In the films, one of the main rules of time travel is that you do nothing that could cause a tear in the space-time continuum. The intrigues that move between the past, the present and the future underline the fragility of choice. In 2021, Taylor Swift I started to build an alternative reality by focusing on its first six studio albums and by reusing them as part of a large re -record process to find the property of its music. The question has become: “What if we could start again, even larger?”
With the support of a fandom ready to roll at the ends of the earth with her, Swift looked at the cannon with an unlimited opportunity. She was not the first artist to recover the property of her songs by making them, but she was the first to do so on such a monumental scale. He went beyond having a catalog full of recordings defining the era. These songs have become weapons in what she considers the fight of her life. In 2019, his former Big Machine label sold the master recordings of his first six studio albums in Scooter Braun, which later sold them to the Shamrock Holdings Investment Company. At the time, Swift could not see that the circle would end with Shamrock Sell albums to her. She only saw red.
“My musical heritage is about to lie in someone who tried to dismantle it,” said Swift when initial sale Broke in 2019. Re -registration began as a mission developed to pay the stock of these songs and show that their inherent value existed in it. She added the jump tracks. Then came “too well (version 10 minutes) (version of Taylor)”. Then the Tour of eras I took him to explosive heights. In the end, Swift had a happy end. She now has all the songs she has ever done. But the revelation of the third act is that its original recordings were always going to be better than their Taylor’s version Homologists. Each detail of these versions tells the story of the heritage she feared to lose when her catalog fell into the hands of bad people. And each slight change that brought them rewritten his story.
Certain changes were structural, but mainly strategic. When Fearless (Taylor version) Arrived as the first version of the re -registration series, he came next to “If it was a movie (Taylor version), track five on The more intrepid EP (Taylor version). The original version was published two years after Intrepid. With this project, Swift actually reorganized time by simply tinkering with the list of tracks. As far as we know, the change did not cause any type of multidimensional collapse. But still, it was different, and not insignificant for an artist who works on the exact order in which the songs appear on his albums. It was Taylor’s version. He established the standard for what these albums could be. Swift could restructure, reorganize and revise the past as it deemed it to use the perspective it has won until years after the arrival of these original albums.
“If this was a movie” is the only song on Talk now (Deluxe Edition) This attributes a co-scriptwriter, boys like girls Martin Johnson. When Speak Now (Taylor version) Arrived, with the bonus omise track, Swift shared: “I first made talk now, completely self-written, between 18 and 20 years old.” In 2010, she wrote the file by herself to prove that no external forces was responsible for her success. “The songs that came from this time in my life were marked by their brutal honesty, their non-filtered diarites confessions and their wild melancholy,” she said. “It tells a story to grow, rush, fly and crash … and live to talk about it.” And even if this singular credit has never decreased its efforts, it was a loose end, then it attached it.
For all his speeches of brutal honesty and non -filtered confessions, Swift could not help cleaning things as you go. The most notable change has occurred “Better than revenge (Taylor’s version).” The new version rewrites lyrics “it is better known for the things it does on the mattress”, which was generally tamed for its time but quite out of character for the lover of the country. It removes the essential context of the way in which Swift’s inheritance is included with regard to feminism and misogyny, an element of his story that has inspired several gender courses at the college level. It may not be now, but at some point, it was his truth.
On Red (Taylor version), Swift did the opposite. The 10 -minute version of “everything too well” had so much more to say, no less. He remains disputed if she really wrote that the line “kiss the patriarchy” all these years ago, or if it was the equivalent of replaying the arguments with better returns long after their arrival. Brought the future to the past of cheating? Maybe. Swift did the rules as it went. When Max Martin and some of the others Red And 1989 The producers did not return, she reproduced her contributions herself with Christopher Rowe and Jack Antonoff. But as Talk now (Taylor version), The confusing production choices through re -records have largely buried the stormy emotion of the originals.
One could say that it doesn’t matter much. The original versions still exist, after all. Now fans can make Mix-et-Match reading lists combining their favorites. But until Swift bought his music, understanding was that it would not be necessary to return to the originals. However, post-IntrepidAs its sound became more complex, it has become significantly more difficult to resume the moment with each reissue. His voice has changed as much as it is. More false-twang. There is a clear emotional detachment in the whole of its revised catalog, an extent between the melodrama in its memories and the mute filter that it now considers them.
As a person who communicates regularly with their fans through hidden clues and convoluted messages, Swift knows how much small details are really important. She admitted as much when she revealed that, for the moment, she has less than 25% of Reputation (Taylor version) recorded. “THE Reputation The album was so specific to that time of my life, and I continued to hit a stop when I tried to do it again, “she said.” It is the only album in the first 6 that I thought I was not improved by refanting it. “The extract of “Look at what you made me do (Taylor version)” which appeared in an episode of The history of the servant proves his point. This is just an overview, but enough to justify a need for a Ouija board to contact the former Taylor. She is the only one who can do things well.
There is an undeniable specificity in the way Swift performs emotion in all his albums. It is obvious when she tries very hard and when she does not try strong enough. You can hear it in the deepest grooves of these original recordings. You can feel his absence in the depths of re -registration. The greatest force of Swift as a interpreter is that when she sings something, you are inclined to believe it. This is what did Reputation If personal. The fact that at that time of her career, she really had trouble making people believe, was an integral part of the file. How does she access herself as the most hated person on the planet while undoubtedly one of the most appreciated? Why would she want?
The Eras tour was the only place where the lines between the original recordings and the versions of Taylor did not exist. The public shouted the songs that meant the most for them and it was all the same. Some may not have found Swift music before being considered the ultimate betrayal to broadcast the “stolen versions”, while fans refer to them. The emotions that are old and jaded for her could be completely new to them. It’s their version. Others have lived with these words for years and know exactly what was missing when they played the new versions in their cars and their headphones.
In the films, it is at this point that the credits would roll and Swift sang: “Nothing will change, not for me and for you.” What version do you mean?
