Gaylor Fall 2025

The Life of a Showgirl (2025)

Alt-Pop
Pop Rock, Dance-Pop, Contemporary R&B

insecure, fame, envy, boastful, romantic

november twenty seventh - november thirtieth

The finish line. Subjecting my friend and Pokemon Go partner to the final album. My admission: I never got around to downloading the real album. The only version of this album that I have heard is the leak that came out a day early. It is recorded from an iphone of someone's record player. Opalite cuts off fifteen seconds early, and you can hear the shuffling of the microphone through the runtime. I have never been much of a stickler for quality, a music taste aspect I would like to keep (nothing more miserable than being one of those “ooh but the mixing!” people), so I trudged forth.

This album highlights something beyond the brand of “poet” for Taylor Swift: she needs to spend more time on these albums. There is no reason for this album to come out 18 months after TTPD, what did she have to gain? I really feel like this would be better received and more complete with a.) some time to reflect on the songs and b.) more time writing more songs to make a more complete album. The first three songs honestly felt like a return to form compared to my first listen two months ago. Maybe it is the increased radio play, but I felt very warmly about these three pop tracks. At times maybe vapid, but pop music is pop music, and I cannot deny the chops she has here. After that though? This thing totally falls apart. It has a few moments, and I am willing to excuse them next to the more embarrassing songs, but it still falters compared to the opening run. Taylor Swift’s ego stands in the way of what made her great. “I’m not a bad bitch / and this isn't savage” is just one of many attention grabbing couplets that emphasize her total lack of understanding regarding her perception in the grand scheme of things. A lot of this album feels like she was used to the notion that she could get away with literally anything (see: ttpd) and her fans would stick to her unapologetically, but here it REALLY feels like even the fans found some of this difficult to digest. This is not to say that Taylor Swift fans are a sheeple groupthink mass, that would be reductive, but they have a loyalty that extends beyond the quality that critics appraise it for. “Wood” was a lowlight for many people, especially because, again, she is talking about my fantasy football tight end’s penis, but I like it compared to “actually romantic” and fucking “cancelled!”. These two songs are so self absorbed, so entitled, so absolutely tone deaf that I do not know how they got beyond the demo stage. “Actually Romantic” is the musical equivalent of when I argue a point to my girlfriend staunchly but it omits the moment five minutes later where I realize I am completely wrong. Cancelled feels like an anti-woke anthem. It’s just dumb. I know she is a republican, she is too wealthy not to be, but it would be nice if she did not go completely mask off here.

Emotionally? She has no grasp on how the world perceives her and finds herself to be the center of the universe (which, for a while, she was the center of the universe). Sexually? She is riffing off of the Sabrina Carpenter style that Sabrina herself could not even replicate a second time without it feeling plastic and ingenuine. Production Wise? She needs to take a step back. This is my call to the 2020s Taylor Swift: spend some time in solitude, spend 3 years between albums, and talk to people outside of your circle. She has another great album in her, but she is too ingrained in her status to see through the numbers.

Favorite Songs: The Fate of Ophelia, Opilate, Elizabeth Taylor

The Tortured Poets Department (2024)

Alt-Pop, Singer-Songwriter
Synthpop

lonely, sarcastic, self-hatred, nostalgia, obsessive

november twenty first - november twenty sixth

I went to toronto and got behind on my taylor swift listening. These final two albums I am granting a single listen, partially as a time constraint, but also because I have heard them recently enough that the refresher felt a little bit unnecessary.

“All music is good” I repeat to myself in the mirror. I then return to this two hour monolithic double album. The Tortured Poets Department is a headache and a heartache. A headache because it keeps going and never ends, and a heartache because I know she can do better. The 2020 album duology, in some ways foreshadowing what she is about to do here in terms of a double album, branded her in a different and more culturally bright light. Whether it be her position as the most popular person in a monoculture, or the pandemic having some parasocial follies, her fans were happy and the critical lens was happy. Hell, I was happy and I hated her before folklore. She was branded as something of a poet for this album, a descriptor that I honestly do not think is too inaccurate. Her ability to weave stories and convey complex emotion is something to be lauded there. Taylor Swift is the biggest pop star of this generation, and with that status came ego, and with that ego came The Tortured Poets Department.

This album is a good argument of how that status of “poet” ruined her. It made her too self aware of her writing and there's this element of trying to be poetic that falls embarrassingly flat. Nuance is poetic, symbolism is poetic, and these two things that are scarcely found through the thirty tracks on display here. She ruminates on her public relationships in a way that feels almost childish, and she talks about my fantasy football tight end in a way that feels like the discovery of adolescent sexuality. The best moments here are the true earnest pop songs, because some of this daft poeticism feels more accurate to the sonic template we are looking at, and because I am far more likely to excuse “we declared charlie puth should be a bigger artist” if it feels less self serious, which it does in the pop songs.

These are my complaints for the first disc, we are not even at the second disc. The second disc is better, but it's all the same at this point. It is a chore to get through more than an expansion of my mind and my relationship to taste. I swear I did not have this strong a reaction when I heard it the first time. I did not feel this way when Brandy sent me eight songs from the album to think about more critically last summer. I like “So High School’’ for the same reason I like “Down Bad”, and there's something satisfying about the beat that makes me excuse admissions and imagery of Travis Kelce, excuse my French, fingering Taylor Swift while playing Call of Duty. Is this where we are now? Taylor Swift knows how to make folk and country music, so why does it feel like she is allergic to this sound now? This is folk music put through the conversion of Antonoffian pop music, through the filter of Dessner’s bored lethargy. Two fucking hours of this.

I’m really sorry everyone. I did not think it was going to be like this, let's talk about some of the good things. The Black Dog is the best song here, she feels conscious again, talking about a breakup in a meaningful and emotional way. If you cut down the album, you could have something significantly more tolerable. I do not want to come across as someone who thinks she is not allowed to talk about sexuality, I just think there are better ways of conveying it that do not feel so on the nose and ... well... weird. Fortnight feels like a really strong opener, and I was honestly shocked at how good it sounded. I am sorry taylor, I cannot handle this album.

Favorite Songs I: Fortnight, Down Bad, The Tortured Poets Department
Favorite Songs II: The Black Dog, So High School, The Albatross

Midnights (2022)

Alt-Pop
Chillwave, Synthpop, Singer-Songwriter

nocturnal, introspective, self-hatred, nostalgia, atmospheric

november sixteenth - november twentieth

The promotional rollout for Midnights was truly inescapable. I remember the radio ad like it was yesterday: 13 songs for 13 sleepless nights, Midnights by Taylor Swift out at midnight. Sitting in my friend's car, getting dropped off after climbing. We listened in the dorm room at midnight (duh) and I had very few thoughts about the whole album. Nothing bad, of course, but not a ton of things to write home about. Months passed, radio hits were formulated, and the bonus songs continued rolling on. This was her first foray into egregious bonus content for a new release (well, unless you count the ep thing, which I almost would), a trend that will be only more omnipresent as her career continues to march forward. Ice Spice and Lana Del Rey extended remixes, a second album worth of cuts.

Midnights is a little production with Jack Antonoff (the goat*), more vulnerable lyrics, some self-effacing commentary (rare), wrapped in a neat little package. It feels like a sonic extension of Reputation, and is her first synth heavy album since. Really consistent atmosphere, reasonably paced (44 minutes after 3 albums that clock in around the hour mark? I will surely take it), and catchy. Anti-Hero was a top three Taylor Swift song for me before this challenge began, mostly because of its entertaining self-deprecating satire, and pure pop genius. The craft of the pop song is very underappreciated, it requires a specific balance and skillset, something she is able to hone in frequently here. Songs like Karma, Lavender Haze, and Bejeweled all fall into this category of well constructed pop music. She feels focused here, and it really reaffirms to me that when she works within a sonic template, with focused lyrical ideas (even if they are as broad as ‘me when it's midnight’) she can still make really accomplished and well rounded music.

Favorite Songs: Anti-Hero, Karma, Bejeweled

Evermore (2020)

Singer-Songwriter, Folk Pop
Chamber Pop, Indie Folk

winter, melancholic, longing, nostalgia, soft

november eleventh - november fifteenth

After my newfound appreciation for Folklore, I was expecting a home run with Evermore. I did not listen to this album upon release in 2020. I had considered my 2020 new release list finalized and I did not have enough attention or care to give this a listen. I’m sure there was some pettiness or bitterness relating to social media that had a say in this decision, but If it was there it was subconscious.

I was honestly let down. I really was. The thing that is so shocking about this feeling is this one was not a quiet negativity that I found in between the lines of an album like “Lover”, but instead just an overall disappointment. The disappointment was unlocked on the way to get ice cream with my girlfriend. I wanted the album to end, not because it was so bad I had to turn it off, but because the whole collection felt necessary. Halfway into my first listen, I remarked that at best this is a collection of Folklore B-sides with a few shining moments, and at worst it resembles all of the worst qualities of her music to come: bloated tracklists, pseudo-poetic buzzword-heavy delivery (”I come back stronger than a nineties trend”), and releases that would have been better if she just spent more time in the studio rather than rushing to release it.

Now lets trade our negativity parts and switch them out for our grace parts here. The first half has a lot of strong momentum, and a lot of the bloated lethargy that was something of a downside can really match a specific mood if stars align. She has some really catchy moments on this, specifically Champagne Problems and Willow. The second listen, despite my desires for it to end, did help me pick out moments throughout the runtime that I was more partial to. I really do trust Aaron Dessner and Bon Iver to be her collaborators, and they are seasoned veterans in this style of pure lethargy and quiet solitude.

I do think it leaves a lot to be desired, but I still like it. It is currently sitting second lowest on my rankings, but you have to understand that all music is good. 3 stars is positive dammit!

Favorite Songs: Willow, Gold Rush, Champagne Problems

Folklore (2020)

Singer-Songwriter, Folk Pop
Chamber Pop, Indie Folk

forest, melancholic, lonely, nostalgia, sentimental

november sixth - november tenth

Where were you when folklore dropped? I was seventeen sitting in my room, I was really obsessed with stargazing and light pollution, but in a surface level way. I liked the “vibeyness” and unspoken existentialism associated, but I did not know the constellations, and I did not do it regularly. I remember sitting with my laptop open at my desk, pollution map on one tab, and genius lyrics on the other. As a devoted taylor swift hater to this point, I was taken aback when she made something with this much quality and care. Birthed from the pandemic, she took that inspiration and made something beautiful, mystical, and fictional.

Fiction. Let's think about fiction for a moment, you and I. In the sphere of pop music, but ESPECIALLY Taylor Swift, I think nonfiction has ruined our reading comprehension and symbolism. Instead of taking songs at face value, people open up genius lyrics, digging up references and relationships that could be mentioned, real life drama between two people, facts that minimize the songs in my opinion. Hearing a song about an ex boyfriend feels so demeaning when I know that the boyfriend in question is a random British guy. It feels less magical to me. The poetic podium has been diminished. Is this her fault? No and yes, but that is for a different day.

Seventeen songs, all of them about fictionalized scenarios and people, realized through her own life. This truly is her masterpiece. Songs 2-11 leaves me in disbeliefs, all perfect or nearly perfect songs, an atmosphere that feels so tangible. Driving through Ohio fog to “This is me trying”, or seeing the clouds pass by to “mirrorball”. When we reached this point, I expected something predictable, something I was familiar with, but instead I found my appreciation growing and multiplying. I mean, 2 taylor swift listens on the same day? Who am I?

This brings me to a dilemma, a dilemma equal parts about her catalog and myself: Is this or fearless better? Do I want to say fearless is better because it is actually a more tight knit album, more consistent, less up front brilliant songs but less fluff, or do I want to say it to appease the contrarian child within me? I do not know yet, but I will have to think about it as November continues forward.

Favorite Songs: Mirrorball, This is Me Trying, August

Lover (2019)

Synthpop, Alt-Pop
Electropop, Dance-Pop, Singer-Songwriter

eclectic, bright, romantic, melodic, uplifting

november first - november fifth

This is where things start to get dicey. Not bad necessarily, just dicey. A matured companion to Red in my eyes. All the same signs of eclecticism, all the flashes of greatness, but also a lot in the murky undertow that must be addressed. Sequencing wise, it makes more sense than Red, mostly because it feels like it knows what it wants to be. It wants to be a departure from her previous label. It wants to explore her love with Joe Alwyn, who apparently is a character I should have known the name of by now, but I am only now learning on first listen that he is British. The label dispute thing is a very important juncture in her career that paragraphs will surely be devoted to, but when? Where? I do not know. I will get back to you.

Lover is Macy's music. Now before you turn your head, cheer, or roll your eyes you have to hear me out. Sometimes Macy’s plays a banger, and I can find a lot of joy in the pop music of department stores. I mean, I am standing at the marriott front desk right now hearing a song I have heard fifteen times and still do not know the name of. I like it. This album’s opener, honestly one of her worst songs, does not lull you into this new reality, it screams at you with its tropical house beats. The first half is not particularly consistent, but it has flashes of brilliance. “Lover” is in my top ten Taylor Swift songs up to this point, and is one of her most earnest love songs of the last six years. “Cornelia Street” and “The Archer” both experiment with ambient pads in a way that I can get behind, and “Cruel Summer” feels important still after hearing it one hundred thousand times. On the flip side, you have “The Man” which berates you with juvenile simplicity in its thesis of feminism, and “Miss Americana and the Heartbreak Prince", a perfectly enjoyable song, suffering from the worst title of her catalog thus far.

The run from tracks 9-13 bring promise, and then you reach a controversial stint with “Me!” and “You Need to Calm Down”. As a teenager, I loathed these songs and the plastic nothingness they stood for, but these days I cannot hate them. Catchiness is an important metric of pop songwriting for me. If a song is catchy, it cannot be inherently bad, it touches a part of my brain, a primal one, one that transcends social capital and built taste. “Me!” promotes spelling, and even with Brendon Uries signature modern singing style, it is a melody I cannot hate. “You Need to calm down” has a somewhat nothingburger social stance, one similar to “The Man”, but the harmonic chorus is catchy, and it flows in a really convincing way. Additionally, "It's Nice to Have a Friend" is so mind-numbingly confusing that I will give her credit for making something even remotely enjoyable out of the two biggest songs on the album. That song is her worst through the challenge so far. Incomprehensible, terrible penultimate idea, and really beyond all I think it is stupid.

Lover is fine. It's a little too sporadic, but it is hard to vehemently hate anything about it. Could be better, could be worse. Everything and nothing.

Favorite Tracks: Lover, The Archer, Afterglow

Reputation (2017)

Electropop, Alt-Pop
Contemporary R&B, Dance-Pop, Trap

hedonism, sensual, sarcastic, boastful, fame

october twenty seventh - october thirty first

Okay, I was being a little bit overdramatic with my expectations here. I was clearly impressed with 1989, and so I gave Reputation less credit than I reasonably should have. Reputation was the first Taylor Swift album that I heard as an avid music fan, one who kept up with pop culture. I was also heavily invested in album leaks, and I remember sitting in my ninth grade photoshop class and downloading it from reddit. The user had copied “Hey Mama” by Kanye West fifteen times and changed the track titles. I heard the real album a few days later and hated it.

This is Taylor Swift's sex and drama album. This could seem reductive, but I think it would only seem reductive if you have not heard the album. This is certainly not a bad thing, and especially given the gravitas and scope of her more recent work, I honestly like that she has two very direct ideas that she is tackling here. Well, I like the love songs more than the “woe is me” dramatic songs, but I have warmed up to the latter over the years.

This album is heartwarmingly of its time. It makes me reminisce on a time when trap was taking a forefront in the public consciousness and pop music felt a little sleeker and more purposeful (at least, in the monoculture. And not that good pop music no longer exists, of course). I love the Delicate and Getaway Car. “Ready For It” is still my favorite song on this album eight years later. Something about the beat carries the song and lets me swallow the Taylor Swift rapping comfortably. I’ve warmed up to “look what you made me do” over the years as well. Too many song mentions. Let's move on. I think many of Taylor Swift's albums have really improved upon my second listen so far in this challenge, and I was given this album on CD in July, which I believe made my first listen for the challenge settle in like a second.

The album is catchy, and in retrospect not nearly as offensive as it was made out to be. It seems like the next logical step for Taylor Swift. Over the last few years, I have been saying that she has another masterpiece in her, buried under the insecurity and fame, but this album for some reason made me accept that she probably does not have another true masterpiece in her. It has made me realize that I should be grateful for what I have right in front of me. I have the heartwarming to the brilliant; petty to depressive. October has taught me a lot about Taylor Swift as she rose to the spotlight, now it is time to face as the undisputed titan of pop culture.

Favorite Tracks: Ready For It, Delicate, Gorgeous

1989 (2014)

Synthpop, Electropop
Alt-Pop, Dance-Pop

romantic, warm, anthemic, sentimental, fame

october twenty second - october twenty sixth

Red may have been the turning point, but this is the true inception of Taylor Swift as the pop star. Max Martin and Shellback on the track. When I was ten years old I loved pop music and pop radio. Because of my ties to baseball, my social circle was surrounded by a number of relatively “popular” people. Despite my love of pop music, and my unassuming ties to the taste of those around me, it was my obligation to hate Taylor Swift. It’s simple, really: I am a boy. Boys hate Taylor Swift and love baseball. This hate evolved into unpredictable directions throughout my teenage years, culminating in the release of “Folklore”. This was followed by my belief that all music is good. Past this point, my Taylor Swift hatred weans off, either into adoration or disappointment of something greater. I do not talk to anyone in that group of people today, and frankly I am under the assumption that I was always the odd one out, but let's remember those days today, shall we?

I am absolutely blown away with the quality of 1989. From a pop songwriting perspective, there is so much to enjoy. She is writing amazing hooks, sweet lyrics, and has these excellent vocal harmonies on almost every song. From a comparison perspective, this both absolutely [mogs] the pop songs from Red, and (spoilers) compared to albums like Midnights, TTPD and [the one we don't speak of] it feels crafted with so much more intention and care. At the time, I’m sure this was a gamble.

It reminds me of Emotion because it is so of the time, and they are both really well packaged pop records with no fluff to be cut. I imagine many argue that the non-single cuts from this record are somewhat disposable, but I think they add a lot. “How to Get the Girl” and “All You Wanna Do is Stay” would be well appreciated on other pop records of the same era.

The specific element of these songs that really calls to me are the drums. “Blank Space” features this drum break that would feel at home a decade later on bedroom pop and baggy revival albums, "Wildest Dreams” has drum fills that remind me of Alva Noto and Gas more than a popstar. But not only drums carry these singles, it's everything about them. Maybe it is the fact that they’ve been drilled into my brain since 2014. 1989 is very special, and among her very best albums. Where will she go from here? She has so much ground to explore. I’m sure we can only go up.

Best Songs: Wildest Dreams, Blank Space, Clean

Red (2012)

Singer-Songwriter, Pop Rock
Folk Pop, Country Rock, Dance-Pop

breakup, pastoral, autumn, energetic, eclectic

october sixteenth - october twenty first

This is the turning point everyone. This is where the seeds are planted. I request you direct your attention directly towards “I Knew You Were Trouble”. Not to say that she has not been a pop artist yet, because there are certainly cuts that qualify as pop music so far, but this is the first time she veers directly into the formulas and scene. This is the first time she engages with a pastiche, almost, of a sound and make a purely pop song. My thoughts? Arguably her worst song up to this point. Not because it is pop music, but because it does not feel totally genuine. I have warmed up to it since my first listen, but to ignore that chorus would be a mistake.

I am really behind on the vault tracks, which has caused a major rift in the Taylor Swift listening cohort. Why? Partially the argument that I am running out of time (I must listen to 35% ambient, and there are other things to listen to besides taylor swift) but more directly I think it has to do with my feelings about deluxe albums in general. Not to say I will not be listening, but I will be late, and it may take a while for me to get there. When I ventured into the fearless bonus tracks, I got so bored I turned on Sloan. There's something about the album package that feels sacred to me. Deluxes and their fluff. Again, the songs are probably good, and frankly I splice the 10 minute “All Too Well’’ into my main album files. I heard them in 2021 and had no complaints.

Speaking of, “all too well” is her best song. I have been waffling between many different tracks (You Belong With Me, Mine, Enchanted) but it is clear to me that she cannot top this. Not to say the rest of the challenge is now a waste, as I think she will have better whole records (at least, I think so) but it is almost comforting to know where my peaks lie. The first half of the album suffers from some of the most horrific sequencing I have ever heard on an album, switching between pop cuts and drawn out emotional tunes faster than you can say sabotage. I mean, all too well is sandwiched in between two 2012 cookie cutter pop songs. Stay stay stay sits awkwardly in between two very moody cuts. I don’t get it, but they figure out their stride here in the back third, which is the strongest section of the album for sure. The last three tracks are really emotional and tie up the album brilliantly. The closer is probably among her top 5 finest songs.

And really that is what red is: a hodgepodge of ideas. A transitional album from country to pop. Many argue that Taylor Swift goes through a number of different phases in her career, but I would argue that there are only two core styles and it all originates here: ballads of the folk and country variety, and pop music. It is a nice hodgepodge, and especially on second listen I felt rewarded for giving it the time of day, but it would be remiss of me to treat it like it is on the same level as her last two. Maybe it’s a little bloated (foreshadowing), but there is something to love for everyone.

Favorite Songs: All Too Well, Begin Again, Red

Speak Now (2010)

Pop Rock,Singer-Songwriter
Power Pop, Country Rock, Alternative Rock

romantic, melodic, sentimental, breakup, optimistic

october eleventh - october fifteenth

Album three. If you asked me point blank, having only heard it one time (mowing the lawn when the Taylor’s Version was released in 2023) I would have said this was my favorite Taylor Swift album. Not really a well informed opinion (in reality, my favorite has to be folklore, but lets not spoil the whole goddamn challenge), but more a reflection of my amazement at the more well written numbers from this album (enchanted and mine, specifically) and a really well done video by Professor Skye that I recommend everyone watch. There is something very charming about this album, the self written angle and the more fleshed out song ideas specifically.

A great album to play in the car with my girlfriend, who upon second listen remarked on the fact that usually it is the girlfriend who forces the boyfriend to listen to Taylor Swift. She liked the radio singles that she grew up with on country radio, and was impartial to the rest. I am soaking up my opportunities to play it in the car, because once we break past 2014, I think it will be a much tougher sell. At first, I was a little bit let down compared to my glowing reviews of yesteryear. I did not think it was bad as much as I thought it ran a little long and did not have the consistency of Fearless. The highs were higher, but I was not quite as inspired.

My second listen brought me back to where I was. Like Fearless, this has an incredibly strong starting run. Yeah, maybe the title track lays on the cheese a little heavy, but “Back to December” has been stuck in my head for four days, and “Mine” is still a monument of songwriting especially given her age. One of the most perfect depictions of love to enter the pop/country landscape. It loses a little bit in the back section after enchanted, up to this point “Better Than Revenge” has become my least favorite Taylor Swift song because of that unnecessary meanness and a sound ripped straight from better Paramore songs, but I can forgive it because she was twenty, and she makes up for it with an incredible closing two tracks. “Last Kiss” feels very reminiscent of something, I cannot place my finger on it. The airy, borderline downtempo sounds feel inspired by many well beloved alternative female acts in the 90s, and “Long Live” encapsulates everything that makes her power pop songs perfect.

I still think Fearless is more up my alley, it's more consistent and airtight, but this is a welcome addition to the catalog, nearly as good in every aspect, and certainly a step up in impressiveness given it was all written by herself. A welcome second act in the trilogy (intended or not) of her turn of the decade works.

Favorite Songs: Mine, Enchanted, Back to December

Fearless (2008)

Country Pop, Pop Rock
Singer-Songwriter, Soft Rock, Teen Pop, Power Pop

love, playful, sentimental, breakup, warm

october sixth - october tenth

Guys, I got a cold. To the new reader, this seems unremarkable. To someone who knows me in real life, or someone who has been keeping track of my rym listener journals over the past few years, you know how this feels. A day of denialism and self loathing, a day of resting and skipping all my obligations, and then I feel decent enough to emerge from my cocoon. Lengthy preamble, only vaguely related? Why of course!

Suffice to say, I did not listen to as much of my regular dose of taylor swift this week. I had a great overcast walk, the summer temperatures with a light breeze, for my first listen of the week, but my second is coming in at the buzzer of October 10th. Fearless, despite this, is unbelievable. Some of the best pop music ever penned. I was blown away both in its consistency and its emotional impact.

The first six songs harness a really touching youth of romance that she sells so well. Whether it be the theatrics of ”Love Story” or the balancing of truth and daydreams in ”Fifteen”. I think this takes a lot of the elements the debut had in terms of melodic and anthemic songwriting and she really begins to create this persona, a persona that feels so based in reality, of the complicated emotions of teenage romance. “The Way I Loved You” is kinda the obvious one, the one about unstable romance. The country twang all over this thing mixed with power pop inspired choruses are so beautiful. Such a sing-along. Easy to put yourself in her shoes, because we were all fifteen, and we all wanted that person that wanted someone else. Her appeal to these universal feelings and desires will make her huge.

Favorite Songs: You Belong With Me, Fifteen, The Best Day