쉐도잉 연습: The Icon Sessions with Taylor Swift — Presented by Recording Academy's Songwriters & Composers Wing - 영상으로 영어 말하기 배우기

I want to start at the very beginning.

You learned a lot about song structure and it started at a very early age.

Nashville, who was it that influenced you?

How did that happen?

Maybe a little history.

I was about 10 when I started obsessively thinking about

and planning how it would be possible for me to try to make music for the rest of my life.

And so I would do research.

And I had heard that Faith Hill got discovered at the Bluebird Cafe.

I started learning about the Bluebird Cafe, made it like a personal life goal to get to perform there.

And in the process of this, I started picking up instruments and started writing my own songs, just kind of based on the structures and kind of architecture of the songs

that I loved the most and figuring maybe if I write enough of these, I might get decent at it.

Yeah.

And so with those feelings and putting it in the music, were you ever conscious of, oh, I've got to make it fit this structure, or were you more just putting out the feelings in your music?

I think when it comes to structure, it's sort of like when you learn sort of basic rules about something,

it can really serve more as a framework.

And, you know, we try to not be too formulaic with what we're doing because we're ultimately trying to express human truth.

But ultimately, even no structure is a type of structure.

Like, anarchy is a type of society.

Taking the traditional structure and flipping it and doing different things

and breaking rules was something you've done quite a bit of that actually.

Started on your first album, so amazing.

Then as a teenager, you started writing some really advanced stuff.

Tim McGraw and that song, you introduced not only an artist, but you were a writer with a great instinct for storytelling.

Where did that come from?

I think storytelling was why music felt important to me.

In being drawn to that aspect of music, I never turned to music to forget my human experience.

I turned to music to remember it.

In songwriting, I find myself drawn to consequences,

stakes, and the passage of time so we can see those decisions through.

You know, I love an epilogue in a book.

I'm always trying to see what happened at the end of the story.

And oftentimes in a song, you love to stay in one moment, but especially early on in my songwriting, I'd love to just be like, and this is how it ended.

Jump around.

Yeah.

They got married.

Shocker, shocker.

Well, you did a bit of that in the Tim McGraw song, where you wrote something that was ending, but it hadn't ended, but it was going to end.

And that's definitely a different type of song structure.

That song, when I look back on it, it kind of establishes a pattern of writing in detail.

That's something that people bring up to me a lot about my work,

is that I write in detail but I do think it's important to determine

that the details have to have a significance to the story at hand.

And in that song, like there's a song that's

or there's a line that says just a boy in a Chevy truck

that has a tendency of getting stuck on back roads at night.

And if you look at that at face value, you're like, oh, that truck broke down a lot.

But if you look into it, the double meaning is these are two teenagers who used to like

Park and kiss and tell their parents that the truck broke down So now we know During this period you were

Growing you were perfecting your craft and you were following your instincts

What is it about this period or what is it that you did in that time that you think is

Unique or maybe a superpower for you?

Wow.

I think that at that point in time,

I was a 16-year-old putting out an album in country music

that was all about my life as a kid in high school.

And, you know, back 20 years ago, people really thought very hard about demographics and about,

you know, the way you got music out into the world was country radio.

And I had so many people say to me on the label side of things like, you know, the country music demo is a 35-year-old female.

How are they going to relate to you writing songs about your life in 10th grade?

It's a fair question.

If I were to look back and say, whoa, that's crazy, this is why this all worked, it was because I didn't listen to the people who said

that I didn't have a valid perspective on life

because I didn't fit into a certain demographic that they had studied

because of the analytics of a certain genre and how people experience music.

I think that music is so great because you actually don't know what's going to strike a chord with people.

We're dealing in emotional truths that either resonate or don't.

And that's what I was going to say to me.

It felt like your instincts are one of your superpowers.

You have many, but you trusted your instincts, both in your strategy, but also in your songwriting and what you put into your music.

And is it sometimes difficult to trust your instincts

when you're sharing your music with the public and you have to close that out and write from within?

Or how do you approach that?

I realized that like I'm making music because I'm playing for the fans.

I'm putting this out for people who care about it

and who look to music as a way to cope with their life in the way that I did.

And I think that if you can actually go through all those checkpoints

and realize that putting out music you've made that you love so much is not the path to universal validation.

If you're still doing it, then you love it for the right reasons.

That's serious.

I don't know if there's been another songwriter that's had to take that into consideration as much as you have.

The public perception, how they're receiving it, what they're interpreting it.

Yeah, like anything you say, they're like, oh, easy for you to say.

Right.

But if you're sitting in the studio, how does that not block your creativity?

How does that not slow down your process, having to think about how it's going to be interpreted?

I don't know.

Sometimes it fuels it.

Like sometimes, sometimes when people are mocking me, it's really fun to mock them back.

Sometimes I like to just use words that they have to look up in order to talk shit about.

But I go through several processes and coping mechanisms that I've gone through over the years and one of them is saying, you chose this, you chose this every day.

You could have opted out of this any day before it got unmanageably big.

And I decided not to because I love it that much

that much and that's just where it begins and where it ends

and everything that comes with this ultimately is worth it as long as I get to still make music.

That's special, that's incredible.

Really great.

Okay, moving on a little bit, your album Red felt different, felt like you're trying some different things,

you were pushing the boundaries of yourself as a songwriter, right?

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And I think 1989 then took you into some kind of pop direction, very deliberate pop.

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Did your process in writing those songs change from where you had come?

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Yes.

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I mean, I think I've always been very fascinated and challenged by the idea of never making a lateral move creatively.

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And it helped that, you know, being somebody who started this when I was 16 and then continuing to put out albums,

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my life was changing so quickly that

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if you continue to write about your life and write from these new challenges and adventures,

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like, the sonic landscape of that and the soundtrack of that can change with you.

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So it's like with my albums, I would take my dedication to,

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you know, being a confessional songwriter and my belief that that's important

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and that although the details of my life may be different from other people's,

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it's the significance of those details that bonds us in our own shared human experience.

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You take that with you.

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And with Red, especially, that album was one where I had just come off of writing,

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like my album before that was called Speak Now.

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And it was an album that I wrote completely solo.

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And on that album, I really learned how to take a feeling I was feeling

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and then craft that on my own into a sound and kind of world build the music around my feeling for it.

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So what you had were songs that like, you know, the song Enchanted is about,

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you know, falling in love and that sort of glittery, twinkly, fairy lights feeling and that's exactly how the song sounds.

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There's a song called Never Grow Up

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that is a song to a little kid who's asleep in a crib and it sounds exactly like a lullaby.

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There's a song called Mean which was about criticism and at that time one of the criticisms I was facing was like, she's not country enough.

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And so I made it, like I was like, put just as much banjo on this as we can possibly put on.

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So when I had learned that of how to match my feelings to like, yeah, and to like really influence what I was writing

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and how I was kind of influencing the production of it to sound exactly the same.

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It really helped later on when I would be able to write backwards from that if somebody would say like, if somebody would send me a track,

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I'd listen to the first five seconds of the track and be like, oh my god, this is about a girl who goes home to her hometown on holiday break

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and it's cold and she falls in love with her old high school flame again

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but she has to go back to the big city

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but she's fallen in love with him over the course of two days like what's she gonna do you know

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that is awesome right there yeah that's awesome yeah

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but red was to your point red was where I decided

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I'm gonna try to find myself by exploring all the edges

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of all the different producers I could work with everyone from

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you know Dan Wilson to Jack Knife Lee to Max Martin to Nathan Chapman to...I was really...to Jeff Basker,

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like I was like, I wanna work with everybody I like, everybody whose music I like, I wanna see what they're like in the studio.

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And that album was very...it was very much like changing channels back when we used to do that.

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Yeah, so it was like, but it really was, when I look back on that album, that was what made it exciting, was the variation of it.

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And then I arrived at 1989, which I look at as a very sonically cohesive piece.

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Were there some of the rules that you learned in country that you had to break, or what were some of the challenges?

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Because I know a lot of our members and people in the wing write in different genres, but there's not been many people

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that have been able to transition at such a high-level country writer to extremely high-level pop writers as well.

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What are those challenges like?

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Thank you.

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I think the main change would be,

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as a lyricist, just sort of the vernacular over the years that I would use.

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Because when it comes to writing just sort of different shades of my music,

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like you can say the same thing many different ways.

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Like, you can say I'm into you by saying your Midas touch on the Chevy door, November flush, and your flannel cure.

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Or you can say you got that James Dean daydream look in your eye.

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They mean exactly the same thing.

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Everything that you touch glows.

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You are the most important thing in my world, and I just saw you for the first time, and I can't believe it, and I don't know what to do with these feelings.

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But you can just choose to say them different ways,

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and I think that the way that I've chosen to kind of express myself as a lyricist has changed over the years,

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and there are times when those contradictions will come up where fans will be like, I can't believe the same person who wrote this wrote this.

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Because one will be very simplistic and silly, and one will be very detailed and deep.

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And we're doing tons of allegory, and we're just in a whole other world of atmospheric speech.

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But I think that that human contradiction is fun.

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I think that it's fun to make playful songs.

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I think it's fun to make songs that are desolate and lonely and just bedraggled lyrically as well.

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And it's that human contradiction that I find interesting.

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Well, it's also very hard to do, by the way, to be able to do both.

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So you've mastered it.

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You also talk a lot about how much you love little phonetic things, you call it.

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The alliteration, the internal rhyme, consonant sounds, where the phrase sits, how do you prioritize those things and how do you decide,

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do I want to make it sound good or do I want to make it mean something?

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Well, I think that ultimately we're trying to do both.

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And when I talk about writing, I try to explain it

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so it sounds like I think about it a lot more than I do when I'm doing it.

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You know, like when you get visited by the idea fairy

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and you trust where that's going to take you based on your thousands of hours of doing this,

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that, you can enter sort of a flow state.

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And then your taste and what you like kind of comes to the forefront.

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I like alliterations so much that they happen without me meaning for them to happen now.

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I like bouncy syncopation and I have these certain things

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that I just like and I don't even try to do them anymore.

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I'd have to try not to do them.

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Oh.

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Yeah.

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So that's the fun of it.

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Obviously, when you finish your first pass of something, I really am not someone who stops a song and says,

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like, let's put that away and revisit it later or like it exchanges parts out.

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Like, I know a lot of people do that.

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I can't, I have to see it through.

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But afterward, I'll go back over and just be like, hey, could this line be punched up a bit?

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And that's where sometimes I'll add alliterations where they don't exist, but they usually already exist.

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And when you're doing that, whether it's in the original writing session or looking back, are you just trying different lines,

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trying different words, seeing how they feel, how they flow?

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The cool thing is that it happens differently every time.

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Like there could be just a line that I thought of three months ago, wrote down in my notes, and all of a sudden,

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now that I'm playing these chords on piano, all of a sudden I know what that line needs to be.

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And so we're expanding outward from that.

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But first I had to figure out where is that line?

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Is that line the second line of the second verse?

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Is that the hook?

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Is that the first thing we're hearing? like, and that's where, you know,

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we're always constantly putting together puzzles as songwriters, but we're also like creating all the pieces of the puzzle first.

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So it really depends on if you get like a centerpiece or like a corner.

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And really just as your history as a puzzle putter together will hopefully inform you where that goes.

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But it's really, that's the magic of it and the misery of it as well.

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So looking at how you produce records and you touched on it, what are some of the things that you like to do to complement your songs?

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How are you building production around your lyrics

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and your storytelling to make sure it's creating the right mood and the right vibe?

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You talked about the twinklies and is that something you work with producers and say, no, I want it to feel more like this.

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I know you produce a lot of it yourself as well.

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So talk about that process if you don't mind.

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You know, it can either be compelling to make a song sound exactly how it feels, or to flip it.

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Which, the people that really taught me the most about that are Max Martin and Shellback.

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So I think maybe the best example I have of this is

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that I wrote this really sad piano ballad called I Knew You Were Trouble.

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I want to hear that version.

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I was really excited to bring it in and I played them this really, really sad ballad and I was like,

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I think just no drums and they're like, what if it's dubstep?

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And what did you say?

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I was like...

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You're like, oh no. I don't know guys.

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Let's give it a run.

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I don't know.

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Like, you know, I also like have a lot of...

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I don't know.

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I think...

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I can't imagine them saying that to you though.

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You sat and played them the song and they're like, dubstep.

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Oh yeah, like what if it's electric guitar and dubstep?

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Like we're not putting a piano in this.

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But it ended up being the best thing for it.

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And I think that as a collaborator, my favorite people to be in the room with are yes and people.

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So why not try it?

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If they heard it and they thought dubstep,

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And I came to them specifically because I didn't want to be making lateral moves creatively.

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Why wouldn't we go down that path?

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Like, why wouldn't we?

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And I really think that enthusiasm in the studio, it can really make or break what you end up creating.

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Yes, and people.

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Yes.

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Don't be the person that comes to the show.

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Oh.

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I mean, that's a great lesson for all of us songwriters to approach the creative process with that spirit, with the yes and.

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It's so important, right?

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Yeah.

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All right.

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Next little phase, the Reputation album.

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You were writing, I guess this is a big phase, you were writing in an environment where a lot of people, the public in general, believed they knew the story, they thought they knew the story.

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How did you change what you wrote?

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And how did that public's perception make you adjust?

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It was a time in my life when, for the very first time, not the last, people had really actively tried to misunderstand me just in general

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and to misunderstand what I was trying to say and to purposely misinterpret it.

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And it felt very stifling as a person, as a human being.

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But ultimately as a writer, it gave me this really, when I look back on it,

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this really sort of gnarled like bite when I would write my lyrics

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because I figured like okay this is when I learned like

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when people are in like a hate frenzy about a public figure

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or really anyone like it could be like you know your daughter in her middle school class like

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when people decide we're all going to stand around someone and point and mock them you You can't respond with outward sincerity.

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Any attempts you make to explain yourself earnestly or sincerely will just be mocked, even worse.

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And so it was an interesting challenge as a writer to say,

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what can you possibly say when everything you say is being returned to you in this sort of distorted,

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like they They just sort of overreact rather than react to anything that you say or do, any position you take.

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And so I decided to put out a song called Look What You Made Me Do as the first single where I,

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as a dead corpse, emerge from a grave and then proceed to deliver this very like tongue-in-cheek,

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sort of mischievous take on what it's like to feel cornered in that way.

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But the fun part of that album is that it had a lot of sides to it.

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Like if you looked deeper into that album, it's an album about feeling so upset about this mass shaming that you felt like you were going through.

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You find this little cave and you crawl in there

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and you try to find like a tiny bit of warmth

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and that warmth sustains you for the entire time that you feel so massively misunderstood by people who don't know you.

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So that was a really fun challenge of that album

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and I'm very proud of it when I look back on it

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and I think the things that I look back on now is like

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when I've gone through something that was like sort of an attempt to like drive me insane.

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When you don't allow that to happen and you use art

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and music as a way to like barrel roll out of that.

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Those are the moments I'm the most proud of.

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It's great, great, great stuff.

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Great stuff.

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So then you have reputation and lover, and I would say that's darkness and light, defensiveness, openness, back and forth, right?

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Is that just where you were in your life, or was that done intentionally?

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You said, OK, I've done this.

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Now I want to do this.

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Or are you just writing exactly what you're feeling in the moment?

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It's really that.

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You know, I'm not a big mood board artist.

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I'm really much more of a mood artist.

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I always start there.

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I always start by how my life feels to me.

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And really, the aesthetics of the album are the last thing that I decide.

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Some little details like that come to me along the way.

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But it's fun to have these glimpses of what my life felt like that are so accurate to that.

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And when I look back on my discography or whatever, I see exactly what I was going through at those points in my life.

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And it feels, to me, that feels special.

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I know everybody's different.

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That could feel like really strange and weird

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and like just open heart surgery to some people but for me it feels like very sacred.

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And I look back now on songs that I wrote about just like, just like gut-wrenching heartbreak, and I look back and I'm like,

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that was a really good lesson I learned.

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That song is about a really good lesson I learned.

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So it changes over time, but it still is very reflective of the time I was going through.

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And what's great is those times are resonating with your fans, your listeners, and they're going through that with you at the same time.

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And you have an incredible ability to convey that feeling

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and give people comfort and understanding there's other people going through it at the same time, right?

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Yeah, and I think that's really a unifying connector that drew probably everyone in this room to making music.

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And a time that I felt that the most was when I made an album called Folklore in the pandemic.

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And that album is really, really all about loneliness.

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If you, you know, kind of delve into certain lyrics on songs like Peace or Hoax or Exile,

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it's really about feeling so completely alone, which weirdly everyone on the globe was feeling,

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to some extent, and then getting to put out that album

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and have us all have something that we could kind of say, like, oh, yeah, I felt that way too.

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Like, that was, I think, the most intense feeling of unification I ever felt.

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It seemed on that folklore project you were writing almost from a third perspective or writing in character.

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How was that different for you?

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Oh, it was extremely different for me.

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and sort of like a pressure release valve.

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Okay.

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It was an escape into my imagination.

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It was all of a sudden I was walking on a cliff side

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and looking at the ocean instead of just being at home.

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And it was a lot of things all at once,

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but with folklore I was oftentimes creating the character and creating different characters who are interacting with each other.

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That was really fun.

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I just got to write in character for Toy Story 5, which was such a blast.

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Yes, cheer for that.

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Toy Story 5, that's big.

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Not a lot of people get a chance to write those songs.

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Yeah, especially for a character that I've loved for years and years and years, this character Jessie, who I've just always watched those movies specifically to see her.

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And, you know, I relate to the way she reacts to certain situations.

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I react to how deeply her heart was broken and how deeply she feels, but how she protects the people she loves.

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And she's like, I think, you know, it's really a lot more fun to write from a character

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when you really understand their motivations because you relate to them.

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So that's coming from inside, but you just said something that I was going to dig into, a confessional songwriter.

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You said you're a confessional songwriter.

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Obviously, when you're doing character writing, maybe not so much, but as a confessional songwriter, what does that mean to you?

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And I'm not sure if you've all heard that term a lot, but that's really interesting.

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Thank you.

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I think that when I say the term confessional songwriter,

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I think it's important to specify that not all shocking revelations you make about yourself are deep.

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Like, just saying something dramatic,

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shocking, and wild doesn't make it something that's going to help people,

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resonate with people, be an important story that sits in people's minds, hearts and souls.

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We have to be purposeful.

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You can't just like scream something crazy and be like, I'm a confessional songwriter.

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Just for the same exact reason why details should not be strictly decorative.

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Like, let's not be haphazard with these things.

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Let's make them count.

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There's a song on my album Fearless, which is the second album I put out.

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And it's all written from the perspective of a child singing about their mother.

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But you never hear the word mom or mother or mommy or anything like that.

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Like, you know because the narrator is saying, it's getting cold, I've got my big coat on.

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I hear your laugh and look up smiling at you.

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I run and run.

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Past the pumpkin patch, through the tractor rides, look now, the sky is gold.

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I hug your legs and fall asleep on the way home.

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And those details serve the purpose of telling us exactly who our narrator is.

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And- I'm so mad, I'm never gonna be a good songwriter.

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I'm never gonna write that.

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God dang it.

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A lot of writers don't need to dig back into the songs they've written with such depth as you have.

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Maybe talk a little bit about doing Taylor's versions, what that meant, and how did that affect you as a songwriter?

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Did you look at those songs and say, oh, I wish I could tweak this or maybe I'll change that?

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It's interesting.

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Going into that process, I rerecorded all of my music that I had recorded on a former label.

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We know.

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And not many people know.

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I've been really quiet about it.

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I just hide it.

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I'm...

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Secret.

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Top secret.

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Haven't been vocal about it at all.

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So, it was an interesting thing.

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First, it's like when the dog actually did eat your homework.

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And you're like, now I have to redo it all.

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And then I have to go in to the teacher and be like, the dog ate my homework.

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And the public and the media, since it hadn't really been done before in that way, and I guess on such a big scale and so loudly and obnoxiously,

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the public kind of did a little bit side eye me the way

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that a teacher would if you did say the dog had eaten homework um

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and so that was an interesting place to start from

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and i had to sort of get myself from the place of being like everyone says this isn't gonna work

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and everyone's saying that like nobody's gonna want to hear my new take on the same work

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but actually i got to a place where it felt like

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it felt like defiant reclamation of what was always mine to begin with i was like oh actually Actually, maybe I could go back and sing these exact same notes,

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be faithful to the work that I'm very proud of and not be changing notes or doing crazy riffs or anything.

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But maybe I could improve the sonic quality of this music.

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And that's how I feel about it now when I listen to the Taylors versions.

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Even now that I've gotten all my music, I own everything I've ever made, which is...

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Congrats.

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MALE SPEAKER 1 Congrats.

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MALE SPEAKER 1 This is not an official question.

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I'm just curious for myself.

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How did you just decide to call them Taylor's versions?

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Were you sitting at the house and going, I'm going to call these Taylor versions?

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FEMALE SPEAKER 1 Literally.

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FEMALE SPEAKER 1 FEMALE SPEAKER 1 Yeah, like sometimes it's just hiding in plain sight.

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MALE SPEAKER 1 That's great.

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FEMALE SPEAKER 1 When I would go back, I had these songs that were songs that I'd left on the cutting room floor for one reason or another,

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and sometimes those songs resonated more with me when I re-recorded them.

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There's a song that I had written when I was 22 called Nothing New, and it ended up being a duet with Phoebe Bridgers,

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who is a friend of mine.

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And that song is about feeling like you're aging out of the music industry.

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I wrote it when I was 22.

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And I was like, I'm washed up and boring and everyone's over me and it's sad.

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And so I kind of get why I didn't put it on red because that's like, I feel like that's kind of a passing thought when you're 22.

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I'm like, that's a sad night with a bottle of wine.

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But when I was like 30 and I was re-recording it, I was like, oh no, this hits.

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This hits.

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I love it.

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The song, All Too Well, has now been an album track.

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It's been a 10 minute version.

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It's been a new recording.

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It's been a short film.

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It's kind of all over.

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Yeah, it's awesome.

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What does that say about that song or a great song?

414

Thank you for saying that.

415

I think the most interesting thing about the journey of the song All Too Well is that

416

it was a song that was never a single on the album Red.

417

And it was always a song that I just personally was so proud of.

418

I was just like, man, I hope the fans gravitate towards that.

419

And then they did.

420

And I went through the whole album cycle of Red.

421

It was never a single.

422

And then when we were headed into Grammys, actually, the fans just were like, please play all too well.

423

Please play all too well in the Grammys.

424

And it just felt like the right thing.

425

And so I played this song on the Grammys.

426

And it's always had sort of this, like, it's always been sort of like powered by fans caring about this song.

427

And so all the iterations of it really speak to the fact that when they love something that passionately,

428

I'm going to listen to that.

429

And that's been such an interesting story of a few different songs in my career.

430

The song Cruel Summer was never a single on the Lover album until the fans were

431

so vocal about how they wanted to hear it on the ERAs tour.

432

Years later, three plus years later, I was putting together the ERAs tour, And the fans were like, all we want to hear is Cruel Summer.

433

So I put it as the first song, the first full song in that set list.

434

That propelled it to have this weird viral success that then made the label say, hey, would you want to put out Cruel Summer as our single?

435

And I was like, you can do that?

436

It's from a three-year-old album.

437

And it turns out you can.

438

So it's been really delightful to see that.

439

And that is lovely.

440

So sitting next to one of the all-time greatest songwriters, I have to ask you some very specific detailed questions about your process

441

because I think we all want to hear some of these answers.

442

For you, does it start usually, I know it's different every time, but is it lyric first, is it melody, you're in the shower, are you on a piano or on a guitar and it starts with music first?

443

How does your song process begin?

444

I think if you limit yourself to one of those ways, you're really cutting off a lot of opportunity and I think

445

that I am very welcoming of any idea however it lands it could be

446

that you know I I don't write a song every day like

447

but I will have a cool twist of a common phrase almost every day

448

or you'd write it down somewhere so I've got like a note that's crazy it's just like scroll scroll scroll scroll, scroll, scroll, scroll, like you'd scroll forever.

449

And that really comes in handy because when I am in a session

450

or when I do like lock on to that flow state of writing a song, I can scroll through and immediately be like,

451

this fits, this is perfect, oh my God, this is what this is about.

452

And so like, I think we need to be purists about

453

when these ideas come to us and having to chase down that idea, because it just came to you.

454

I have to get out of bed and write this right now.

455

If you have to, then go do it.

456

But if you can save an idea fragment that's a lyric in one space so that when you're in your sessions,

457

you can be like, yeah, you can access it.

458

And it's either that or like if I have a melody, whether it has lyric attached to it or not,

459

I'll just like no matter what grab my phone, no matter what embarrassing social situation I'm in.

460

Because you think you will remember it.

461

You will not.

462

You won't.

463

And we've all been there where it's like you're drifting off to sleep.

464

You're like, that is so catchy.

465

Yeah.

466

That I'm going to remember it.

467

And I'm so tired.

468

Don't listen to those voices saying you're tired.

469

You need to record it right now.

470

It does not matter if like, it just, it doesn't matter like if somebody thinks that that's weird that you're,

471

that you're just like You know?

472

Cause that's what like a lot of them sound like.

473

And then you wake up and the next morning you're like, whoa, what is that?

474

What is that?

475

Most of the time you're like, that was awful.

476

But every once in a while, I get, you know, you go, there was something there.

477

So just wrapping up, Taylor, when you place yourself now next to the writer of Tim McGraw, what are some of the things that are the same

478

and what are some of the things that have evolved and changed into this new writer?

479

That's a really beautiful and eloquent question.

480

If I look back at the song Tim McGraw,

481

there are actually sort of hints at everything that was gonna happen in the next 20 years.

482

Like character work, like when it says,

483

he said the way my blue eyes shined put those Georgia stars to shame that night.

484

I had never been to Georgia. That was not real.

485

I had never, that had not happened.

486

But it's like, as you know, you kind of are working around like sort of character

487

and like what feels like what this character would have said

488

and what paints a picture that kind of informs this story

489

that we just locked into because that first line described so much for us.

490

Also sort of the idea of a song as a message, the song that jumps forward in time

491

and even in jumping forward in time it's saying I hope you reflect back in time, the sort of time machine song.

492

I also just think that I've loved,

493

and I think this can happen as you grow up,

494

I love my country roots more and more the further along this path I get.

495

And I want to honor them more and more.

496

And I feel more tied and more loyal to them the people

497

that shaped who I am as an artist and as a writer.

498

That all happened in Nashville.

499

Love it.

500

Love it.

501

Room full of songwriters and composers.

502

When they leave today, what do you hope the takeaway is from our conversation?

503

Oh.

504

I hope that you will show up to work even when Any Idea Fairy doesn't.

505

I hope that you will not be the person who shoots down everyone's ideas in the room

506

but has not brought any of your own.

507

I hope that you will remember the yes and of the improv session

508

that is your recording sessions and that is life as well.

509

And I hope you remember that in the music industry as wild and ever-changing as it is,

510

Enthusiasm can protect you from anything I would know.

511

So this is the piano that I brought with me all around the world on the Ares tour.

512

And one of my favorite things that I would do on the Aeros tour

513

and something that really became something the fans paid a lot of attention to

514

and would kind of make a lot of guesses about every night was I had this section called the acoustic section.

515

I would do different songs every night, one on guitar and one on piano.

516

And I started to really have a blast with creating medleys towards the middle end part of the tour.

517

And I really just think about different songs I could mash up with other songs

518

that would be surprising and kind of a surprise and delight moment for fans.

519

And a way that I would kind of pick the songs is I'd find some sort of through line, whether that was like, you know, rhythmically or these are all about a similar emotion.

520

And I prepared one for you today that if I was still on the Aeros tour, I would do this one.

521

And it's songs that are connected to each other by the common theme of being about memory

522

and reliving certain detailed memories of your life and the significance of those memories.

523

I knew you through the days of the blades of the grass In summer,

524

parishes With a free fall of being younger I memorize the sound of your bare footsteps Running wild,

525

it's been a long time Life has ways of leaving those days behind Seeing you tonight

526

I remember I loved you Came back when I met it, I saw you Standing there in the light of the window Where my mind seemed small,

527

but it's been a while But I knew that I knew you I knew that I knew you

528

Salt air and the rust on your door I never needed anything more Whispers, are you sure?

529

Never have I ever before

530

But I can see it's lost in the memory August slipped

531

away into a moment in time Cause it was never mine

532

And I can see it's twisted in bed sheets August slipped away like a bottle of wine

533

Cause you were never mine Back when we were still changing for the better Wanting was enough For me it was enough

534

To live for the hope of it all

535

Cancel plans just in case you call As they meet me behind the mall

536

So much for summer love And seeing us Cause you want mine to lose

537

And our rivers I cried When we said goodbye

538

Watching if I'd made it up in my mind Would you look me in the eye?

539

I walked through the door with you The air was cold

540

But something but it felt like home somehow

541

And I left my scarf there at your sister's house And you still got it in your drawer even now

542

And I know it's long gone and that magic's not here no more And I'll not be okay,

543

but I'm not fine at all And still we are again on that little town street

544

You almost ran the red, cause you were looking over at me Wind in my head,

545

I was there, I remember it all too well And here we are again when I loved you so

546

You kept me like a secret but I kept you like an old secret prayer

547

And we'd swear to remember it all too well

548

Remember when I pulled up and said get in the car

549

And then you cancelled my plans just in case you called

550

Back when I was living through the hope of it all I remember it

551

Remember when I pulled up

552

and said get in the car Then cancel my plans just in case you call Back

553

when I was living through the hope of it all I knew it, and I knew I loved you

554

Came back when I met and I saw you Standing there in the light of a window Wearing that same smile, and it's been a while I knew it,

555

I loved you Came back when I met it, I saw you Standing there in the light of a window Wearing that same smile It's been a while

556

But I knew it All too well I knew it

557

All too well And I remember it Through the days of the blades of the grass and summer

558

I remember it You were the free fall of being younger I knew it

559

I knew it All too well

쉐도잉이란? 영어 실력을 빠르게 키우는 과학적 방법

쉐도잉(Shadowing)은 원래 전문 통역사 훈련을 위해 개발된 언어 학습 기법으로, 다언어 학자인 Dr. Alexander Arguelles에 의해 대중화된 방법입니다. 핵심 원리는 간단하지만 매우 강력합니다: 원어민의 영어를 들으면서 1~2초의 짧은 지연으로 즉시 소리 내어 따라 말하는 것——마치 '그림자(shadow)'처럼 화자를 따라가는 것입니다. 문법 공부나 수동적인 청취와 달리, 쉐도잉은 뇌와 입 근육이 동시에 실시간으로 영어를 처리하고 재현하도록 훈련합니다. 연구에 따르면 이 방법은 발음 정확도, 억양, 리듬, 연음, 청취력, 말하기 유창성을 크게 향상시킵니다. IELTS 스피킹 준비와 자연스러운 영어 소통을 원하는 분들에게 특히 효과적입니다.

쉐도잉 연습: The Icon Sessions with Taylor Swift — Presented by Recording Academy's Songwriters & Composers Wing - 영상으로 영어 말하기 배우기

이 레슨에 대해

쉐도잉이란? 영어 실력을 빠르게 키우는 과학적 방법