1989 (TAYLOR'S VERSION) ALBUM REVIEW 🩵


There is a popular saying that lightning doesn't strike in the same place twice, but Taylor Swift has proven that wrong with the release of 1989 (Taylor's Version). Nine years to the day after she released her career-defining pop record, 1989, she has done it yet again in the process of reclaiming the ownership of her first six albums. 1989 was a major turning point for Taylor that would go on to define the rest of her career from that point forward. She started experimenting with pop music on Red two years prior in 2012, but it wasn't until 2014 when she made the full transition over to the pop music genre. This album solidified her as the superstar we all know her as today. 

Anyone that knows me knows how much I adore 1989, it has always been one of the most important albums for me, made up of sixteen songs that I have listened to probably more times than any other in my life. I could go on and on (and I will) about how much I love every single song from 1989. I have found endless inspiration in it at every stage of my life throughout the past nine years, whether it is through the lyrics, visual aesthetics or the messages of this music. I was fifteen when it was first released and now that I'm twenty-four, I truly feel like this album shaped so much of who I am today. It has soundtracked my life in every regard over the years. With all of that being said, I definitely had the highest expectations going into the re-released version of this album. The original 1989 is just so perfect and I had my fingers crossed that she would be able to even come close to the magic of the original with the release of Taylor's Version. I would say 1989 (Taylor's Version) is overall the closest match to the original thus far, any noticeable changes only further enhanced just how perfect the source material from 2014 is. That is what I was hoping for most of all with this album. 

"In the world we live in, much is said about when we are born and when we die. Our birthday is celebrated every year to commemorate the very instant we came into the world. And a funeral is held to mark the day we leave it. But lately I've been wondering... what can be said of all the moments in between our birth and our death? The moments when we are reborn," Taylor wrote in the album's liner notes in 2014. This album is obviously inspired by the decade in which she was born, with many of these songs referencing pop music of the 1980's with blaring synths and infectious choruses. She worked primarily on these songs with Max Martin and Shellback, a duo known for their ability to create timeless pop classics. 

She also worked for the first time with an artist that was relatively unknown at the time as a producer outside of his own work, Jack Antonoff. He has said many times that she was the first person to recognize him as a producer. Over the past nine years, the creative partnership that Taylor and Jack have built has come to be one of the most important in modern pop music. Jack has also gone on to become one of the most influential music producers of this generation, one that has helped create so many of the best albums of the past decade. His music also changed my life in so many ways that I have written about countless times over the years, but it all started for me with this album! I loved getting to revisit 1989 now with the context of seeing what these early collaborations between them eventually turned into with every album they made hereafter. 

This album is just as relevant today as it was the day it was first released in 2014. It's really interesting to see the way history is repeating itself in a lot of ways. The echoes of 1989 are heard throughout every single album she has made from that point forward, whether it is sonically or lyrically referenced. The massive impact it had on pop culture in the mid-2010's seems like nothing compared to the insurmountable popularity she is experiencing right now in her career too. 1989 is her most successful album she has ever released, which continues to make a lasting impact on pop music nine years later and will continue to for years to come. In terms of opening week sales, 1989 was also the highest of her career, only surpassed by - you guessed it - 1989 (Taylor's Version). All of that also comes with a lot of media attention as well, for better or worse. History seems to be repeating itself in regard to the type of publicity she has been getting as of late. The emphasis on her dating life by the media, to the point that it often overshadows the actual music she is making, is highly reminiscent of what was happening around the time of the creation of the original album. Songs like "Blank Space" and "Shake It Off" have never felt more poignant than they do now for that very reason. 

Creating a spectacle is kind of what 1989 is all about, parts of it are very much meant to play into a certain image or caricature of herself - with all of the magic, madness, heaven, and sin. However, at its core this album sets out to reveal who she is underneath all of that at the same time. Her unbridled confidence and creativity is on full display throughout this record. 1989 is one of the many moments in her career that Taylor takes back the narrative on what the public's perception of her is and proving to everyone that she is self-aware enough to be in on the "joke" too. In the prologue of 1989 (Taylor's Version), Taylor wrote, "You see - in the years preceding this, I had become the target of slut-shaming - the intensity and relentlessness of which would be criticized and called out if it happened today, the jokes about my amount of boyfriends. The trivialization of my songwriting as if it were a predatory act of a boy crazy psychopath, the media co-signing of this narrative. I had to make it stop because it was starting to really hurt." For her to go and make a song as sharp and layered as "Blank Space" at this time was such an empowered thing for her to do. Not only is it literally the perfect pop song, I think it is also a really interesting commentary on the way women are so often treated and even villainized in the media. At the height of being labeled a "serial dater", she went and played into that whole narrative by creating a satirical, sensationalized version of herself that people thought she actually was. She went ahead and owned the perception that she's a nightmare dressed like a daydream and that she can make the bad guys good for the weekend, even if it was veiled in irony. When talking about it now, she said it has a bit of "wink and humor", while recognizing the "pain behind the satire". 

That level of self-awareness and self-deprecation is also very present on "Shake It Off", which was our first glimpse of what we were in for with 1989 as the first single. Much like "Blank Space", it pokes fun at the rumors about her and turns it into something that can actually benefit her. "I stay out too late, got nothing in my brain, that's what people say," Taylor sings in the opening lines, "I go on too many dates, but I can't make 'em stay, at least that's what people say". I still remember the first time I heard it when she debuted it on a livestream from the Empire State Building. Looking at it retrospectively, this was the biggest turning point in her career which set the tone for all that was to come after. She already achieved massive success as a country artist with her first four albums, only dabbling in pop music here and there, but "Shake It Off" really kickstarted the machine that hasn't stopped since. It is such a classic in her discography. While "the players gonna play, play, play, play, play, and the haters gonna hate, hate, hate, hate, hate" is one of the sillier verses in her discography, it is just so catchy and pure, unadulterated pop perfection. 

The album starts with "Welcome To New York", which perfectly sets the scene for where she is at physically and emotionally at this point in her life. At the time she was making this album, she was 24 years old, cut off her hair and moved to New York City in search of a new look, a new life, a new soundtrack, and a new beat that she (and it turns out the rest of us) would be dancing to forevermore. New York City is my favorite place in the world and I have always loved the way she has been able to continuously capture the energy of the city in such a special way throughout her music. Every time my family and I visit New York City we always play this song on the way there as we are about to enter the Lincoln Tunnel, it's such a fun tradition! "I wrote about moving to the loudest and brightest city in the world, the city I had always been overwhelmed by... until now. I think you have to know who you are and what you want in order to take on New York and all its blaring truth," she said in the album's liner notes in 2014. 

1989 is set with the backdrop of New York City, the energy of the city courses through the veins of every single song. "Everybody here was someone else before, searching for a sound we hadn't heard before", she sings on the album's opening lines. The vibrancy of the city is undoubtedly one of the greatest influences on this record. 

"Style" is one of the best representations of Taylor writing from the viewpoint of all of the "blaring truths" that the city brought out of her. The meaning behind the song really speaks for itself, but Taylor is so iconic for naming the song "Style" in the first place. She was never known for her subtlety, and I love her for that! It is my absolute favorite song ever, I have listened to it countless times and still can never get enough of it. Instrumentally, it is beyond amazing - I will never get tired of hearing those opening guitar riffs. The chorus is also so incredible, "You got that James Dean daydream look in your eye, and I got that red lip classic thing that you like, and when we go crashing down, we come back every time, 'cause we never go out of style", she sings. Saying the love she has for this person to be as timeless as red lipstick and white T-shirts is such a clever comparison to make. "I love how this song sounds the way that feeling felt. I love when the sound of a song matches the feeling that inspired it," she said in an interview with Ryan Seacrest. "I loved comparing these timeless visuals with a feeling that never goes out of style."

The song is about a fast-paced romance with a Great Gatsby type of New York City glamour, which is a subject that she so often writes about and translates it so beautifully in this song. This relationship presumably inspired a significant portion of this album, all of the highs and lows they experienced together privately as well as in the public spotlight. It is also worth noting that in response to 1989, we got a glimpse at the male perspective of this relationship Taylor depicted through his own music, with a few responses that directly reference many of these songs. The lyrical connections really go so deep, it is quite a rabbit hole to fall down! The level of specificity in which she writes these songs really paints such a clear portrait of the timeline of this seemingly brief, but eventful, relationship that had a lasting emotional impact on both of them. I also love that she writes so much of her music in a way that is so obvious as to who it's about, she often leaves little room for doubt on who she is writing these songs for, and 1989 is one of the clearest examples of that. With the very specific references on the album of hunters and foxes, sinking ships, paper airplanes, and "Cheshire Cat smiles", to name a few, it's hard to not imagine who exactly she is singing about. 

The kaleidoscope of emotions and intensity that is explored throughout this album is especially prevalent on "Out of the Woods". It remains one of the brightest shining moments of this record, it's honestly one of the greatest songs ever. It was one of the first times she and Jack Antonoff worked together, which to this day it remains one of the strongest songs they have ever made collaboratively. They both helped usher in a new creative era for each other that is undeniable, this song is a perfect representation of that. I don't know how Taylor and Jack did it, but they somehow made this song even more perfect than before with Taylor's Version, which is something I didn't think was possible. It serves as such an important snapshot of this time in her life, which she tells with such precision and clarity. Her talent for storytelling through her music is on full display with "Out of the Woods", it is just so powerful and vivid in capturing the moments that inspired it. 

"You took a Polaroid of us then discovered, the rest of the world was black and white, but we were in screaming color", will forever be one of my favorite lyrics of all time. It really captures the intensity and sense of urgency that she was feeling at the time, with a fear of not knowing what's going to happen next or what she'll do when it's all over. "We were built to fall apart, then fall back together", she sings on the first verse. Taylor has built some of the strongest bridges through her music, but one of my all-time favorites will always be from this song. Nothing will ever compare to when she starts to sing, "Remember when you hit the brakes too soon? Twenty stitches in the hospital room, when you started crying, baby, I did too..." It all comes to a climax at the end of the bridge with the lines, "Remember when you couldn't take the heat, I walked out, I said 'I'm setting you free'". The production on Taylor's Version just feels so elevated and the emotions even more heightened than the original. 

She repeatedly asks over and over, "Are we out of the woods yet?" with a duality that both depicts the pressures and the thrills that this relationship brought her in the rush. "This song is about the fragility and kind of breakable nature of some relationships. This was a relationship where I was kind of living day-to-day wondering where it was going, if it was going to go anywhere, if it was going to end the next day. It was a relationship where you never kind of feel like you’re standing on solid ground. And that kind of a feeling brings on excitement, but also extreme anxiety. And that song sounds exactly like that frantic feeling of anxiety and questioning, but it stresses that even if a relationship is breakable and fragile and full of anxiety, it doesn’t mean that it isn’t worthwhile, exciting, beautiful and all the things that we look for," Taylor told Yahoo! Live. That same fragility is also depicted in a similar way on the twelfth track, "I Know Places". It was the first song she wrote with Ryan Tedder, who is such a talented songwriter that I would love to see her work with again in the future. This is such an underrated track on the album, but really encapsulates so much of the strong emotions that make up 1989 at it's core. She expresses feelings of wanting to keep a part of her life private and just wanting to run and hide from it all. Metaphorically, she grapples with the high levels of media attention she gets and paparazzi following her by comparing the relationship between them and her as hunters and foxes. 

"Wonderland", originally released as a deluxe track, takes a different songwriting approach than much of this album while still following many of the same chaotic themes as songs like "Out of the Woods" and "I Know Places". It takes the imagery of Alice in Wonderland and uses it as a metaphor for this whirlwind romance she had at the time. However, instead of having a happy ending like the real story, "Wonderland" depicts a fairytale gone wrong, as she sings the line, "You searched the world for something else to make you feel like what we had, and in the end in Wonderland, we both went mad". It subtly grapples with what is reality and what is just their perception of the situation, much like the real tale written by Lewis Carol. Much of the album up to this point is very rooted in reality and is so direct and straightforward with who she is singing about and the experiences she went through. While the storytelling of this song is draped in metaphor, it is still so obvious as to who she is singing about. From the mention of green eyes, to the more telling "Cheshire Cat smile" reference, the way she was able to blend reality with the tropes of the classic story is so intriguing and intricately done. It's interesting that this is one of the only songs from 1989 that is written like this, but it also feels like a foreshadowing of the songwriting style she would heavily lean into with future releases. 

1989 is hit after hit after hit. Every time I listen to it, even after all these years, I am still finding new songs and new lyrics that I love. No other album has this run of hits that this one does. Even the slower moments of this album are still pop perfection and among some of the best ballads of her discography.

"Wildest Dreams" is one of my favorites, the updated version of it feels so cinematic with grand, sweeping instrumentals that sound so gorgeous. After all of the ups and downs that she portrayed in this album, this is a moment that Taylor is succumbing to the inevitable fate of this relationship and just hoping that when it's all over, he won't forget about her. She sings, "I can see the end as it begins, my one condition is, say you'll remember me, standin' in a nice dress, starin' at the sunset, babe, red lips and rosy cheeks, say you'll see me again, even if it's just in your wildest dreams". 

"'Wildest Dreams' is kind of a good example of the way that my outlook on love has changed. Over the years, I think, as you get more experience under your belt, as you become disappointed a few times, you start to kind of think of things in more realistic terms. It's not like you need someone and that's it, you know, if they like you and you like them, well, it's gonna be forever, of course. I don't really look at love like that anymore," Taylor told Yahoo! Live in 2014. "I think the way I see love is kind of a little more fatalistic, which means, to me, that when I meet someone and we have a connection, the first thought I really have is, 'When this is over, I hope you think well of me.' So, this song is about having that immediate connection with someone, and these were my vivid thoughts right as I met him." 

"This Love" also features a similar outlook, even directly referencing "Wildest Dreams" with the lyric, "In silent screams, in wildest dreams, I never dreamed of this". It is about the cycle of a relationship, with the underlying message of "if you love someone, set them free", and if it's meant to happen it will happen. After so much back and forth in this album, this again is kind of her moment of surrender and acceptance. The vocals are so layered and beautiful, with incredibly vivid lyricism that conveys the emotions so powerfully. "When you're young, you just run, but you come back to what you need" is such a moving line, especially in hindsight. In contrast, "You Are In Love", originally a deluxe track for the album, looks at love in a different light, as she sees the way her two friends love each other. It's really beautiful and captures the small daily moments that add up to mean so much. "You can hear it in the silence, you can feel it on the way home, you can see it with the lights out, you are in love, true love", she sings. "One night, he wakes, strange look on his face, pauses, then says, "You're my best friend" and you knew what it was, he is in love" is such a gorgeous and sincere lyric that I have always loved. One of the most beautiful lyrics she has ever written is, "You two are dancing in a snow globe 'round and 'round, and he keeps a picture of you in his office downtown, and you understand now why they lost their minds and fought the wars, and why I've spent my whole life trying to put it into words".

Between all of the big singles and beautiful love ballads, is a trio of songs that has always felt like the soul of 1989 to me. "All You Had To Do Was Stay", "I Wish You Would" and "How You Get The Girl" have always felt so connected in my mind thematically with yearning for her wildest daydreams to become a reality. It all feels straight out of a soundtrack for an 80's movie in the best way. The on-again-off-again relationship at the center of much of this album is told in every stage they went through in their time together. "All You Had To Do Was Stay" is a culmination of yearning and confusion she was experiencing in the aftermath. "You had me in the palm of your hand, why'd you have to go and lock me out when I let you in?" she sings in the chorus. At her shows before she performs "Betty" from Folkloreshe often says something along the lines of "I love to explain to men how to apologize," which is very much the category that these three songs fall under as well. "How You Get The Girl" is basically a step-by-step guide to that exact situation, as dramatic as your favorite rom-com. 

"I Wish You Would" is one of my favorite moments from the album, this was the first song she worked on with Jack Antonoff and it really captures that signature nostalgic sound he is so well known for in his production. "I think, for this song, we wanted to create sort of a John Huges movie visual, with pining and, you know, one person is over here and misses the other person, but it's too prideful and won't say it, meanwhile, this other person is here and missing the same person, they're missing each other, but they are not saying it," Taylor told Yahoo! Live. "I had this happen in my life, and so I wanted to kind of narrate it in a very cinematic way, where it’s like, you're seeing two scenes play out, and then in the bridge, you’re seeing the final scene, where it resolves itself." It has a lot of back and forth in the storyline, with a tension that never quite gets the resolution the two characters were hoping for in the "crooked" love story depicted. I love the lyric, "I wish you would come back, wish I never hung up the phone like I did, I wish you knew that I'll never forget you as long as I live and I wish you were right here, right now, it's all good, I wish you would". I love the drama of it all, it is such a great song. 

"New Romantics" has always been one of my favorite songs Taylor has ever made. I will never understand the reason this was only initially released as a bonus track because above all else, "New Romantics" feels like the perfect representation of the thesis behind this entire album. It is such a fun and carefree song, a great reminder to be proud of the journey that brought you here and not to let other's perception of you define who you really are. "Baby, I could build a castle out of all the bricks they threw at me, and every day is like a battle, but every night with us is like a dream", she sings. "New Romantics" feels like such a celebration of independence and the empowerment we find in ourselves and within our friendships. After all, "the best people in life are free"! It's one of my favorite songs she has ever written, heartbreak really is the national anthem that we have been singing proudly ever since. I will also always love the line, "the rumors are terrible and cruel, but honey, most of them are true", as well. I love that this was the song she chose to play right after she announced the release of 1989 (Taylor's Version) at her show in Los Angeles too, it perfectly sums up the entire 1989 era in such a special way. 


1989 (Taylor's Version) also features five previously unreleased songs From the Vault. The vault tracks are always such a great bonus to the end of these re-rerecorded albums, it really lets you get a glimpse into what the album potentially could have ended up as, while also getting deeper insight into where she was at in her life at the time too. As always, the tracks From The Vault also get new life with updated, modern production - which is often closer to her current sound. For the first time all five of the vault tracks are produced with Jack Antonoff, who was perfect to bring these songs to life in such a fresh way. I am also the biggest fan of both of them, so I am always happy to hear anything they worked on together too. The updated sound of these five songs reminds me of a mix somewhere between the original 1989 and Midnights - which works so well stylistically. This is the least amount of vault tracks from any of her Taylor's Version releases thus far and also doesn't include any featuring artists, but it is honestly the best and most cohesive yet. After the amazing Red (Taylor's Version) vault tracks, I never thought she would be able to rival it with any other releases, but 1989 (Taylor's Version) is immaculate from start to finish. 

The first 1989 song From The Vault is called "Slut!", which is such an iconic and unexpected song title. Much like "Blank Space", it takes the narrative being spread about her at the time and reclaims the title in a really cool way. "But if I’m all dressed up, they might as well be lookin' at us and if they call me a slut, you know it might be worth it for once", she sings in the chorus. It also subtly references the double standards she faces in the media with the lyric, "I'll pay the price, you won't". It was recently revealed that when finalizing the original 1989 track list, it was between "Slut!" or "Blank Space" to make the final cut. That's so crazy to think that if it was reversed, we would've gone the past nine years without "Blank Space"! That is one of the greatest songs she has ever made, one that continues to be one of the biggest highlights of her career to this day. The message of "Slut!" and "Blank Space" is very similar, with her just owning the negative characterization projected onto her and turning it into something positive, or at least profitable. I have to imagine that "Slut!" originally had a very different sound than the mid-tempo dream pop track we have today, but I would love to be able to hear the very first version of it. 

There are a lot of sonic parallels between the tracks Taylor and Jack worked on for her most recent non-Taylor's Version album, MidnightsWhile a song like "Suburban Legends" sounds very similar to "Mastermind", I think it actually fits it really well and keeps her early work distinct from her newest material, while also blurring the lines between all of the eras. "Say Don't Go" feels very Midnights to me too, but it also has the nostalgia and dreaminess of a Bleachers song. From the start, I have always loved the way she and her collaborators give these songs From The Vault a new life with updated, modern production. Especially as 1989 (Taylor's Version) and Midnights were both likely recorded during the same timeframe, I don't' think it's surprising that there is some overlap in the stylistic choices made on the newly released material. 

The third vault track, "Now That We Don't Talk" is one of my favorite songs Taylor has ever made, I have been so obsessed with it ever since I first heard it. It's also the shortest song she's ever made, but it packs so much of a punch in the short two-and-a-half-minute run-time. It really proves how strong she is as a songwriter to be able to make a two-minute song or a ten-minute song, and both are captivating and lyrically vivid in their own ways with so much depth. She really goes all in on "Now That We Don't Talk", not holding back at all and has the best delivery back it up. "You grew your hair long, you got new icons and from the outside it looks like you're tryin' lives on, I miss the old ways, you didn't have to change" she sings. Taylor is so detailed in describing the moment in which she saw someone she once loved at a party and all of the memories and emotions that came flooding back along with it, but also realizing that she's better off without them. "'Now That We Don't Talk' is one of my favorite songs that was left behind, it was so hard to leave it behind, but I think we wrote it a little bit towards the end of the process, and we couldn’t get the production right at the time. But we had tons of time to perfect the production this time and figure out what we wanted this song to sound like," she told Tumblr Music. One of my favorite moments of the song is in the final verse, "I don't have to pretend I like acid rock, or that I'd like to be on a mega yacht with important men who think important thoughts, guess maybe I am better off now that we don't talk". So iconic!

Another instant classic from this album is the very final track, aptly titled "Is It Over Now?". I absolutely love it and have been listening on repeat every since it was released. It actually ended up being the first big hit from 1989 (Taylor's Version), which isn't surprising since I haven't been able to get enough of it myself! It details the ups and downs she experienced at this time in her life as she wonders if her relationship is really done. It is so catchy, brutally honest and fits so well with the rest of the album. It draws many parallels to songs like "Style", "Out Of The Woods", and "I Wish You Would" - three of my favorites from the original track list. it actually feels like an alternate version of "Out Of The Woods", recalling many of the same specific memories of their time together. I can see the reason why many of these vault tracks weren't included on the original album for that reason, but getting to finally hear them now and seeing the whole picture is such a cool experience. "'Is It Over Now' is a song I wanted to end the album with because I think it’s kind of a fun play on words of like, 'Is the album over now?'", she told Tumblr Music. 

"Let's fast forward to three hundred takeout coffees later, I see your profile and your smile on unsuspecting waiters", is such a beautiful lyric that has always stood out to me. The symbolism in that line is so simplistic, yet so meaningful. She is just so honest on this song, I was blown away by the level of specificity and unfiltered thoughts that she included on it. Plus, she's so real for threatening to jump off a building over a certain British boybander - iykyk. "If she's got blue eyes, I will surmise that you'll probably date her, you dream of my mouth before it called you a lying traitor, you search in every model's bed for somethin' greater, baby" she sings. Hearing these lyrics now almost ten years removed is so iconic to look back on. It was the absolutely best song to end 1989 (Taylor's Version) on. 

When thinking of some of the most important and impactful songs from 1989, one of the first that comes to mind is the final track of the standard album, "Clean". It is an all-time career highlight that Taylor wrote and produced with Imogen Heap, whose influence I feel is even more prominent on Taylor's Version of it. Out of every song she has re-recorded thus far, this is absolutely one of the best yet. The production and vocals are so layered and sound so ethereal. It is the perfect way to close the chapter on this album and all of the emotions that came along with it. It represents the end of a chapter, but also the start of a new one as well. "The rain came pouring down when I was drownin', that's when I could finally breathe, and by mornin' gone was any trace of you, I think I am finally clean", she sings. It is about overcoming all of the things that have once held you back, whether that is in regard to another person, an addiction, mental health struggles or all of the other ways you may be holding yourself back in your life. It is such a powerful message and one of Taylor's songs that I feel transcends the original intention of who it was written about and has taken on a new life and meaning.

The secret message of this song is a phrase that she centered the entire album around, "She lost him, but found herself, and somehow that was everything". That quote just feels so potent and beautifully describes all of the highs and lows depicted in this album. 1989 as a whole is about turning a hard situation into something so beautiful and meaningful that will be able to transcend place and time. It encapsulates all of the reasons why music is such a powerful medium. 

In a similar way, I was also so moved by the final paragraph she wrote in the album's liner notes in 2014, "I hope you know that you've given me the courage to change. I hope you know that who you are is who you choose to be, and that whispers behind your back don't define you. You are the only person who gets to decide what you will be remembered for. From the girl who said she would never cut her hair or move to New York or find happiness in a world where she is not in love..."

For 1989 to have been this successful not once, but twice, is a testament to how incredible this entire album is and the long-lasting impact and relevance it holds in pop music. Getting to relive an album like this for the second time is such a wonderful and rare experience to be able to have. I know that I will be getting down to this sick beat forevermore!

Thanks for reading! I would love to hear your thoughts in the comment section below! If you are interested in reading my other Taylor's Version reviews, click here or the links below. I have so many other Taylor Swift related articles linked below too, with many more to come, so be sure to check them out! 🩵

-Melissa ♡


Photo Credit: 

Taylor Swift, Taylor Nation, TAS Management and Beth Garrabrant




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