Taylor Swift - Reputation (November 10, 2017) Album • Page 153

Garrett · Oct 26, 2018

“Ready For It is a top-to-bottom banger.”

personalmaps · Oct 26, 2018

Ready For It:

What an EXCELLENT review!! I agree with 90% of it, though I am of the opinion Reputation is “better” than 1989, in which there were maybe 3 tracks that caught my ear. Here there are 5-6, but of course, we all have different tastes, and different responses to ear candy.

The writer makes some very good points about Max Martin/Shellback, and Jack A. Full disclosure: I’m a writer/producer, so I’m attuned to sonic elements the average consumer may not hear. Agree that some of the programming decisions by Max/Johan sound about 12-18 months stale, like a lost can of Coke in the back of the studio fridge. Agree also that Antonoff stepped up his game, maintaining his signature love for ‘80’s pop, but successfully melding it with Trap Lite and its passion for resurrecting all those vintage Roland TR-808 drum samples, including those lickety-split hi-hats and that doink cowbell I will recognize from the grave.

All told, in thinking about what Taylor might be wanting to say overall with this release, some thoughts:

— Her preamble is very telling, and should be ingested by all prior to listening to this album. My only regret is that they didn’t record it mixed with a score-like background, with her voiceover on top, a la Rhythm Nation (Janet Jackson), which is a ground-breaking concept album in its own right. Or the magnificent-yet-under-rated, ahead-of-its-time Bliss album by PM Dawn, in which Prince B allows a fortune teller to establish the album’s narrative.

Take Ready For It, which sounds like two different songs, but only because Taylor borrowed a technique pioneered by Mozart and careens between a minor key and its relative major. (For a fantastic primer on this technique, check out Mozart’s Symphony in G Minor, which is also the opening score to the film “Amadeus.”) In this case, RFI opens in, if I recall, G minor, but really in G5, a hard-rock pentatonic version of the scale that makes it edgey, yet removes the third note, thus making it aggressive without being “sad,” as minor voicings with an audible third do. Lyrically, she is equally aggressive not only in substance but in delivery. Then—“in the middle of the night, in my dreams”—she flips to B-flat Major, the relative major of G Minor, and about as much of a pop key as you can muster without treading into the key of C. The notes for these scales are the same, just arranged in a different order, with G as the root or “tonic”, then B-flat as the tonic or “start” note. (Find a piano and play them, first starting with G, then B-flat—you’ll hear the sad-happy nuance.) In this section, the programming shifts from heavy drones, gritty white noise rises and saw-tooth basses to airy synths and tonal log-like percussion, creating a softer sonic palette, into which her vocal delivery adopts a lighter, breathier tone, and her lyrics focus on interior thoughts. The end result is an extreme contrast between parts in the song’s construction, creating a sense of duality, but maintaining a unified whole.

DWOHT:

here are some thoughts about Dancing With Our Hands Tied:

Like Ready For It, DWOHT uses production values as a storytelling device. It likewise presents two dimensions, albeit this time leveraging rhythm instead of key signature (as with RFI). In the Verses, the groove is very steady but rapid, evoking classic 1980’s Europop as per A-Ha’s Take On Me (Norway), Ace of Base's Beautiful Life (Sweden), and Nena’s 99 Luftballons (Germany). It’s worth noting both Max Martin and Shellback, who co-wrote and produced this track, are Swedish.

The tempo in DWOHT's Verses is ~160bpm, which is extremely fast by US dance music standards (they typically hover between 118-135bpm); but it’s consistent with Techno, Juke, and DnB genres. By comparison, Take On Me’s tempo is even faster, at ~168bpm. In the Chorus, DWOHT's groove knocks down to a half-speed tempo (an implied ~80bpm), creating a kind of sonic slow-motion. Interestingly, Take On Me also used the same device in its 16-bar Chorus, but only for the 9th-12th bars.

So how does this full-time/half-time tempo change align with Taylor’s lyrical message? In DWOHT’s fast-paced Verses, the subject centers around a passionate secret love affair, though trouble lurks on the horizon. Verse 1 starts literally with “I loved you in secret” and ends with the lament “Oh, how was I to know?”. Similarly, Verse 2 kicks off with the sentiment “I loved you in spite of / Deep fears that the world would divide us.” Even the Pre-Chorus features lines like “Picture of your face in an invisible locket,” “People started talking, putting us through our paces / I knew there was no one in the world who could take it,” and “I had a bad feeling.” Through it all, though, the 160bpm soldiers on, rushing past each ominous lyrical couplet, seeming to ignore their warnings.

Until we reach the Chorus. Immediately at its start, an off-beat Trap/Glitch-style synth bass that's just enough behind the beat to not be in sync kicks in, creating an awkward rhythm as Taylor sings “Dancing, dancing with our hands tied,” implying an out-of-step pas de deux between the singer (Taylor) and the gender-non-specific singee.

The sawtooth synth blasts relentlessly through the Chorus, seeming to drag the lovers down under its weight, until things shift back into sync at the next harried Verse.

There’s also a nice bit of textural foreshadowing in DWOHT’s opening 8 bars. The instrumentation is a distorted solo keyboard that sounds like a Fender Rhodes sample processed with damage/overdrive effects similar to those in Izotope Trash, immediately suggesting this won’t be a happy song. The track is also processed with very narrow-band equalization (EQ), which serves to limit its tonal range and make it sound confined and constricted—nicely mirroring the lyrical story that follows. The keyboard opens with the VI chord—a melancholy A-Flat Maj7—then resolves to C Minor (I), the song’s root and key signature. It then moves dissonantly to a Cmin7(aug5), pivots off a B-Flat, and recycles consistently throughout. The net effect of this chord structure is that it sets you up with an initial sense of hope (Major 7th chords particularly evoke wistful emotions), but quickly lets you down by resolving to the “sad” Cmin root, leaving us with a sense of foreboding for our hapless lovers. Further, DWOHT’s simple 4-chord repetitive sequence allows the musical focus to be on the lyrics and groove, as opposed to a more complex harmonic structure.

Finally, at the Bridge’s stark breakdown (“I’d kiss you as the lights went OUT / Swaying as the room burned DOWN”), the heavy sonic tapestry falls away amid the singer's stated desire to win back the singee (“I’d hold you as the water rushes in / IF I could dance with you again”). The arpeggiated arrangement starts lightly, then gradually crescendos, adding layers of pads and darker arpeggiation on its way to the outro Chorus, culminating in a riser build before it finally releases in an explosion of unsynchronized “hands tied” synth-heavy grit. Notably, this build/release technique, which is common in electro/EDM/dance music, was likewise used to great effect by Mozart, Beethoven, et. al., as a device for creating contrast between symphonic movements and motifs. Bear in mind they only had layers of violins and oboes juxtaposed with double basses, cellos and bassoons to work with—but they made it rain, y'all! ^_^

Overall, DWOHT's production, in concert with its lyrics, leaves us with the feeling that, from the singer’s perspective, even a whirlwind relationship with the singee—no matter how frantic, how imperfect, or how arrhythmic—would be better than none. Good work, TeamTaylor!

mini-post on Delicate:

Since the intro Vocoder in Delicate is acapella, I think it was meant to underscore the melancholy-but-resigned introspective sentiment that introduces the song. Also, I think it leverages the choral nature of the effect to suggest simultaneous interior and exterior expression, i.e., not only is she addressing the singee, but she’s talking to herself. To wit:
“This ain’t for the best
My reputation’s never been worse
So you must like me for me”
IMO it’s equal parts logical exposition directed at the singee, and a self-directed pep talk. That creamy 6-cycle decaying digital delay also suggests an interior thought.

The way I interpret the lyrics is that “delicate” refers to the scenario the two lovers find themselves in, not from the point of view that the singee is a new love, but from the POV that he/she is somebody the singer’s already familiar with, and their liaison is a “delicate” matter. In the first verse the singer seems very familiar with the singee, who was obviously comfortable calling her late at night for a hookup. The singer then instructs the singee to “meet me in the back,” no doubt to avoid prying eyes; but this is probably not something you’d say to a new lover because they likely wouldn’t know where the back entrance was, unlike a long-term paramour who’d gone through this drill before.

In the Chorus, the singer’s query of “is it cool/chill” to feel the way she feels/verbalize her emotions is capped by a concern—“is it too soon to do this yet?”—again acknowledging their situation is delicate. To me, the lyrics suggest more of a rekindling of intimacy after a breakup or a cooling off period than a first-time sexual encounter. The singee is obviously also in a relationship with someone else, which requires even more delicate maneuvering. This interpretation is reinforced in Verse 2 with the line “stay here, honey, I don’t want to share,” and of course, in the Bridge with “I pretend you’re mine, all the damn time.”

Note in the Pre-Chorus the line “yeah, I want you” is panned at 9-3, drawing our ears out from 12-center, then right back, as if confirming a thought or realization. Nice mixing.

As you can hear, there’s a little T Paine EFX on “my reputaTION’s” and “any promises NOW.” Regarding this effect, I think it’s intermittent use throughout the album is more likely intended to contemporize the vocal tracks, since this “misuse” of AutoTune (LOL!) appears so ubiquitously in pop music. And mea culpa, I use it in pop/dance/EDM tracks—to quote the lady—all the damn time.

This Love:

This Love by far was my favorite song from 1989, and it's frankly the reason I started listening attentively to Taylor's music (alas, I'm not a Country fan). It's been a couple of years since I've heard This Love, but just like the first time, it pulled me right back into its Pacific blue undertow. When 1989 was first released, I wrote some observations about This Love that I thought I'd share here while we await new music from Taylor. I'm confident I'm not the only one that finds this musical gem's flowing, organic beauty stunning and worthy of conversation.

***********
Here are some bullet point quotes from Taylor re: songwriting for those who haven't seen this clip:
Taylor on songwriting and This Love

— "My real-life experiences are pretty much all I draw from when I write songs."
— "I just put out an album called 1989 this week. So when you put out an album of all these new songs, it's like people are opening up your diary and reading it and going 'oh, I guess that's what she went through'."
— "I start with a song. I start by drawing inspiration from something that's happened in my life."
— "I would not be a singer if I wasn't a songwriter. I wouldn't want to stand on a stage and sing something that someone else wrote."
In regards to This Love's origin story, here's what she reveals:
"The last time I wrote a poem that ended up being a song, I was writing in my journal about something that had happened in my life. It was about a year ago. And I just wrote this really, really short poem; it said 'this love is good, this love is bad, this love is alive, back from the dead. These hands had to let it go free, and this love came back to me'. And I just wrote it down, and closed the book and put it back on my nightstand; I was 'uh, that was fun—a short little poem'. And then all of a sudden in my head I just started hearing like (sings melody) 'this love is good, this love is bad, this love is' and I just started hearing, like, this melody happen in my head. And then I realized that it was gonna be a song, and that song actually ended up being a chorus to a song on my new album called This Love."

I think it's interesting to note that Taylor timestamped the creation of This Love for those of us who love the song. The interview linked above was shot a week after 1989 was released, so that puts the conceptual origin of the song at approximately early November, 2013.

As far as analysis, I have opinions about the song's musical structure as well as its lyrics. This Love shares many structural similarities with classical music, in that the verses start with the IV chord—not the tonic or root chord of the song (E major)—then resolve to the I chord (root) at the end of each verse. So the emotional effect for the listener is build build build, then release. Tension and release cycles are structural tropes not only in classical music, but in House music and other EDM genres. They're full of sublimated references to sexuality and sensuality, as sex is also essentially tension and release. The chord structure of the chorus is strikingly similar to Pachelbel's Canon in D, a very well-known piece of classical music. Canon in D is a repetitive cycle of 8 chords—I V VIm IIIm IV I IV V. This Love's chorus is I V VIm IV, 4 chords repeated. The effect on the listener is that it feels familiar and comforting, like a sonic warm blanket, because, like Canon in D, it always resolves to I. In other words, the cycle always completes, the tension always releases. Ahhhhhh.

Let's deconstruct:
This Love's opening verse exemplifies the tension/release motif, creating a lovely synergy between chord structure and lyric. The opening lush guitar arrangement literally cascades in waves of delay and chorus effects:
Clear blue water / High tide came and brought you …
Again, Taylor starts the song not on the predictable tonic (I), but with the IV chord—A Major—which builds tension:
in / And I could go on and on, on and on, and I will
On “in,” she resolves to the tonic, or I chord—E Major, the song’s key signature—which provides release.
Skies grew darker / Currents swept you out again / and you were just gone and gone, gone and gone
Same chord structure, again building tension, then release. A beautiful, repetitive motif.

Just to clarify, I'm not saying This Love was inspired by any particular person or persons, because I'm not in a position to know. All I can say is that it clearly seems to have worked its way out from Taylor's subconscious, as couplets and rhyming verses often do. I think it's safe to assume it has great meaning to her, as—like most other recording artists at her level—she likely would not have spent the time required to bring it to full realization as a 360-degree piece of produced songcraft if it didn't.

I think a fascinating element of the song is the whole "antici......PAtion" (Rocky Horror Joke :D) theme, which seems to have carried over into Reputation, certainly very clearly in the Pre-Chorus to Dress("All of this silence and patience / pining in anticipation"), in which she uses a similar extended chord structure as exhibited in This Love to finally resolve to the I Major tonic chord ("back from you") at the near-completion of the couplet. It's a great device, and again, particularly elegant thanks to its origins in classical composing.

Lyrically, however, the whole dichotomy of a love being both "good" and "bad" is intriguing. You have to ask yourself, what would make a love two oppositional things? We can assume a love is "good," because, well, LOVE, right? The excitement, the butterflies, the passion. As bisexual French novelist George Sand once put it, "there is only one happiness in this life, to love and be loved." Or for those who prefer Friedrich Nietzsche's spin, "there is always some madness in love; but there is also always some reason in madness."

But why is "this love" bad? Let's imagine classic storytelling scenarios. For example, infidelity (one falls in love with someone who's in another relationship, e.g., a married individual). Or conflicts arising from religion or caste (a Jew loves a Palestinian, a wealthy woman falls for a pauper). Or a doomed love, e.g., Shakespeare's Romeo & Juliet (Montagues and Capulets, two households divided). Or a love that might also drag one into a toxic relationship (Joan Jett's brilliant I Hate Myself For Loving You). Or from a same-gender perspective, what was once called forbidden love, e.g., "a love that dare not speak its name" (Lord Alfred Douglas).

Or as Taylor herself once wrote, "This love is difficult, but it's real." Something in her subconscious mind triggered this sentiment of oppositional extremes. Who or what prompted it is something only she knows, but it certainly makes for interesting speculation.

End Game:

As part of my sleep(less) cycle, and in an effort to numb my brain into utter submission with mindless-but-necessary tasks, I've been backing up drives and updating the OS on, like, every computer in my studio. In the process, I found an old song analysis of "End Game". I think it was posted on L Chat, but I wanted to post it for you here as well. And although this will be my last analysis of any specific song from Reputation, I'd like to make one final sweeping observation about the album as a whole:

Modest Mussorgsky (1839-1881), a Russian classical composer, was a musical renegade in his day. Before Rimsky-Korsakov scored his first percussive tambourine, Mussorgsky was bringing the Russian folklore thunder by integrating very loud, impolite drum ensembles into his work—much to the vexation of the Western classical musical establishment. Probably Mussorgsky's best-known symphony is "Night On Bald Mountain," a collection of different compositions played end-to-end as a unified whole, which he referred to as "a musical picture." Is Mussorgsky therefore the great-grandfather of the contemporary concept album? One could plausibly make that argument.

Nonetheless, "Night On Bald Mountain" may be more familiar to you as part of the score to the Disney classic "Fantasia." In its opening motif, it barrels along with loud, heavy brass, punctuated by tympani, concert bass drum, and an array of cymbal crashes, creating a full-fledged sonic onslaught until about 6 minutes and 40 seconds in, when it abruptly changes course, like the sudden calm following a tornado. In many respects, Reputation as a concept album is not unlike Mussorgsky's tone poem in its breadth and scope, launching with "...Ready For It?"'s raspy bass, "End Game"'s massive percussion, and a buffet of unexpected rap stylings as Swift defies all expectations—much to the vexation of certain fans who desired another familiar country album, despite the fact Taylor had already shed that skin, opened a vein, and bled the current state of her artistic evolution and truth instead of repeating a safe, reliable formula. Like "Night On Bald Mountain," Reputation winds down with the stark simplicity of "New Year's Day," and the promise of more tales to tell with that long, fade-out ending. Honestly, I have no idea what to expect with TS7; but I have no doubt in its own way it will defy expectations as Taylor continues to expand her musical palette.

Herewith my thoughts on "End Game":
End Game is one of the more interesting, well-structured songs on Reputation, both as a work of songcraft and in terms of arrangement/production. Let’s start with the groove: If you’d never heard this song before and were able to listen to the rapid-fire verse melodies soloed (or a cappella), you might conclude the song’s tempo was ~160bpm. However, the drums are programmed at half that tempo (80bpm), so what would be 2 and 4 snare backbeats are actually triggered on 3. The end result is our ol’ buddy contrast, in that the drums play at a languid pace while the percussive lyrical lines—many of which end in hard consonants, e.g., boat, like, type, reconnected, sprung, long, etc.—tap-dance rhythmically overhead.

In the Pre-Chorus, the melody settles into that slow, half-tempo feel, and, unlike the punchier verses, the lyrical lines resolve with long, soft vowels (I don’t wanna be … you don’t wanna see / I don’t wanna miss you / Like the other girls do). Again, a nice use of contrast to create a clear distinction between musical motives.

What this suggests to me lyrically is that the Verses are meant to represent thoughts, or the singer’s brain/conscious self, running through the scripts in her head that inform this relationship. Conversely, the Pre-Choruses represent pure emotion, or the singer’s heart, simply feeling what it feels regardless of the information the brain is sending it. Note the resigned tone of the Pre-Chorus lyrics: “I don’t wanna x, y, or z, I just wanna be drinking on a beach with you all over me.” In other words, I don’t want to have to think, I just want to do. Truth from my red lips.

From a production perspective, one of the things I really like about this song is that you could seriously produce it in a number of different genres. Its present version is of course hip hop influenced, though the verses are more sing-speak, less rap, over a chill groove reminiscent of Nuyorican soul or PM Dawn. The Verse melodies, particularly Verse 2 (Ed) and Verse 3 (Taylor), are complex and wide-ranging, almost like those written for lead instruments, such as electric guitar or muted cornet. I can seriously hear End Game covered in a nu jazz style, with Flugelhorn lead alternating with the vocals of Jill Scott. Epic.

In sync with the song’s musical/lyrical structure, Joseph Kahn did a fantastic job moving the focus of the "End Game" video cinematically between London, Tokyo, and Miami, starting with the opening credits, where Taylor opens the drapes to reveal each cityscape (and luscious color grading). Starting in Miami, cruising under a full moon and lots of neon, we’re introduced to Taylor’s high life, gold T-Swizzle stick, silver Lambo + 13 plate, and all.

Cut to the much more relaxed Pre-Chorus, with Taylor alone in a softly-lit room and lots of empty space. Initially, she sits by herself alternately in a chair and on a long, empty bench, addressing the camera directly and conversationally—from the heart. Cut to Tokyo, then London, and the juxtaposition between Public Taylor and Private Taylor repeats. Throughout, the video narrative is faithful to the song’s A/B vibe. Big reputation, indeed.

Also interesting, she posted some other thoughts about Reputation as a whole where she compared it to k.d. land's Ingenue- "She [Lang] expressed that artistic "need to bleed" as "chips on the coffee cup, which just makes it more interesting." As in each chip in an object or a veneer—each bit of damage—has a story to tell. To me, Reputation in some respects has parallels to Ingenue, in that I personally think (and again, this is only my opinion) at least part of Reputation was inspired by, as you suggest, a delicate relationship that was on some level hard to navigate."

personalmaps · Oct 26, 2018

double posting to keep it out of the producer's comments- I love her take on NYD. I also cried and was confused by my crying the first time I heard it, so having the knowledge that 1) it's just a good fucking song 2) and that Taylor ENGINEERED IT that way was so cool to me.

Anna Acosta · Oct 29, 2018

kaylasananjou said:

double posting to keep it out of the producer's comments- I love her take on NYD. I also cried and was confused by my crying the first time I heard it, so having the knowledge that 1) it's just a good fucking song 2) and that Taylor ENGINEERED IT that way was so cool to me.

NYD made me sob like a toddler whose ice cream cone just fell on the floor the first time I heard it but I was in no way confused by it.

"Hold on to the memories, they will hold onto you" and "Please don't ever become a stranger whose laugh I would recognize anywhere" in the year I finally accepted I had to let go of my once-best friend (he chose my abuser) AND hearing it for the first time just as I was falling in love?

Bye. I was a goner.

irthesteve · Oct 30, 2018

irthesteve · Oct 31, 2018

TAYLOR ALL OF A SUDDEN IS POLITICAL AND CHOSE A SIDE FINALLY

oh wait, how long ago was this? oh...

personalmaps · Oct 31, 2018

The whole “Taylor is a nazi republican” bit has never, ever made sense to anyone paying attention to her.

Interesting label news btw...

Universal Is Only Major Label Left in Running to Buy Taylor Swift's Big Machine Label Group, as Bids Top $300M

Anna Acosta · Nov 1, 2018

White feminist? Yes. Problematic? Yes. Has work to do? Yes.

But @kaylasananjou is absolutely right. The "she's probably a nazi" (or even conservative) rhetoric has never lined up with, you know, the things she actually DOES.

iCarly Rae Jepsen · Nov 1, 2018

Anna Acosta said:

White feminist? Yes. Problematic? Yes. Has work to do? Yes.

But @kaylasananjou is absolutely right. The "she's probably a nazi" (or even conservative) rhetoric has never lined up with, you know, the things she actually DOES.

Right she's friends with Lena Dunham and Haim lol

Kiana · Nov 1, 2018

People just do the most. You could argue that her past decision was spineless or greedy or unethical or whatever and prob make something of a case, but nazi? Eh. And white supremacists are always so desperate for anyone with an ounce of relevance to validate them that they're dumb af for thinking she was checking for anything other than their wallets.

personalmaps · Nov 3, 2018

Unreleased song that’s been floating around Tumblr. Sounds Red era, based on her voice.

Taylor Swift - Battle - Unreleased

Anna Acosta · Nov 13, 2018

A Year After Reputation • chorus.fm

Kiana · Nov 14, 2018

Yas zayn, fuel the rumors!! This is the content I need

irthesteve · Nov 14, 2018

i totally read that as a off hand joke referring to the stupid rumors

Kiana · Nov 14, 2018

I did too but part of me wants to belieeeeve. It's a nice pop culture rumor that's ridic and fun and not like... Sexual harassment or something so I wanna take it. I mean I can fit into a suitcase. I'm much shorter than her but she is v skinny and more flexible than me so like it's possible.

Some might say wow Kiana who cares if the rumor is true?? And I say okay my life is that sad and depressing!!!

iCarly Rae Jepsen · Nov 14, 2018

Kiana said:

I did too but part of me wants to belieeeeve. It's a nice pop culture rumor that's ridic and fun and not like... Sexual harassment or something so I wanna take it. I mean I can fit into a suitcase. I'm much shorter than her but she is v skinny and more flexible than me so like it's possible.

Some might say wow Kiana who cares if the rumor is true?? And I say okay my life is that sad and depressing!!!

I find that stuff delightful too, the rumor that Ariana Grande demanded to be carried around like a baby gave me life for so many years

Kiana · Nov 14, 2018

iCarly Rae Jepsen said:

I find that stuff delightful too, the rumor that Ariana Grande demanded to be carried around like a baby gave me life for so many years

Yes I live for a ridic harmless rumor. I will always believe that the other members of destiny's child had to go by different names so beyonce could be the only one with a ~unique standout name. I could totally see Ariana demanding to be carried like a baby. I just want to dream!!

Matt Chylak · Nov 15, 2018

personalmaps said:

it's amazing how much better 1989 is with "new romantics" as the opener and "wonderland" in place of "bad blood"!!!!

Tried this and “New Romantics” does not work as an opener for me and the transition into “Blank Space” is ehhh. Feels too much like the culmination of something... might be better in place of “I Know Places”.

Craig Manning · Nov 15, 2018

Yeah, I don't really like "Welcome to New York" that much, but I've never been able to figure out a better opener for 1989.

Garrett · Nov 15, 2018

I use Wonderland but tbh Blank Space as an album opener is kinda perfect now that I think about it

Craig Manning · Nov 15, 2018

“Blank Space” is pretty much a perfect track 2 for me. Can’t see it as an opener.

irthesteve · Nov 15, 2018

1989 is sequenced perfectly as-is, the opener and closer are where they should be. The opener just happens to be one of the worst songs on there, despite it's obvious "opening track" qualities

iCarly Rae Jepsen · Nov 15, 2018

Blank Space should have been track 1 and 2 and 3... and 13

shea · Nov 15, 2018

I have never listened to Welcome to NY all the way through.

Garrett · Nov 15, 2018

shea said:

I have never listened to Welcome to NY all the way through.

It’s been waiting for you

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