. "Sestina" by Elizabeth Bishop.
   
2. "A Miracle for Breakfast" by Elizabeth Bishop.
   
3. "Sestina" by John Ashbery.
   

Tips for Creative Writing:

• Choose Carefully: Select six words that can be used in various contexts and convey multiple meanings.
  
• Embrace Repetition: Use the end words in a way that contributes to the poem's overall meaning.
  
• Craft a Strong Envoi: The final three lines often summarize or provide resolution to the preceding stanzas.
  

Questions for Exploration:

1. How does the repeated use of end words impact the reader's experience?
   
2. Can you identify any contemporary poets who have experimented with the sestina form?
   

Additional Resources:

• Explore the sestinas of W. H. Auden and John Ashbery for diverse approaches.
  
• Read more of Elizabeth Bishop's work, particularly her collection "A Miracle for Breakfast."
  

Creative Writing Prompt:
Step 1: Choose six versatile and meaningful end words.
Step 2: Create six six-line stanzas, following the predetermined pattern.
Step 3: Craft a concluding three-line envoi, providing resolution or a new perspective.
Example (End Words: love, time, dance, song, heart, rhyme):
In the dance of time, love weaves its rhyme (A) A heart's silent song, a delicate dance (B) Time's embrace, a melody, a sweet romance (C) Love's rhythm echoes, a timeless chance (D) Dance with the heart, in this poetic rhyme (E) As time unfolds, a timeless, lyrical dance (F)

1. Sestina:

- *Definition:* A 39-line poem with intricate repetition of end-words in a specific pattern. - *Example:* Write a sestina exploring the challenges and triumphs of personal growth. 

1. Rondeau:

- *Definition:* A 13-line poem with a rhyme scheme and a repeated phrase. - *Example:* Create a rondeau celebrating the joy of creativity. 

1. Triolet:

- *Definition:* An eight-line poem with a specific rhyme scheme and repetition. - *Example:* Craft a triolet expressing the beauty found in simple moments. 

1. Kyrielle:

- *Definition:* A form of rhyming poetry with repeating lines and a specific structure. - *Example:* Write a kyrielle exploring the theme of resilience in the face of adversity. 

1. Ode:

- *Definition:* A lyrical poem praising and glorifying a person, event, or thing. - *Example:* Compose an ode celebrating the power of human resilience. 

1. Ballad:

- *Definition:* A narrative poem often with a musical quality, telling a story. - *Example:* Create a ballad recounting a mythical or historical tale of adventure. 

1. Epic:

- *Definition:* A long, narrative poem that tells the story of heroic deeds. - *Example:* Write an epic poem inspired by a contemporary hero or heroine. 

1. Blank Verse:

- *Definition:* Unrhymed poetry with a regular meter, often iambic pentameter. - *Example:* Craft a blank verse poem reflecting on the passage of time. 

1. Petrarchan:

- *Definition:* A sonnet divided into an octave and a sestet, often exploring conflicting emotions. - *Example:* Write a Petrarchan sonnet exploring the duality of love and loss. 

1. Terza Rima:

- *Definition:* A poetic form with interlocking rhymes, often used in longer works. - *Example:* Compose a terza rima poem contemplating the mysteries of the universe. 

Hello Redditors! To clarify the title, I have had penpals in the past and one that lasted several years but I cannot guarantee a letter or email every x days. I can say though I do always eventually get to responding! I also don’t care if you’re male, female, nonbinary. I do prefer someone around my age. Country or state does not matter either.
A little bit about me, I love to make colorful letters and sometimes send tiny trinkets I’ve made or gathered from trips. I’m a sticker and washi tape hoarder. As far as the content of my letters, I will talk about anything. I especially like outdoorsy stuff such as hiking and gardening. I’ve traveled to several European countries and have limited experience in Ecuador and Kenya. At home I love to watch anime and play some PC games. I also enjoy reading when I have the time. Most recently I read Dune. I have yet to see the movie. Nonfiction, fantasy, and Sci Fi are my favorite.
Other random things, I love winter and skiing, rock climbing, haunted houses (not horror movies), dogs (I have a 3yr old doodle mutt), occasionally 5ks, mythology, and musicals.
Favorite musical is Wicked, Book is Speaker for the Dead or Gone with the Wind, song is Paradise by the Dashboard light by Meat Loaf, movie is The Lobster, and anime is Tokyo Ghoul.
I have been thinking it would be interesting to analyze movies, books, poems, or song lyrics with people.
Anyways, excited to meet you future penpal(s)!

1. Sonnet:
   A 14-line poem, traditionally written in iambic pentameter, with various rhyme schemes such as Shakespearean (ABABCDCDEFEFGG).
   
2. Haiku:
   

A three-line Japanese poem with a 5-7-5 syllable count, typically capturing a moment in nature.

1. Free Verse:
   Poetry without a fixed rhyme or meter, allowing for greater freedom and natural flow of expression.
   
2. Villanelle
   

: A 19-line poem with a specific structure, containing five tercets followed by a concluding quatrain, using only two rhymes.

1. Acrostic:
   A poem where the first letter of each line, when read vertically, spells out a word or message.
   
2. Limerick
   

: A humorous five-line poem with a specific meter and rhyme scheme (AABBA).

1. Ghazal:

A form of poetry with rhyming couplets and a repeating refrain, often exploring themes of love and loss.

1. Tanka

: A Japanese form of poetry with a 5-7-5-7-7 syllable count structure, focusing on nature and emotions.

1. Sestina:
   A complex poem with six stanzas of six lines each, ending with a three-line envoi; the same six words end the lines in a shifting pattern.
   
2. Cinquain
   

: A five-line poem with a specific syllable count for each line (2-4-6-8-2), often used to capture a moment or emotion.

1. Rondeau:
   A 13-line poem with a rhyme scheme and repetition of specific words, often emphasizing themes of love.
   
2. Pantoum
   

: A form of poetry with repeating lines, where the second and fourth lines of each stanza become the first and third lines of the next.

1. Ode:

A lyrical poem expressing strong emotions or deep feelings, often addressed to a particular person or thing.

1. Elegy:
   A mournful poem, typically written in remembrance of someone who has passed away.
   
2. Ekphrastic
   

: A poem inspired by a work of art, often describing or reflecting on the visual piece.

1. Concrete Poetry:
   Poems where the arrangement of words on the page forms a visual representation of the subject.
   
2. Prose Poetry
   

: A hybrid of prose and poetry, characterized by its free-flowing structure and poetic language within prose form.

1. Epigram:

A short, witty, and often satirical poem or statement, typically with a clever or humorous ending.

1. Quatrain

: A four-line stanza or poem with various rhyme schemes, commonly used in ballads and hymns.

1. Epitaph

: A short poem or inscription on a tombstone in memory of the deceased.

Edit: If you are going to comment on the length of this post, please don't. This is not a simple snark but rather an actual critical think piece about feminism and Taylor Swift.

Introduction

Pertaining to Taylor Swift, "Female Rage" has deviated from its intended meaning after Swift debuted a new performance of The Tortured Poets Department during the Eras Tour. Now, according to Swift's use of the phrase, female rage is interpreted as public backlash against Swift's dating choices rather than as a response to the broader injustices against women and women's rights. This post examines Taylor Swift's flawed feminism, philanthropy, branding, and the controversial trademark petition for the phrase "Female Rage: The Musical". Swift's background as an entertainer, indeterminate politics, and alignment with capitalism over feminism pervades her legacy, again threatening her public tolerance as not just an individual but as a brand.

Once Upon a Female Rage...

If you were cognizant in the early 2010's, you've heard countless jabs at Taylor Swift in the media. Magazines, radio, or online. Music critics did not take her seriously as a songwriter; parents put a woman on an unrealistic pedestal as the ideal role model for their children; she dated too much and used men as lyrical fodder. No matter the story, it inevitably spread, conjoined with everyone's respective opinions, and you'd be left to wonder, "Why does everyone hate this girl so much?"
Taylor's target demographic has always been young or adolescent girls, more so when Swift herself was one. She made music that spoke to the awkward misfit, cultivating a para-social relationship with fans on MySpace, then later twitter, Instagram, and YouTube, where Taylor posted relatable vlogs showcasing the life of a homegrown American girl. Taylor had a delayed public "growing up" and, compared to her female pop contemporaries, Swift never "gratuitously sexualized her image and seems pathologically averse to controversy" (and, apparently, never even had a sip of alcohol until she turned 21). She was more than happy to spin this narrative to allude to an inherent moral superiority above other women in the industry (Better Than Revenge, heard of it?), engaging in the very slut-shaming that she herself endured (the Madonna and Whore archetypes). The victim complex arose with the need to prove Taylor as a different type of pop girl. Based upon her holy and clean image, Swift had been dubbed "a feminist's nightmare", and that "[To Swift] other girls are obstacles; undeserving enemies who steal Taylor’s soulmates with their bewitching good looks and sexual availability." Feminism and Tennessee-Christian country values don't exactly mix, it seems.
Years later, Swift befriended Lena Dunham and thus experienced white feminism osmosis, where Dunham taught Swift that real feminists defend rapists, makes insensitive jokes about rape and abortion, and prioritize all-white casts. Swift then declared herself a feminist in 2014, saying,

"Becoming friends with Lena – without her preaching to me, but just seeing why she believes what she believes, why she says what she says, why she stands for what she stands for – has made me realize that I’ve been taking a feminist stance without actually saying so."

I suppose the male-centric songwriting subject that permeates Swift's discography contained covert feminism and that we just didn't see that. Perhaps, the "Bad Blood" song and music video were written only in jest and not about poor Katy Perry, for Swift, as a feminist, would "never make it a girl fight" or tear other women down (though all Katy did was date your terrible ex-boyfriend and allegedly steal three backup dancers from your tour). In 2013, Swift said, in response to Tina Fey and Amy Poehler's joke towards her serial dating, "There is a special place in hell for women who don't help other women."
There was that time in 2015 Taylor said that Nicki Minaj was "invited to any stage [she is] on" (as if Taylor expects to have access to every stage, award, and platform that Nicki might not otherwise have as a black female artist...yikes!) in response to Nicki's criticism of the white + thin VMA nominations. Later, Nicki responded with confusion, as Swift continued, "It’s unlike you to pit women against each other. Maybe one of the men took your slot..". Of course, this 'beef' was 'squashed' when Nicki performed with Taylor at the VMAs, with Nicki quite literally only having 38 seconds of stage time without Taylor. Maybe all that parading around with a legion of famous white women - similar to the way Taylor might've done with her numerous 1989-era handbags - was in fact a stance against gender inequality, and that this display of "girl power" should be enough to constitute Swift as a feminist icon.
Even while Swift says that Dunham informed her feminist outlook, she dances around the exact contents of those beliefs: "what she believes, what she says, what she stands for" is not exactly insightful towards what beliefs Swift might have inherited. Taylor never broaches women's rights topics such femicide, FGM, forced pregnancy & marriage, sex trafficking, women in slavery, women's financial and political oppression, women's educational rights, women's health, or women's autonomy, so we can assume she only gives a fuck about "girls supporting girls" (whatever that fucking means).
Despite some questionable (and sometimes vindictive) behavior, Taylor as a young woman did not deserve every media lashing that she received. We cannot deny that most headlines and criticisms perpetuated a misogynistic rhetoric which has plagued Swift for a majority of her career. Acknowledging events such as the development of her ED, her sexual assault trial, "Famous" lyric and MV depiction of Taylor, and the explicit Twitter deepfakes, for example, as both disgusting and unfortunate things that happened to a young woman in Hollywood does not negate the fact that Taylor is mostly a performative feminist.

Get Your Fucking Ass Up and Be a Philanthropist, It Seems Like Nobody Wants to Be a Philanthropist These Days

In 2013, Taylor Swift cut the ribbon at the grand opening of the Taylor Swift Education Center at the Country Music Hall of Fame in Nashville, Tennessee. The donation amount - $4 million - was the largest individual artist gift ever donated to the Country Music Hall of Fame, which is, of course, mentioned on Swift's website. The two-story facility features three classrooms, an instrument room, and an interactive children's exhibit gallery. Swift also performed at "All for the Hall" charity shows and has donated numerous artifacts from her career (such as notable guitars, tour costumes, etc) to the museum.
This was over 11 years ago, and it is still the only notable philanthropic contribution Taylor Swift has made.
For a woman of her net worth and stature, and a woman who recognizes the difficulties for women in film and music, you would think that Taylor Swift might establish a scholarship program for women to study the arts or something. Perhaps Swift might even consider becoming a member of organizations that support female artists, or one that supports LGBTQ+ causes (since she is now proudly an ally), yet she remains superficial with her graces. Broader philanthropy, such as donating relief aid to Palestinian women or women impacted by violence and discrimination will probably never receive any financial support from Miss Swift because then she'd be using her money towards philanthropies involving anyone but white entertainers.
She even says herself in Miss Americana, "My entire moral code as a kid and now is a need to be thought of as 'good'." Well, she's certainly thought of as good, though her actions say otherwise. She's more than happy to do a vaguely altruistic song and dance for a clip-worthy interview quote and mass appeasement, then fuck off to one of her mansions on a 20 minute private jet flight, rather than actually contribute to anything pertaining to the causes she has endorsed. Yet, far too many people continue to give a woman such as her their money, time, and energy, and she hoards these resources to herself.

I Like Some of the Taylor's Songs, But What the Fuck Does She Know About Feminism?

Swift continued with her self-proclaimed feminist campaign, positioning herself as a political activist and LGBTQ+ ally in the Miss Americana documentary. The primary focus of the documentary consists of the sexual assault trial, Andrea Swift's cancer diagnosis, Taylor's ED and body dysmorphia, media scrutiny, and, largely, finally speaking up about her politics publicly, mostly her opposition to the 2018 Tennessee Republican senate candidate, Marsha Blackburn, and Blackburn's beliefs. Swift says, following a scene discussing her experience during the trial,

"I just couldn't really stop thinking about it. And I just thought to myself, next time there is any opportunity to change anything, you had better know what you stand for and what you want to say."

We must ask ourselves, though: when has Swift ever spoken up to change anything? Okay, pulling her entire catalogue from Spotify because they didn't pay their artists enough and similarly pulling her catalogue from Apple Music are changes that she leveraged due to her revenue potential and power, but they are not pertinent to the average woman's rights. Moreover, these are issues that directly impacted Taylor's income, which was enough reason for her to protest in the first place. Swift has sold the most units for a female artist in first week sales, is the first female artist with 100k monthly Spotify listeners, is the first female artist to win the Album of the Year Grammy 4 times, and is the first female artist to do X, Y, and Z, all while being inoffensive and family-friendly to boot. The actual Taylor Swift seems unwilling to compromise the brand of Taylor Swift by contributing in meaningful ways to feminist causes, especially if it is for women outside of America and Hollywood.
The reason political anthems such as "The Man" and "Only the Young" of the Lover era feel disingenuous and corporate is because, well, it is. Taylor has taken every opportunity to advance her career or public image at the expense of other women. What is truly genuine to Taylor's outlook on other women is vying for male attention, taking down female competition, and vocalizing feminist injustices only if they directly impact her and her money. Some will argue that it's satisfactory for a woman with such a huge platform to even TALK about feminism, but that just isn't enough. It's even less impressive when you candidly look at the scope of her feminist lens: "If I was the man, then I'd be THE MAN", or "I really resent the ‘Be careful, buddy, she’s going to write a song about you’ angle, because it trivialises what I do", and, of course, "We all got crowns". Feminism, but only when it happens to me. It gets worse when you look at Taylor's track record of copying other famous women and removing other female artists as potential threats to her pop prowess.
It's good for PR to align yourself with certain blanket feminist and political beliefs, therefore good for branding, therefore good for ticketing and merchandise sales, therefore good for business. And Taylor Swift is a business.
She's not a feminist. Taylor Swift is a capitalist.

I Can't Pay Those Sweatshop Workers a Livable Wage or Benefits! How Else Would I Make My Billions?

Recently, Taylor's team filed to trademark the phrase "Female Rage: The Musical" after Taylor said during Paris N1 of the Eras Tour,

"So you were the first ones to see The Tortured Poets at the Eras Tour...or as I like to call it, 'Female Rage: The Musical'."

This trademark petition was filed last week on Saturday, and news comes about just as numerous unofficial fan-made merch designs have cropped up with this phrase plastered on Fruit of the Loom basics. I'm of the opinion Swift's team motioned for a trademark so that they can send out cease & desists to all those that make knockoff merch, which disrupts potential sales for Bravado, UMG's choice merchandising company; however, since it was filed earlier, perhaps Swift has bigger plans with the bizarre use of the gendered phrase. One Swiftie referred to the phrase "female rage" as "a funny Eras Tour joke". Could it be a possible fourth version of the Eras Tour Movie? Whatever the reason, the motion to capitalize off of such a concept is disgusting, but not unsurprising, for a woman that profits on her vain feminism.
Swift, through her company, TAS Rights Managements, has also trademarked over 200 phrases, including "1989", where she owns the property rights to this calendar year on keychains, phone cases, sunglasses, stationary, bags, beverage ware, clothing, entertainment services, your subconscious, and, of course, Christmas ornaments.
The vapid consumerism in Swiftie culture is, frankly, disgusting. Bravado's sustainability statement is non-existent, the quality control is abysmal, and the materials they use are horrible. The materials, such as acrylic and polyester, are made from petrochemicals. This means they are non-renewable, shed microplastics, and are quite toxic in production. The manufacturing process to make all of those lazy-rushed Eras Tour logo graphic tees is a huge blow to environmental well-being. Apparently, though, Swifties don't give a fuck. They sell out products in seconds and either have to face the manufactured scarcity or buy from a scalper that resells for 200% of the already ridiculous retail price. This doesn't include the environmental impact of vinyl records, CD, and cassette production, of which Taylor produces many variants that sell unsustainable amounts.
If we're talking about women's rights violations, why is no one acknowledging the women that work in the inhumane sweatshop conditions that have to pump out fugly t-shirts and hats? The millions of plastic microfiber dander they are inhaling, or the toxic dyes that touch their bare skin? Are they being compensated fairly for their skilled labour and are they in safe working environments? Do these women have minimal bargaining power, and do they have authority over their worker's rights? Is Taylor Swift female raging at their injustices? Does Taylor Swift ever feels bad that her wealth was built on the backs of women of color, disadvantaged by the demands of the global economy and garment industry? Do you think she ever says a little white feminist prayer for them before she goes to sleep at night?
What's even crazier is not that Taylor herself doesn't care, it's that Swifties don't care. There CANNOT BE ethical billionaires. You only make a billion dollars if you are exploiting other human beings for capital gain. Based on public perception of the possible "Female Rage: The Musical" trademark, it seems like Swifties are already asking for merch with this phrase. "If Taylor made it, I'd buy it." Oh, cool. So not only do you champion Miss Swift's avarice and billionaire status, but you also are unashamed to admit to your blind consumption of her music and merchandise, no matter where they might originate in production or sincerity. Just as Swift takes and takes and takes, Swifties' consumerism of Taylor Swift cannot be quelled.
The tortured artist's most vulnerable and sincere poetry...available now in 21 different versions!

I Am Tortured Poet, Hear Me Whinge

Look - even if Taylor's intention is to characterize TTPD as more "tortured" and "angry", the main thread of the album is "I was ghosted by my decade-long situationship with a controversial indie boy and my fucking stupid fans wrote a 'Speak Up Now' open letter prompting me to drop him" anger, which is adequately expressed in the lyrics and performances. The extent of Taylor's "female rage" on TTPD is on tracks such as "Who's Afraid of Little Old Me?", which contends with relentless media scrutiny; "But Daddy I Love Him", where Swift firmly states she'll date whoever she likes no matter how "Sarahs and Hannahs" may react; and "The Albatross", a track mythologizing her reputation and the consequences of dating her. Of course, these coincide with deep psychological wounds that formed during Swift's early years in the media, and so, from her feminist perspective, these subjects tackle the misogyny and double standards that she faced.
Yet Taylor Swift still has no grounds to be claiming that TTPD best exemplifies female rage and therefore she, in the context of this album, is female rage incarnate. As the daughter of a stock broker and mutual fund marketing executive, Taylor was born into wealth and allowed privileges like trips and subsequent relocation to Nashville all so that she might get a record deal. Her father even invested at least $120,000 into the then-fledgling label, Big Machine Records, which ensured Taylor's place with Borchetta after leaving her dead-end development deal with Sony. The fact that her parents were able to buy her a fucking brand new guitar for Christmas and pay for music lessons says so much about the financial security and safety of her childhood.
Money is privilege and protection, and despite Swift's experiences with misogyny and loser boyfriends, she does not know what female rage is.
Her rage is derived from her frustrations with her obsessive fans pulling the moral superiority card on Taylor in response to her rebound with Matty Healy. That's literally it. She's just pissed that the monster she created is no longer obediant, it's become a feral, sovereign entity that depletes the world of its natural resources and thinks it is more intelligent than it actually is because it's mommy has started to talk to it with big words. Apparently, 'illicit', 'elegy', 'nonchalant', and 'precocious' are considerably big words for the oafish monster, and I find it strange that this level of literacy is present in a group of fans that allegedly have GPAs of 3.5 or higher, but I digress.
Taylor Swift has never been one paycheck away from destitution. Taylor Swift has never experienced racial discrimination. She may have instances of gender discrimination, but she possesses the ideal white, blonde American beauty standard and therefore reaps the benefits of being a conventionally attractive woman. Taylor Swift has sufficient social capital. Taylor Swift is a billionaire woman prolonging her victimhood though she, as a woman, has mostly had control over her image and music (unlike her contemporaries). Taylor Swift is NOT entitled to be championed for her "female rage", nor should she be. Taylor Swift has never even been the struggling artist, for fuck's sake. I don't give a fuck if she's trying to fill the empty lunch tables of her past. Taylor Swift purporting herself, her unpolished album, and her lukewarm feminism as a musical bleeding with female rage is asinine.

Sigh Try and Come For My Job, Poors

Out there in the world right now is a 23-year-old woman, a recent college grad, who works as a barista. She has to wake up and get ready to go into a minimum wage job because she cannot get a job in her field. She doesn't have healthcare benefits or sick time, so she has to go into work no matter how she's feeling. All day long she is berated by vicious customers and creepy men, and, exhausted from being on her feet, she knows she has to go home to her shitty roommate that never does the dishes and her roommate's shitty dog. To comfort herself, she considers getting a treat, but thinks against it when she remembers that matcha lattes cost $15 and they taste like milky dirt. She knows that she needs to buy groceries this week, and so the woman resolves to go home, but notices that her gas tank is low. She goes to put gas in the car, but the pump stops at $27.86 because that's all that she has in her checking account. The woman, bereft and reeling, sinks into the driver's seat. "Well," she thinks, her head in her hands, "at least I don't have Taylor Swift's job. I just couldn't imagine."
Fame is somewhat of a choice. If at any moment Taylor feels that she is misunderstood, misconstrued, or overwhelmed by public opinion, she can LEAVE the public eye - Lord knows she has the retirement fund and residuals to do so. In "I Can Do It With a Broken Heart", the TTPD song about meeting the demands of your career-zenith mega-tour while in the relationship trenches, Taylor ends the song by rambling,

"You know you're good when you can even do it with a broken heart...you know you're good...and I'm good, cause I'm miserable, and no one even knows!...try and come for my job."

Yeah, obviously we wouldn't know, you recently passed the billionaire threshold and are the most famous and in-demand performer in the world right now. Taylor Swift makes an estimated $10 to $13 million dollars A NIGHT on the Eras Tour. Furthermore, the Eras Tour movie grossed $261.6 million globally, (which, as the producer, Taylor takes home 57% of the ticket sales) not counting the streaming revenue from Amazon Prime Video and the estimated $75 million deal that Disney paid to have it on Disney+. We're not even considering the income from cheap plastic popcorn buckets and drink cups plastered with colored squares in her Era-specific likeness.
It's funny. Taylor Swift often said that being famous wasn't hard, that she "isn't complaining". I'm sure it is difficult to always have to present in a good mood, else you'll end up misrepresented in the media, and I'm sure it's invasive to virtually have no privacy or semblance of anonymity. Still, Taylor Swift shows up each night of tour and performs. For a majority of her career, she has penned her sad songs while on the road. Most of "Red", her breakup album, was written in the thick of the Speak Now World tour. Now, some Swifties say they almost "feel bad" for attending the Eras Tour with Swift's revelations in this song, that they have had a 'dimmed experience' upon hearing Taylor's misery whilst performing. Despite the fact that Taylor said that "this was the happiest she's ever been" at Gilette Stadium in May, the lyrics "boohoo, woe is me, smile for the cameras and make the fans happy!!!" are jarring for Eras attendees.
While Taylor Swift was making double-digit millions a night in Rio de Janeiro, Brazil and feeling miserable, Ana Clara Benevides Machado passed away due to heat exposure. The concert promoters, Time For Fun, are now the subject of a criminal investigation due to their lack of adequate hydration and safety. Taylor Swift cancelled the Sunday show that was to follow and offered VIP tent tickets to Benevides Marchado's family, which was a kind gesture, but perhaps incongruous to the incident of which they were offered as consolation. Everyone grieves differently, of course, but I'm not sure attending the very show at the very same venue that my daughter or sister passed away in two days prior, where the singer CONTINUED the show despite her death, would be healthy for closure.
There was no female rage at the show as Swift never saw Benevides Machado pass out. There was no female rage towards the disregard for fans as humans while Swift elected to proceed with her Brazil tour dates despite the country being in historic heatwaves (at risk of overheatting herself). If Taylor Swift was so shaken by touring with a broken heart or a fan's passing, she wouldn't have added an additional North American leg of Eras just two months after the Matty breakup. She's brokenhearted but willing to mend the cracks with your money and move onward with her worldwide female rage induced pillaging.
No matter what happens, even if you die at a Taylor Swift concert, Taylor collects a big fat check and flies away. She doesn't know you as anything other than a conversion rate or earning potential despite what her nearly 20-year long parasocial relationship with fans might otherwise indicate. She knows that, while some Swifties are without disposable income, they feel obligated to spend on a "48 Hours Only!" exclusive vinyl variant instead of necessities because they are so entrenched in Taylor Swift's intoxicating celebrity, they'll prioritize materialistic fandom before their needs. This is good enough for her because this means she can expand her real estate portfolio and finance her cat's lavish lifestyles. They're worth an estimated $100 million dollars. Her three cats could pool their net worth and solve world hunger.
While you and I might be denied bereavement leave and barely surviving the current political and economic climate, Taylor Swift has to, instead of gets to, perform for stadiums at full attendance for three nights in a row across the globe. You and I might be replaced by AI at our longtime jobs, but Taylor Swift is threatened with losing more and more money each time you listen to a "Stolen Version" of her songs. If we don't buy every variant of all of her albums, then who is going to pay for the fucking cats?
It is tone deaf to spend as she spends and lives as she lives in this economy, but this is her reality. She was able to donate $100,000 to all of her tour truck drivers, and that's wonderful, but it leads me to wonder about the ethos of the 2020s where one woman can hoard such life-changing amounts of money. Remember in 2014 when she gave a fan $90 ($120 in today's money) to get Chipotle because she had no fucking clue how much it cost? This is a 34-year-old woman who is increasingly out of touch with the reality for working class people and women in general. Normal everyday adults must wake up and go to their thankless jobs, and yet Taylor Swift, despite all her riches, incessantly references the lows of her life and career as a public figure and entertainer to farm sympathy and drive sales. And still, the corporate women have latched onto "I cry a lot, but I am so productive! It's an art!" as their cubicle battle cry.
Do you think that, from up in her private jet, Taylor Swift gazes at the world through her poetic, tortured eyes, and thinks, "All the little people, in their cars, walking, going about their lives...all those girls that don't support girls...do they know that I've made an album about female rage?"

Conclusion/TLDR

Thank you for reading. I would love to hear your critical insights towards this entire ordeal: TTPD, the trademark, the implications of it all.
TLDR: Taylor Swift is a bad feminist and is delusional to think that the TTPD eras set exemplifies female rage at women's injustice.

Hi everyone,
I'm looking for a song I've heard on German radio in the 90s several times, but I've never been able to identify it. Here's what I remember:
It was a somewhat quiet, slow, atmospheric song with as far as I remember not much more than a synthesizer pad playing a couple of chords on repeat - if there were any drums, they were very quiet in the background. Quite like very slow Drum 'n' Bass without the drum part, somewhat similar to Faithless. The overall mood was pretty melancholic and depressed. It featured a male, very deep, dark, aspirated voice that wasn't really singing as such, but rather rhythmically speaking, like reciting a poem, almost but not quite whispering - not at all like Rap / Hip Hop though.
I remember only bits of the lyrics, the main one being something like "How can we speak, (when?) communication is lost" or a variation of this, maybe "How can we talk" or "It's hard to speak". The only thing I'm pretty sure about is that the word "communication" was spoken/sung and the phrase started with "How can we ..." and then either speak or talk. I don't remember any other specific lyrics, but I'm quite sure the song was about some kind of relationship falling apart.
To be able to understand the lyrics at all I must have had at least some basic English skills, which would put this not earlier than around 1993, and I don't think the song is much older than that. I'd say the timeframe is roughly 1992 to 97.
I remember listening to it several times on our local radio station, so it must have been at least somewhat popular.
I slapped something together and uploaded it on Vocaroo: https://voca.ro/1k7PF7Tlcrjc
It's mainly about the rhythm pattern of the voice, so my hoarse mumbling is supposed to represent real lyrics that I don't remember at all. I think the voice in the song is much deeper than I can go with my voice, and much more "present" and "booming". The two synth chords I used are completely random and probably not at all like the original, but the overall sound characteristic of the synth should be at least close.
What I can rule out so far:
"Keep Talking" by Pink Floyd (it's close though, especially if you made it slower and replaced the guitar with a synth pad to make it sound less like Rock and more like electronic music)
"Sanctuary" by Madonna
"Funeral Party" by The Cure
"Telephone Call" by Kraftwerk

My theme is “loss” it dosent have to be about loss or anything but i just wanna use him in my project because hes an important figure in my life.

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Vapor Trail is the seventh tune on the seventeenth studio album Vapor Trails (2002). How do you rank this song? The choices range from skippable (You can almost see the circuits blowing) to amazing (The treasure of a life).
Writing credits: Music: Geddy Lee, Alex Lifeson, Lyrics: Neil Peart
Retrospective band member quote: "Obviously, having gone through what Neil went through, and what we all went through, it was definitely going to impact where this record was going to go. To me the record is very optimistic. It's all about recovery and about hope, about a future, rebirth and moving forward. There are some dark moments, some sad moments, but generally, it's really about those things I just mentioned." -Alex in Martin Popoff's book Driven: Rush in the '90s and 'In the End' (2021)
Rush Official YouTube Channel link
This song was never performed live. Lyrics in this song and 'Ghost Rider' were partially inspired by the poem 'Funeral Blues' by W.H. Auden (1936).
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In my dreams I’m watched by Demons. In my dreams they mock me so. In my dreams I’m struck by Demons. In my dreams they laugh aloud.
In my dreams I saw The Angel. In my dreams He looked at me. In my dreams I heard The Angel. In my dreams He said no words.
In my dreams He found the Demons. In my dreams they fled from Him. In my dreams He struck the Demons. In my dreams they laugh no more.
In my life He took my judgment. In my life I wandered far. In my life He gave me solace. In my life I looked for pain.
In my life I’m chased by Satan. In my life God hid my soul. In my life I’m serving Satan. In my life God shows me grace.
In my life I try to serve Him. In my life they make me weak. In my life I want to please Him. In my life they pull me back.
In my death I glorify The Maker In my death He delivers me. In my death I escape every Demon. In my death they cannot win.
In Heaven I will praise Him. In Heaven He rewards me. In Heaven I should beg Him. In Heaven He forgives me.
FEEDBACK: Hello! So I'm brand new to writing poems, but I've grown up reading Tolkien, my Bible, Narnia, things like that. I'm used to archaic language and terms, and have read a lot of poetry and song lyrics that started off as poems. I dont know any of the rules past "make it rhyme" and "make a pattern with the syllables." Any feedback on the structure would be great (not so much the content, I know most of you wont care for that part of this)!
I started each line the same, and kept the first and third line ending with the same character (except stanzas 4 and 7, which contrast eachother). Lines two and four dont rhyme, but I kept the syllables the same. Is this "wrong" or does it only matter that I was largely consistent? I know there are formulas and meters and stuff, but I cant really wrap my head around them yet. Did I unknowingly copy or closely resemble one? Anything I should improve? Is it too repetitive? Thanks guys!!

I've tried searching the translator, but the links are nonsensical or don't work. Why I need it: I've been trying to see what today's AIs can do. I had the text AI (ChatGPT) write a short poem in Sindarin. And then I had it sung by a music AI (SUNO). Finally, I made a video clip out of it. The process was a bit more complicated, but the point is that I don't know Sindarin and in retrospect I wonder how close it is to Sindarin. I would expect not much :)
Here is the lyrics:
Linnon erin rad, thiliol minno, Hísiel vi gwilwileth, ortherir dinno.
Edhellond nan sir, certh i ngalad, Thind celair, gwír arphened nad.
Lothlann vi vorn, beria lû thand, Míl narcholed, meneg i fand.
Aphado elenath, ú-chebin estel, Naergon pelia, dan i ennor methel.
I don't want it to look like I'm writing the question just to promote the video, so I won't even put a link to the result here. If anyone is really interested in seeing it, it can be googled or found directly on youtube using the text "Suno AI song - Memory of Elves"