Have you ever ridden in an Uber or a Lyft and had the driver talk a lot when you felt like being quiet? Or not say a word when you tried to make conversation? Or play music you found annoying?
When you hop into a driver’s car, it’s a crapshoot what kind of ride you’re going to have. But at least one Lyft driver is removing the mystery a bit by letting passengers choose.
Facebook user Eric Alper shared a post that showed a photo of a piece of paper stuck on the back of a car’s headrest that read:
“Welcome to Cameron’s car!!!”
“To ensure the best ride possible for you, I have prepared a menu of the various types of rides I offer. Just choose one (or don’t, that’s an option too) then sit back, relax and enjoy the ride. :)”
Then it listed the 10 ride options Cameron offers:
1. The Awkward Ride – You ignore this menu completely, then we will sit in silence for the remainder of the ride.
2. The Funny Ride – I tell you jokes or entertaining stories from my life.
3. The Silent Ride –
4. The Creepy Ride – I don’t say anything but I keep staring at you in the rearview mirror.
5. The Karaoke Ride – We rock out to hits from the 80s, early 2000s or literally whatever you want.
6. The Bubbles Ride – We blow bubbles the whole time.
7. The Small Talk Ride – We talk about how crazy the weather’s been lately and I ask if you caught the game last night.
8. The Therapy Ride – You vent to me about your problems and I listen.
9. The Drunk Ride – You throw up in my car.
10. The Cliche Ride – You ask me how long I’ve been driving for Lyft.”
OK, the Bubbles Ride sounds fun, but also maybe a little dangerous. And the Drunk Ride is the main reason I’ve never wanted to be a Lyft or Uber driver. I may have unintentionally taken a both a Therapy Ride and a Creepy Ride before.
But seriously, the concept is fabulous. People often want something different in a ride depending on their mood, so the idea of having options to choose from is brilliant. The list also directly addresses the awkwardness that is often present when you’re getting a ride from someone, so it makes a natural icebreaker and conversation starter—particularly helpful for folks who struggle with social anxiety.
People in the comments loved it.
“I’m sure this wasn’t the intention but this is a great example of disability accommodations that everyone can enjoy,” wrote one person. “Being able to choose how much energy I expend is so helpful.”
“There should be a feature on both Uber and Lyft indicating what type of ride a rider wants or expects,” wrote another. “I usually don’t talk, but sometimes the driver keeps persisting and I feel awkward at times.”
“It clears the air, takes the awkwardness out of it, and establishes expectations for the ride, on both sides,” wrote another. “Great idea.”
There are some more options I’d love to see added, though:
The Pep Talk Ride – You need encouragement? I’ll give you everything I’ve got to pump you up.
The Tour Guide Ride – I share interesting details about places we pass and offer advice on cool things to do around the area.
The Life Story Ride – We estimate how long your ride will be, set a timer, and each of us shares our life story for half the ride. (No questions, unless the ride goes longer.)
The Deep Questions Ride – We skip the small talk and get right to the big stuff—meaning of life, existence of God, our place in the universe, etc.
The High School Debate Ride – We pick a controversy, flip a coin to decide who will take which side, and debate regardless of our own personal views.
The Pretend Persona Ride – We each make up totally fake names and personas and converse as them so we can chat without actually getting personal at all.
So many possibilities. What kind of ride would you want to take?
A recent study by the National Center for Education Statistics found that 87% of public schools say the COVID-19 pandemic has negatively impacted students’ socio-emotional development. Respondents have also said there has been a significant increase in student misconduct.
However, a teacher with 24 years of experience in the U.S. and abroad believes we are misplacing blame for this rise in misconduct. In a viral TikTok video with over 480,000 views, Lisa Conselatore claims that the big problem isn’t the pandemic but modern parenting.
“The problem is cultural,” Conselatore says. “We have raised children to think that they are absolutely the most important person in any room. They are so special that whatever they want to do, or whatever they think, or whatever they say is the most important thing in that moment.”
“I know your children are special to you. I know that my children are special to me,” she continues. “But none of them are the most special person ever in the room at any time. They’re not. Nobody is because we live in a society and we all have to get along and we all have to respect one another and part of respecting one another is recognizing when you have a contribution to make and when you need to sit there and open your ears. … We don’t have that down. We’ve missed it.”
In the video, Conselatore lays some pretty big blame on America’s parents, but she also offers some simple solutions to improve the situation.
“Teach them when to listen, taking a turn to speak. Speak when it’s appropriate. When you have something to say and. It’s your turn,” she says. “Let’s reevaluate our family cultures, our community cultures, and our larger society cultures. Because of this is not working, not working.”
Molly, an adorable, affectionate 10-year-old pit bull, found herself tied to a tree after her owners had abandoned her.
According to The Dodo, Molly had “always been a loyal dog, but, unfortunately, her first family couldn’t reciprocate that same love back,” and so when the house was sold, neither Molly nor the family’s cat was chosen to move with them. While the cat was allowed to free roam outside, all Molly could do was sit and wait. Alone.
Luckily, the young couple that bought the house agreed to take the animals in as part of their closing agreement, and as soon as the papers were signed, they rushed over to check in.
In a TikTok video, April Parker, the new homeowner, walks up to Molly, who is visibly crestfallen with teary eyes. But as soon as Parker begins cooing, “Baby girl…you’re gonna get a new home,” the pitty instantly perks up—all smiles and tail wagging.
“We are going to make her life so good,” Parker wrote in the video’s caption. “She will never be left all alone tied to a tree.”
@geaux75 The people that sold our house to us left behind their 10yr old dog they had since it was a puppy. I was so stressed we wouldnt get the house and something bad would happeb to her. We are going to maje her life so good. She will never be left all alone tied to a tree. 😭😢@roodytoots ♬ Running Up That Hill (A Deal With God) [2018 Remaster] – Kate Bush
The video has been seen upwards of 4 million times. Countless people commented on how enraging it was to see a dog treated so carelessly.
“I’ve had my dog since she was 7 weeks old. She just turned 10 a few days ago. I literally cannot imagine doing this,” one person wrote.”
Another added: “The tears in her eyes…she doesn’t understand why they could just leave her, it breaks my heart. People like that shouldn’t be allowed to be pet owners.”
Subsequent videos show Parker freeing Molly from her leash and introducing the sweet pup to her husband, with whom she was instantly smitten. It’s clear that this doggo was both relieved and elated to be taken in by her new family.
Since being rescued, Molly has accompanied her new mom and dad everywhere.
“She’s sticking to our side,” Parker wrote. “She won’t stop following us around. It’s so sweet.”
Parker has created an entire TikTok channel documenting her newfound pet’s journey, aptly named “Molly’s New Life,” showing Molly enjoying warm baths, plenty of treats, cuddles…all the finer things in life.
But what Molly seems to enjoy most of all is car rides:
Molly also has two indoor cat siblings who instantly welcomed her into the family. The video below shows one of them, Joofus, comforting a trembling Molly with kisses during a thunderstorm.
@geaux75 We had a big storm this morning and Molly was having a hard time. Joofus got on the bed and started comforting her. It was the sweetest thing. They got snuggled up and Molly went to sleep. Animals are amazing. #mollysnewlife#petsarefamily♬ I Won’t Let Go – Rascal Flatts
It seems that Molly has gotten the safe, loving home she’s deserved all along.
We know that animal abandonment is fairly common. According to The Zebra, almost 4 million dogs are either given up to shelters or abandoned each year. And still, it’s really hard to fathom how humans can treat such innocent creatures with such blatant disregard when they provide so much pure joy.
Thankfully, there are folks out there like the Parkers who know that taking care of animals like Molly is one of life’s most precious offerings.
Stay up-to-date with the rest of Molly’s journey by following her on TikTok.
Nineteen-sixty-nine was a pivotal year in American culture. The hippies and the counterculture were ascendant, and everything that came before in entertainment was as square as can be.
In cinema, there was the world before and after 1969’s “Easy Rider.” In music, the Woodstock Music and Arts Fair was a defining moment for the new era, and on television, the anti-establishment “Smothers Brothers Comedy Hour” divided households over its anti-war stance.
In September of that year, Crosby, Stills, Nash and Young (CSN&Y) were asked to play a duet with Welsh singer Tom Jones on his television show and the pairing was a perfect example of the culture clash. Jones was famous for his hit songs “It’s Not Unusual” and “What’s New Pussycat?” and was adept at dodging panties being thrown at him by the adoring ladies in the audience.
CSN&Y had just played Woodstock and were known for the anti-war anthem “Wooden Ships” and “Long Time Gone” about the assassination of Robert Kennedy.
For the performance, Jones and CSN&Y played a rendition of “Long Time Gone,” and what’s impressive is that Jones does not hold back and forced the rest of the band to keep up. Steven Stills, on electric piano, tries his best to match Jones’ bravado on his lines but falls short.
David Crosby has a look on his face of pure awe when he looks at Jones (although he was known for being in “awe” quite often in the days).
Throughout the performance, the hard-to-impress Neil Young seemingly goes from a look of pure disdain to “This rocks.” The performance is an excellent example of music’s ability to bridge cultural divides and bring people together.
Tom Jones & Crosby, Stills, Nash & Young – Long Time Gone – This is Tom Jones TV Show
All in all, there are a whopping 31 new songs here, so let’s take a look at who is credited with working on the album, track by track.
1. “Fortnight” Feat. Post Malone
Producer: Jack Antonoff, Taylor Swift Composer: Austin Post, Jack Antonoff, Taylor Swift Lyricist: Austin Post, Jack Antonoff, Taylor Swift Acoustic Guitar: Jack Antonoff Associated Performer: Jack Antonoff, Louis Bell, Post Malone, Sean Hutchinson, Taylor Swift Asst. Recording Engineer: Jack Manning, Jon Sher, Lauren Marquez Drums: Jack Antonoff, Sean Hutchinson Electric Guitar: Jack Antonoff Featured Artist: Post Malone Mastering Engineer: Randy Merrill, Ryan Smith Mix Engineer: Bryce Bordone Mixer: Serban Ghenea Percussion: Jack Antonoff Programming: Jack Antonoff Recording Engineer: Laura Sisk, Michael Riddleberger, Oli Jacobs, Sean Hutchinson Studio Personnel: Bryce Bordone, Jack Manning, Jon Sher, Laura Sisk, Lauren Marquez, Louis Bell, Michael Riddleberger, Oli Jacobs, Randy Merrill, Ryan Smith, Sean Hutchinson, Serban Ghenea Synthesizer: Jack Antonoff Vocal Engineer: Louis Bell Vocal Producer: Louis Bell Vocals: Post Malone, Taylor Swift
2. “The Tortured Poets Department”
Producer: Jack Antonoff, Taylor Swift Composer: Jack Antonoff, Taylor Swift Lyricist: Jack Antonoff, Taylor Swift Acoustic Guitar: Mikey Freedom Hart Associated Performer: Evan Smith, Jack Antonoff, Michael Riddleberger, Mikey Freedom Hart, Taylor Swift, Zem Audu Asst. Recording Engineer: Jack Manning, Jon Sher Background Vocalist: Jack Antonoff Bass: Mikey Freedom Hart Cello: Jack Antonoff Drums: Michael Riddleberger Electric Guitar: Mikey Freedom Hart Hammond B3: Mikey Freedom Hart Mastering Engineer: Randy Merrill, Ryan Smith Mix Engineer: Bryce Bordone Mixer: Serban Ghenea Piano: Jack Antonoff, Mikey Freedom Hart Programming: Jack Antonoff Recording Engineer: David Hart, Evan Smith, Laura Sisk, Michael Riddleberger, Mikey Freedom Hart, Oli Jacobs, Sean Hutchinson, Zem Audu Studio Personnel: Bryce Bordone, David Hart, Evan Smith, Jack Manning, Jon Sher, Laura Sisk, Michael Riddleberger, Mikey Freedom Hart, Oli Jacobs, Randy Merrill, Ryan Smith, Sean Hutchinson, Serban Ghenea, Zem Audu Synthesizer: Evan Smith, Jack Antonoff, Zem Audu Vocals: Taylor Swift
3. “My Boy Only Breaks His Favorite Toys”
Producer: Jack Antonoff, Taylor Swift Composer: Taylor Swift Lyricist: Taylor Swift Associated Performer: Jack Antonoff, Taylor Swift Asst. Recording Engineer: Jack Manning, Jon Sher Bass: Jack Antonoff Drums: Jack Antonoff Electric Guitar: Jack Antonoff Mastering Engineer: Randy Merrill, Ryan Smith Mix Engineer: Bryce Bordone Mixer: Serban Ghenea Piano: Taylor Swift Programming: Jack Antonoff Recording Engineer: Laura Sisk, Oli Jacobs Studio Personnel: Bryce Bordone, Jack Manning, Jon Sher, Laura Sisk, Oli Jacobs, Randy Merrill, Ryan Smith, Serban Ghenea Synthesizer: Jack Antonoff Vocals: Taylor Swift
4. “Down Bad”
Producer: Jack Antonoff, Taylor Swift Composer: Jack Antonoff, Taylor Swift Lyricist: Jack Antonoff, Taylor Swift Associated Performer: Evan Smith, Jack Antonoff, Mikey Freedom Hart, Sean Hutchinson, Taylor Swift, Zem Audu Asst. Recording Engineer: Jack Manning, Jon Sher Drums: Jack Antonoff Mastering Engineer: Randy Merrill, Ryan Smith Mellotron: Mikey Freedom Hart Mix Engineer: Bryce Bordone Mixer: Serban Ghenea Percussion: Jack Antonoff, Sean Hutchinson Piano: Jack Antonoff Programming: Jack Antonoff Recording Engineer: Jack Manning, Laura Sisk, Michael Riddleberger, Oli Jacobs, Sean Hutchinson
5. “So Long, London”
Producer: Aaron Dessner, Taylor Swift Composer: Aaron Dessner, Taylor Swift Lyricist: Aaron Dessner, Taylor Swift Associated Performer: Aaron Dessner, Benjamin Lanz, Taylor Swift Drum Programming: Aaron Dessner Electric Guitar: Aaron Dessner Mastering Engineer: Randy Merrill, Ryan Smith Mix Engineer: Bryce Bordone Mixer: Serban Ghenea Piano: Aaron Dessner Recording Engineer: Aaron Dessner, Bella Blasko, Benjamin Lanz, Jonathan Low Studio Personnel: Aaron Dessner, Bella Blasko, Benjamin Lanz, Bryce Bordon, Jonathan Low, Randy Merrill, Ryan Smith, Serban Ghenea Synthesizer: Aaron Dessner, Benjamin Lanz Vocals: Taylor Swift
6. “But Daddy I Love Him”
Producer: Aaron Dessner, Jack Antonoff, Taylor Swift Composer: Aaron Dessner, Taylor Swift Lyricist: Aaron Dessner, Taylor Swift Acoustic Guitar: Aaron Dessner, Jack Antonoff Associated Performer: Aaron Dessner, Bobby Hawk, Evan Smith, Jack Antonoff, Mikey Freedom Hart, Sean Hutchinson, Taylor Swift, Zem Audu Asst. Recording Engineer: Jack Manning, Jon Sher Background Vocalist: Jack Antonoff Bass: Jack Antonoff Cello: Jack Antonoff Drums: Sean Hutchinson Electric Guitar: Jack Antonoff Mastering Engineer: Randy Merrill, Ryan Smith Mellotron: Jack Antonoff Mix Engineer: Bryce Bordone Mixer: Serban Ghenea Programming: Jack Antonoff Recording Engineer: Bella Blasko, David Hart, Evan Smith, Jonathan Low, Laura Sisk, Michael Riddleberger, Mikey Freedom Hart, Oli Jacobs, Sean Hutchinson, Zem Audu Strings: Bobby Hawk Studio Personnel: Bella Blasko, Bryce Bordone, David Hart, Evan Smith, Jack Manning, Jon Sher, Jonathan Low, Laura Sisk, Michael Riddleberger, Mikey Freedom Hart, Oli Jacobs, Randy Merrill, Ryan Smith, Sean Hutchinson, Serban Ghenea, Zem Audu Synthesizer: Evan Smith, Jack Antonoff, Mikey Freedom Hart, Zem Audu Vocals: Taylor Swift
7. “Fresh Out The Slammer”
Producer: Jack Antonoff, Taylor Swift Composer: Jack Antonoff, Taylor Swift Lyricist: Jack Antonoff, Taylor Swift Acoustic Guitar: Jack Antonoff Associated Performer: Jack Antonoff, Taylor Swift Asst. Recording Engineer: Jack Manning, James Snider, Jon Sher Drums: Jack Antonoff Electric Guitar: Jack Antonoff Mastering Engineer: Randy Merrill, Ryan Smith Mix Engineer: Bryce Bordone Mixer: Serban Ghenea Organ: Jack Antonoff Percussion: Jack Antonoff Programming: Jack Antonoff Recording Engineer: Laura Sisk, Oli Jacobs Studio Personnel: Bryce Bordone, Christopher Rowe, Jack Manning, Jesse Snider, Jon Sher, Laura Sisk, Oli Jacobs, Randy Merrill, Ryan Smith, Serban Ghenea Synthesizer: Jack Antonoff Vocal Engineer: Christopher Rowe, Laura Sisk Vocals: Taylor Swift
8. “Florida!!!” Feat. Florence + The Machine
Producer: Jack Antonoff, Taylor Swift Composer: Florence Welch, Taylor Swift Lyricist: Florence Welch, Taylor Swift Acoustic Guitar: Jack Antonoff Associated Performer: Florence Welch, Jack Antonoff, Taylor Swift Asst. Recording Engineer: Jack Manning, James Snider, Jon Sher Bass: Jack Antonoff Cello: Jack Antonoff Drums: Florence Welch, Jack Antonoff Electric Guitar: Jack Antonoff Featured Artist: Florence and the Machine Mastering Engineer: Randy Merrill, Ryan Smith Mellotron: Jack Antonoff Mix Engineer: Bryce Bordone Mixer: Serban Ghenea Percussion: Florence Welch Piano: Florence Welch, Jack Antonoff Programming: Jack Antonoff Recording Engineer: Ben Loveland, Laura Sisk, Oli Jacobs Studio Personnel: Ben Loveland, Bryce Bordone, Jack Manning, Jesse Snider, Jon Sher, Laura Sisk, Oli Jacobs, Randy Merrill, Ryan Smith, Serban Ghenea Synthesizer: Jack Antonoff Vocals: Florence Welch, Taylor Swift
9. “Guilty As Sin?”
Producer: Jack Antonoff, Taylor Swift Composer: Jack Antonoff, Taylor Swift Lyricist: Jack Antonoff, Taylor Swift Acoustic Guitar: Jack Antonoff Associated Performer: Bobby Hawk, Jack Antonoff, Taylor Swift Asst. Recording Engineer: Jack Manning, Jon Sher Bass: Jack Antonoff Drums: Jack Antonoff Electric Guitar: Jack Antonoff Mastering Engineer: Randy Merrill, Ryan Smith Mix Engineer: Bryce Bordone Mixer: Serban Ghenea Percussion: Jack Antonoff Programming: Jack Antonoff Recoding Engineer: Laura Sisk, Oli Jacobs Strings: Bobby Hawk Studio Personnel: Bryce Bordone, Christopher Rowe, Jack Manning, Jon Sher, Laura Sisk, Oli Jacobs, Randy Merrill, Ryan Smith, Serban Ghenea Synthesizer: Jack Antonoff Vocal Engineer: Christopher Rowe, Laura Sisk Vocals: Taylor Swift
10. “Who’s Afraid Of Little Old Me?”
Producer: Jack Antonoff, Taylor Swift Composer: Taylor Swift Lyricist: Taylor Swift Associated Performer: Aaron Dessner, Evan Smith, Jack Antonoff, Michael Riddleberger, Mikey Freedom Hart, Sean Hutchinson, Taylor Swift, Zem Audu Asst. Recording Engineer: Jack Manning, Jesse Snider, Joe Caldwell, Jon Sher Bass: Jack Antonoff Cello: Jack Antonoff Drums: Jack Antonoff, Sean Hutchinson Electric Guitar: Jack Antonoff Mastering Engineer: Randy Merrill, Ryan Smith Mellotron: Jack Antonoff Mix Engineer: Bryce Bordone Mixer: Serban Ghenea Percussion: Michael Riddleberger Piano: Aaron Dessner, Jack Antonoff Programming: Jack Antonoff Recording Engineer: Bella Blasko, David Hart, Evan Smith, Jack Manning, Joey Miller, Jonathan Low, Laura Sisk, Michael Riddleberger, Mikey Freedom Hart, Oli Jacobs, Sean Hutchinson, Zem Audu Studio Personnel: Bella Blasko, Bryce Bordone, David Hart, Evan Smith, Jack Manning, Jesse Snider, Joe Caldwell, Joey Miller, Jon Sher, Jonathan Low, Laura Sisk, Michael Riddleberger, Mikey Freedom Hart, Oli Jacobs, Randy Merrill, Ryan Smith, Sean Hutchinson, Serban Ghenea, Zem Audu Synthesizer: Evan Smith, Jack Antonoff, Mikey Freedom Hart, Zem Audu Vocals: Taylor Swift
11. “I Can Fix Him (No Really I Can)”
Producer: Jack Antonoff, Taylor Swift Composer: Jack Antonoff, Taylor Swift Lyricist: Jack Antonoff, Taylor Swift Acoustic Guitar: Jack Antonoff Associated Performer: Jack Antonoff, Taylor Swift Asst. Recording Engineer: Jack Manning, Jon Sher, Rémy Dumelz Bass: Jack Antonoff Electric Guitar: Jack Antonoff Mastering Engineer: Randy Merrill, Ryan Smith Mellotron: Jack Antonoff Mix Engineer: Bryce Bordone Mixer: Serban Ghenea Percussion: Jack Antonoff Piano: Jack Antonoff Programming: Jack Antonoff Recording Engineer: Laura Sisk, Oli Jacobs Studio Personnel: Bryce Bordone, Christopher Rowe, Jack Manning, Jon Sher, Laura Sisk, Oli Jacobs, Randy Merrill, Ryan Smith, Rémy Dumelz, Serban Ghenea Synthesizer: Jack Antonoff Vocal Engineer: Christopher Rowe, Laura Sisk Vocals: Taylor Swift
12. “Loml”
Producer: Aaron Dessner, Taylor Swift Composer: Aaron Dessner, Taylor Swift Lyricist: Aaron Dessner, Taylor Swift Associated Performer: Aaron Dessner, Glenn Kotche, Taylor Swift Drums: Glenn Kotche Keyboards: Aaron Dessner Mastering Engineer: Randy Merrill, Ryan Smith Mix Engineer: Bryce Bordone Mixer: Serban Ghenea Percussion: Glenn Kotche Piano: Aaron Dessner Recording Engineer: Bella Blasko, Jonathan Low Studio Personnel: Bella Blasko, Bryce Bordone, Christopher Rowe, Jonathan Low, Laura Sisk, Randy Merrill, Ryan Smith, Serbsn Ghenea Synthesizer: Aaron Dessner Vocal Engineer: Christopher Rowe, Laura Sisk Vocals: Taylor Swift
13. “I Can Do It With A Broken Heart”
Producer: Jack Antonoff, Taylor Swift Composer: Jack Antonoff, Taylor Swift Lyricist: Jack Antonoff, Taylor Swift Associated Performer: Jack Antonoff, Oli Jacobs, Taylor Swift Asst. Recording Engineer: Jack Manning, Joe Caldwell, Joey Miller, Jon Sher, Lauren Marquez Background Vocalist: Oli Jacobs Drums: Jack Antonoff Mastering Engineer: Randy Merrill, Ryan Smith Mix Engineer: Bryce Bordone Mixer: Serban Ghenea Percussion: Jack Antonoff, Oli Jacobs Piano: Jack Antonoff Programming: Jack Antonoff, Oli Jacobs Recording Engineer: Laura Sisk, Oli Jacobs Spoken Word: Oli Jacobs Studio Personnel: Bryce Bordone, Jack Manning, Joe Caldwell, Joey Miller, Jon Sher, Laura Sisk, Lauren Marquez, Oli Jacobs, Randy Merrill, Ryan Smith, Serban Ghenea Synthesizer: Jack Antonoff Vocals: Taylor Swift
14. “The Smallest Man Who Ever Lived”
Producer: Aaron Dessner, Taylor Swift Composer: Aaron Dessner, Taylor Swift Lyricist: Aaron Dessner, Taylor Swift Additional Engineer: Beau Sorenson Associated Performer: Aaron Dessner, James McAlister, Jason Slota, Rob Moose, Taylor Swift Bass Guitar: Aaron Dessner Drum Programming: Aaron Dessner Drums: James McAlister Electric Guitar: Aaron Dessner, James McAlister Mastering Engineer: Randy Merrill, Ryan Smith Mix Engineer: Bryce Bordone Mixer: Serban Ghenea Percussion: James McAlister, Jason Slota Piano: Aaron Dessner Recording Arranger: Rob Moose Recording Engineer: Aaron Dessner, Beau Sorenson, Bella Blasko, James McAlister, Rob Moose Studio Personnel: Aaron Dessner, Beau Sorenson, Bella Blasko, Bryce Bordone, James McAlister, Laura Sisk, Randy Merrill, Rob Moose, Ryan Smith, Serban Ghenea Synthesizer: Aaron Dessner, James McAlister Viola: Rob Moose Violin: Rob Moose Vocal Engineer: Laura Sisk Vocals: Taylor Swift
15. “The Alchemy”
Producer: Jack Antonoff, Taylor Swift Composer: Jack Antonoff, Taylor Swift Lyricist: Jack Antonoff, Taylor Swift Associated Performer: Jack Antonoff, Sean Hutchinson, Taylor Swift Asst. Recording Engineer: Jack Manning, Jon Sher Background Vocalist: Jack Antonoff Cello: Jack Antonoff Drums: Jack Antonoff, Sean Hutchinson Electric Guitar: Jack Antonoff Mastering Engineer: Randy Merrill, Ryan Smith Mix Engineer: Bryce Bordone Mixer: Serban Ghenea Percussion: Jack Antonoff Programming: Jack Antonoff Recording Engineer: Laura Sisk, Oli Jacobs, Sean Hutchinson Studio Personnel: Bryce Bordone, Christopher Rowe, Jack Manning, Jon Sher, Laura Sisk, Oli Jacobs, Randy Merrill, Ryan Smith, Sean Hutchinson, Serban Ghenea Synthesizer: Jack Antonoff Vocal Engineer: Christopher Rowe, Laura Sisk Vocals: Taylor Swift
16. “Clara Bow”
Producer: Aaron Dessner, Taylor Swift Composer: Aaron Dessner, Taylor Swift Lyricist: Aaron Dessner, Taylor Swift Additional Engineer: Bella Blasko Associated Performer: Aaron Dessner, Abi Hyde-Smith, Agata Daraskaite, Akiko Ishikawa, Amy Swain, Anna de Bruin, Brian O’Kane, Bryce Dessner, Cara Laskaris, Chris Kelly, Dan Oates, Dave Brown, Elisa Bergersen, Eloisa-Fleur Thom, Emily Holland, Galya Bisengalieva, Glenn Kotche, Iona Allan, JT Bates, James McAlister, Julian Azkoul, Kirsty Mangan, Marianne Haynes, Matthew Kettle, Max Ruisi, Morgan Goff, Nicholas Bootiman, Nicole Crespo O’Donoghue, Reinoud Ford, Ronald Long, Sophie Mather, Sophie Roper, Taylor Swift, Thomas Bartlett Asst. Recording Engineer: Laura Beck Bass Guitar: Aaron Dessner Cello: Abi Hyde-Smith Brian O’Kane, Max Ruisi, Reinoud Ford Conductor: Robert Ames Double Bass: Chris Kelly, Dave Brown, Sophie Roper Drum Programming: Aaron Dessner Drums: Glenn Kotche, JT Bates Keyboards: James McAlister, Thomas Bartlett Mastering Engineer: Randy Merrill, Ryan Smith Mix Engineer: Bryce Bordone Mixer: Serban Ghenea Percussion: Aaron Dessner, Glenn Kotche, James McAlister Piano: Aaron Dessner, Thomas Bartlett Recording Arranger: Aaron Dessner Recording Engineer: Bella Blasko, James McAlister, Jeremy Murphy, Jonathan Low, Thomas Bartlett Studio Personnel: Bella Blasko, Bryce Bordone, James McAlister, Jeremy Murphy, Jonathan Low, Laura Beck, Randy Merrill, Ryan Smith, Serban Ghenea, Thomas Bartlett Synthesizer: Aaron Dessner, James McAlister, Thomas Bartlett Viola: Amy Swain, Elisa Bergersen, Matthew Kettle, Morgan Goff, Nicholas Bootiman Violin: Agata Daraskaite, Akiko Ishikawa, Anna de Bruin, Cara Laskaris, Dan Oates, Eloisa-Fleur Thom, Emily Holland, Galya Bisengalieva, Iona Allan, Julian Azkoul, Kirsty Mangan, Marianne Haynes, Nicole Crespo O’Donoghue, Ronald Long, Sophie Mather Vocals: Taylor Swift
17. “The Black Dog”
Producer: Jack Antonoff, Taylor Swift Composer: Taylor Swift Lyricist: Taylor Swift Acoustic Guitar: Jack Antonoff Associated Performer: Bobby Hawk, Jack Antonoff, Sean Hutchinson, Taylor Swift Asst. Recording Engineer: Jack Manning, Jon Sher Background Vocalist: Taylor Swift Bass: Jack Antonoff Cello: Jack Antonoff Drums: Jack Antonoff, Sean Hutchinson Electric Guitar: Jack Antonoff Mastering Engineer: Randy Merrill, Ryan Smith Mellotron: Jack Antonoff Mix Engineer: Bryce Bordone Mixer: Serban Ghenea Piano: Jack Antonoff, Taylor Swift Programming: Jack Antonoff Recording Engineer: Jack Manning, Laura Sisk, Michael Riddleberger, Oli Jacobs, Sean Hutchinson Rhodes: Jack Antonoff Strings: Bobby Hawk Studio Personnel: Bryce Bordone, Jack Manning, Jon Sher, Laura Sisk, Michael Riddleberger, Oli Jacobs, Randy Merrill, Ryan Smith, Sean Hutchinson, Serban Ghenea Synthesizer: Jack Antonoff Vocals: Taylor Swift
18. “ImGonnaGetYouBack”
Producer: Jack Antonoff, Taylor Swift Composer: Jack Antonoff, Taylor Swift Lyricist: Jack Antonoff, Taylor Swift Acoustic Guitar: Jack Antonoff Associated Performer: Jack Antonoff, Jack Manning, Taylor Swift Asst. Recording Engineer: Jack Manning, Joey Miller, Jozef Caldwell Drums: Jack Antonoff Keyboards: Jack Antonoff Mastering Engineer: Randy Merrill Mix Engineer: Bryce Bordone Mixer: Serban Ghenea Percussion: Jack Antonoff Piano: Jack Antonoff, Jack Manning Programming: Jack Antonoff Recording Engineer: Laura Sisk, Oli Jacobs Studio Personnel: Bryce Bordone, Jack Manning, Joey Miller, Jozef Caldwell, Laura Sisk, Oli Jacobs, Randy Merrill, Serban Ghenea Synthesizer: Jack Antonoff Vocals: Taylor Swift
19. “The Albatross”
Producer: Aaron Dessner, Taylor Swift Composer: Aaron Dessner, Taylor Swift Lyricist: Aaron Dessner, Taylor Swift Acoustic Guitar: Aaron Dessner Additional Engineer: Bella Blasko Associated Performer: Aaron Dessner, Abi Hyde-Smith, Agata Daraskaite, Akiko Ishikawa, Amy Swain, Anna de Bruin, Benjamin Lanz, Brian O’Kane, Bryce Dessner, Cara Laskaris, Chris Kelly, Dan Oates, Dave Brown, Elisa Bergersen, Eloisa-Fleur Thom, Emily Holland, Galya Bisengalieva, George Barton, Glenn Kotche, lona Allan, James McAlister, Julian Azkoul, Kirsty Mangan, Matthew Kettle, Max Rulsi, Morgan Goff, Nicholas Bootman, Nicole Crespo O’Donoghue, Reinoud Ford, Ronald Long, Sophie Mather, Sophie Roper, Taylor Swift Asst. Recording Engineer: Laura Beck Bass Guitar: Aaron Dessner Cello: Abi Hyde-Smith, Brian O’Kane, Max Ruisi, Reinoud Ford Conductor: Robert Ames Double Bass: Chris Kelly, Dave Brown, Sophie Roper Drum Programming: Aaron Dessner, James McAlister Drums: Glenn Kotche Electric Guitar: Aaron Dessner Guitar: Aaron Dessner Keyboards: Aaron Dessner Mastering Engineer: Randy Merrill, Ryan Smith Mix Engineer: Bryce Bordone Mixer: Serban Ghenea Percussion: Aaron Dessner, George Barton, Glenn Kotche Piano: Aaron Dessner Recording Arranger: Bryce Dessner Recording Engineer: Bella Blasko, Benjamin Lanz, James McAllister, Jeremy Murphy, Jonathan Low Studio Personnel: Bella Blasko, Benjamin Lanz, Bryce Bordone, James McAlister, Jeremy Murphy, Jonathan Low, Laura Beck, Randy Merrill, Ryan Smith, Serban Ghenea Synthesizer: Aaron Dessner, Benjamin Lanz Viola: Amy Swain, Elisa Bergersen, Matthew Kettle, Morgan Goff, Nicholas Boothman Violin: Agata Daraskaite, Akiko Ishikawa, Anna de Bruin, Cara Laskaris, Dan Oates, Eloisa-Fleur Thom, Emily Holland, Galya Bisengalieva, lona Allan, Julian Azkoul, Kirsty Mangan, Nicole Crespo O’Donoghue, Ronald Long, Sophie Mather Vocals: Taylor Swift
20. “Chloe Or Sam Or Sophia Or Marcus”
Producer: Aaron Dessner, Taylor Swift Composer: Aaron Dessner, Taylor Swift Lyricist: Aaron Dessner, Taylor Swift Acoustic Guitar: Aaron Dessner Additional Engineer: Bella Blasko Associated Performer: Aaron Dessner, Benjamin Lanz, Glenn Kotche, JT Bates, Rob Moose, Taylor Swift Bass Guitar: Aaron Dessner Drum Programming: Aaron Dessner Drums: Glenn Kotche, JT Bates Electric Guitar: Aaron Dessner Keyboards: Aaron Dessner Mandolin: Aaron Dessner Mastering Engineer: Randy Merrill Mix Engineer: Bryce Bordone Mixer: Serban Ghenea Percussion: Glenn Kotche Piano: Aaron Dessner Recording Engineer: Bella Blasko, Benjamin Lanz, Jonathan Low, Maryam Qudus Studio Personnel: Bella Blasko, Benjamin Lanz, Bryce Bordone, Christopher Rowe, Jonathan Low, Maryam Gudus, Randy Merrill, Serban Ghenea Synthesizer: Aaron Dessner, Benjamin Lanz Trombone: Benjamin Lanz Viola: Rob Moose Violin: Rob Moose Vocal Engineer: Christopher Rowe Vocals: Taylor Swift
21. “How Did It End?”
Producer: Aaron Dessner, Taylor Swift Composer: Aaron Dessner, Taylor Swift Lyricist: Aaron Dessner, Taylor Swift Additional Engineer: Bella Blasko Associated Performer: Aaron Dessner, Abi Hyde-Smith, Akiko Ishikawa, Alicia Berendse, Anna de Bruin, Brian O’Kane, Bryce Dessner, Cara Laskaris, Chris Kelly, Dan Oates, Dave Brown, David McQueen, Elisa Bergersen, Eloisa-Fleur Thom, Emily Holland, Galya Bisengalieva, Glenn Kotche, lona Allan, JT Bates, James McAlister, Kirsty Mangan, Marianne Haynes, Matthew Kettle, Max Ruisi, Morgan Goff, Nicholas Bootiman, Nicole Crespo O’Donoghue, Reinoud Ford, Ronald Long, Sophie Mather, Sophie Roper, Taylor Swift, Thomas Bartlett Asst. Recording Engineer: Laura Beck Cello: Abi Hyde-Smith, Brian O’Kane, Max Ruisi, Reinoud Ford Conductor: Robert Ames Double Bass: Chris Kelly, Dave Brown, Sophie Roper Drum: James McAlister Drum Programming: Aaron Dessner Drums: Glenn Kotche, JT Bates Electric Guitar: Aaron Dessner French Horn: David McQueen Keyboards: Aaron Dessner, James McAllister, Thomas Barten Mastering Engineer: Randy Merrill Mix Engineer: Bryce Bordone Mixer: Serban Ghenea Percussion: Glenn Kotche Piano: Aaron Dessner, Thomas Bartlett Recording Arranger: Bryce Dessner Recording Engineer: Bella Blasko, James McAlister, Jeremy Murphy, Jonathan Low, Thomas Bartlett Studio Personnel: Bella Blasko, Bryce Bordone, James McAlister, Jeremy Murphy, Jonathan Low, Laura Beck, Randy Merrill, Serban Ghenea, Thomas Bartlett Synth Bass: Aaron Dessner Synthesizer: Aaron Dessner, James McAlister, Thomas Bartlett Viola: Elisa Bergersen, Matthew Kettle, Morgan Goff, Nicholas Bootiman Violin: Akiko Ishikawa, Alicia Berendse, Anna de Bruin, Cara Laskaris, Dan Oates, Eloisa-Fleur Thom, Emily Holland, Galya Bisengalieva, lona Allan, Kirsty Mangan, Marianne Haynes, Nicole Crespo O’Donoghue, Ronald Long, Sophie Mather Vocals: Taylor Swift
22. “So High School”
Producer: Aaron Dessner, Taylor Swift Composer: Aaron Dessner, Taylor Swift Lyricist: Aaron Dessner, Taylor Swift Additional Engineer: Bella Blasko Associated Performer: Aaron Dessner, Benjamin Lanz, James McAlister, Taylor Swift Bass Guitar: Aaron Dessner Drum Programming: Aaron Dessner, James McAllister Drums: James McAlister Electric Guitar: Aaron Dessner, James McAlister Keyboards: Aaron Dessner Mastering Engineer: Randy Merrill Mix Engineer: Bryce Bordone Mixer: Serban Ghenea Percussion: Aaron Dessner Piano: Aaron Dessner Recording Engineer: Bella Blasko, Benjamin Lanz, James McAlister, Jonathan Low Sequencer: Benjamin Lanz Studio Personnel: Bella Blasko, Benjamin Lanz, Bryce Bordone, James McAlister, Jonathan Low, Randy Merrill, Serban Ghenea Synth Bass: Aaron Dessner Synthesizer: Aaron Dessner, Benjamin Lanz, James McAlister Trombone: Benjamin Lanz Vocals: Taylor Swift
23. “I Hate It Here”
Producer: Aaron Dessner, Taylor Swift Composer: Aaron Dessner, Taylor Swift Lyricist: Aaron Dessner, Taylor Swift Acoustic Guitar: Aaron Dessner, James McAlister Additional Engineer: Bella Blasko Associated Performer: Aaron Dessner, Abi Hyde-Smith, Akiko Ishikawa, Alicia Berendse, Anna de Bruin, Benjamin Lanz, Brian O’Kane, Bryce Dessner, Cara Laskaris, Chris Kelly, Dan Oates, Dave Brown, David McQueen, Elisa Bergersen, Eloisa-Fleur Thom, Emily Holland, George Barton, Glenn Kotche, lona Allan, James McAlister, Kirsty Mangan, Marianne Haynes, Matthew Kettle, Max Ruisi, Meghan Cassidy, Morgan Goff, Natasha Humphries, Nicholas Bootiman, Nicole Crespo O’Donoghue, Reinoud Ford, Ronald Long, Sophie Mather, Sophie Roper, Taylor Swift, Thomas Bartlett Asst. Recording Engineer: Laura Beck Banjo: Aaron Dessner Bass Guitar: Aaron Dessner, James McAlister Cello: Abi Hyde-Smith, Brian O’Kane, Max Ruisi, Reinoud Ford Conductor: Robert Ames Double Bass: Chris Kelly, Dave Brown, Sophie Roper Drum Programming: Aaron Dessner Drums: Glenn Kotche Electric Guitar: Aaron Dessner French Horn: David McQueen Keyboards: Thomas Bartlett Mandolin: Aaron Dessner Mastering Engineer: Randy Merrill Mix Engineer: Bryce Bordone Mixer: Serban Ghenea Percussion: Aaron Dessner, George Barton, Glenn Kotche, James McAlister Piano: Aaron Dessner, Thomas Bartlett Recording Arranger: Bryce Dessner Recording Engineer: Bella Blasko, Benjamin Lanz, James McAlister, Jeremy Murphy, Jonathan Low, Maryam Qudus, Thomas Bartlett Studio Personnel: Bella Blasko, Benjamin Lanz, Bryce Bordone, James McAlister, Jeremy Murphy, Jonathan Low, Laura Beck, Maryam Qudus, Randy Merrill, Serban Ghenea, Thomas Bartlett Synth Bass: James McAlister Synthesizer: Aaron Dessner, Benjamin Lanz, James McAlister, Thomas Bartlett Viola: Elisa Bergersen, Matthew Kettle, Meghan Cassidy, Morgan Goff, Nicholas Bootiman Violin: Akiko Ishikawa, Alicia Berendse, Anna de Bruin, Cara Laskaris, Dan Oates, Eloisa-Fleur Thom, Emily Holland, lona Allan, Kirsty Mangan, Marianne Haynes, Natasha Humphries, Nicole Crespo O’Donoghue, Ronald Long, Sophie Mather Vocals: Taylor Swift
24. “Thank You Aimee”
Producer: Aaron Dessner, Jack Antonoff, Taylor Swift Composer: Aaron Dessner, Taylor Swift Lyricist: Aaron Dessner, Taylor Swift Acoustic Guitar: Aaron Dessner Additional Engineer: Bella Blasko Associated Performer: Aaron Dessner, Abi Hyde-Smith, Akiko Ishikawa, Alicia Berendse, Anna de Bruin, Brian O’Kane, Bryce Dessner, Cara Laskaris, Chris Kelly, Dan Oates, Dave Brown, David McQueen, Elisa Bergersen, Eloisa-Fleur Thom, Emily Holland, Galya Bisengalieva, George Barton, Glenn Kotche, lona Allan, Jack Antonoff, Jonathan Farey, Kirsty Mangan, Marianne Haynes, Matthew Kettle, Max Ruisi, Morgan Goff, Nicholas Bootiman, Nicole Crespo O’Donoghue, Paul Cott, Reinoud Ford, Ronald Long, Sophie Mather, Sophie Roper, Taylor Swift, Thomas Bartlett Asst. Recording Engineer: Jozef Caldwell, Laura Beck Background Vocalist: Jack Antonoff Banjo: Aaron Dessner Cello: Abi Hyde-Smith, Brian O’Kane, Jack Antonoff, Max Ruisi, Reinoud Ford Conductor: Robert Ames Double Bass: Chris Kelly, Dave Brown, Sophie Roper Drum Programming: Aaron Dessner Drums: Glenn Kotche, Jack Antonoff Electric Guitar: Jack Antonoff French Horn: David McQueen, Jonathan Farey, Paul Cott Keyboards: Aaron Dessner, Thomas Bartlett Mandolin: Aaron Dessner Mastering Engineer: Randy Merrill Mix Engineer: Bryce Bordone Mixer: Serban Ghenea Percussion: Aaron Dessner, George Barton, Glenn Kotche, Jack Antonoff Piano: Thomas Bartlet Programming: Jack Antonoff Recording Arranger: Bryce Dessner Recording Engineer: Bella Blasko, Jack Antonoff, Jeremy Murphy, Jonathan Low, Laura Sisk, Maryam Qudus, Oll Jacobs, Thomas Bartlett Studio Personnel: Bella Blasko, Bryce Bordone, Jack Antonoff, Jeremy Murphy, Jonathan Low, Jozef Caldwell, Laura Beck, Laura Sisk, Maryam Qudus, Oll Jacobs, Randy Merrill, Serban Ghenea, Thomas Bartlett Synth Bass: Aaron Dessner Synthesizer: Aaron Dessner, Thomas Bartlett Viola: Elisa Bergersen, Matthew Kettle, Morgan Goff, Nicholas Boothman Violin: Akiko Ishikawa, Alicia Berendse, Anna de Bruin, Cara Laskaris, Dan Oates, Eloisa-Fleur Thom, Emily Holland, Galya Bisengalieva, lona Allan, Kirsty Mangan, Marianne Haynes, Nicole Crespo O’Donoghue, Ronald Long, Sophie Mather Vocals: Taylor Swift
25. “I Look In People’s Windows”
Producer: Jack Antonoff, Patrik Berger, Taylor Swift Composer: Jack Antonoff, Patrik Berger, Taylor Swift Lyricist: Jack Antonoff, Patrik Berger, Taylor Swift Acoustic Guitar: Jack Antonoff, Patrik Berger Associated Performer: Jack Antonoff, Patrik Berger, Taylor Swift Asst. Recording Engineer: Jack Manning, Jon Sher Cello: Jack Antonoff Mastering Engineer: Randy Merrill Mix Engineer: Bryce Bordone Mixer: Serban Ghenea Programming: Jack Antonoff Recording Engineer: Laura Sisk, Oll Jacobs Studio Personnel: Bryce Bordone, Jack Manning, Jon Sher, Laura Sisk, Oll Jacobs, Randy Merrill, Serban Ghenea Synthesizer: Jack Antonoff Vocals: Taylor Swift
26. “The Prophecy”
Producer: Aaron Dessner, Taylor Swift Composer: Aaron Dessner, Taylor Swift Lyricist: Aaron Dessner, Taylor Swift Acoustic Guitar: Aaron Dessner Additional Engineer: Bella Blasko Associated Performer: Aaron Dessner, Abi Hyde-Smith, Agata Daraskalite, Akiko Ishikawa, Amy Swain, Anna de Bruin, Brian O’Kane, Bryce Dessner, Cara Laskaris, Chris Kelly, Dan Oates, Dave Brown, Elisa Bergersen, Eloisa-Fleur Thom, Emily Holland, Galya Bisengalieva, George Barton, Glenn Kotche, lona Allan, JT Bates, James McAlister, Julian Azkoul, Kirsty Mangan, Matthew Kettle, Max Rulsi, Max Welford, Morgan Goff, Nicholas Bootman, Nicole Crespo O’Donoghue, Reinoud Ford, Ronald Long, Sophie Mather, Sophie Roper, Taylor Swift, Thomas Bartlett Asst. Recording Engineer: Laura Beck Bass Clarinet: Max Welford Cello: Abi Hyde-Smith, Brian O’Kane, Max Rulsi, Reinoud Ford Conductor: Robert Ames Double Bass: Chris Kelly, Dave Brown, Sophie Roper Drum Programming: Aaron Dessner, James McAlister Drums: Glenn Kotche, JT Bates Electric Guitar: Aaron Dessner Keyboards: Thomas Bartle Mastering Engineer: Randy Merrill Mix Engineer: Bryce Bordone Mixer: Serban Ghenea Percussion: George Barton, Glenn Kotche, James McAlister Piano: Thomas Bartlet Recording Arranger: Bryce Dessner Recording Engineer: Bella Blasko, James McAlister, Jeremy Murphy, Jonathan Low, Thomas Bartlett Studio Personnel: Bella Blasko, Bryce Bordone, James McAlister, Jeremy Murphy, Jonathan Low, Laura Beck, Randy Merrill, Serban Ghenea, Thomas Bartlett Synthesizer: James McAlister, Thomas Bartlett Viola: Amy Swain, Elisa Bergersen, Matthew Kettle, Morgan Goff, Nicholas Boothman Violin: Agata Daraskaite, Akiko Ishikawa, Anna de Bruin, Cara Laskaris, Dan Oates, Eloisa-Fleur Thom, Emily Holland, Galya Bisengalieva, lona Allan, Julian Azkoul, Kirsty Mangan, Nicole Crespo O’Donoghue, Ronald Long, Sophie Mather Vocals: Taylor Swift Zither: James McAlister
27. “Cassandra”
Producer: Aaron Dessner, Taylor Swift Composer: Aaron Dessner, Taylor Swift Lyricist: Aaron Dessner, Taylor Swift Associated Performer: Aaron Dessner, Abl Hyde-Smith, Agata Daraskaite, Akiko Ishikawa, Amy Swain, Anna de Bruin, Benjamin Lanz, Brian O’Kane, Bryce Dessner, Cara Laskaris, Chris Kelly, Dan Oates, Dave Brown, David McQueen, Elisa Bergersen, Eloisa-Fleur Thom, Emily Holland, George Barton, Glenn Kotche, lona Allan, James McAlister, Jonathan Farey, Julian Azkoul, Kirsty Mangan, Marianne Haynes, Matthew Kettle, Max Ruisi, Morgan Goff, Nicholas Bootiman, Nicole Crespo O’Donoghue, Paul Cott, Reinoud Ford, Ronald Long, Sophie Mather, Sophie Roper, Taylor Swift Asst. Recording Engineer: Laura Beck Cello: Abi Hyde-Smith, Brian O’Kane, Max Ruisi, Reinoud Ford Conductor: Robert Ames Double Bass: Chris Kelly, Dave Brown, Sophie Roper Drum Programming: James McAlister Electric Guitar: Aaron Dessner French Horn: David McQueen, Jonathan Farey, Paul Cott Keyboards: Aaron Dessner, James McAlister Mastering Engineer: Randy Merrill Mix Engineer: Bryce Bordone Mixer: Serban Ghenea Percussion: Aaron Dessner, George Barton, James McAlister Piano: Aaron Dessner Recording Arranger: Bryce Dessner Recording Engineer: Bella Blasko, Benjamin Lanz, James McAlister, Jeremy Murphy, Jonathan Low, Pat Burns Snare Drum: Glenn Kotche Studio Personnel: Bella Blasko, Benjamin Lanz, Bryce Bordone, James McAlister, Jeremy Murphy, Jonathan Low, Laura Beck, Pat Burns, Randy Merrill, Serban Ghenea Synth Bass: Aaron Dessner Synthesizer: Aaron Dessner, Benjamin Lanz, James McAlister Trombone: Benjamin Lanz Vibraphone: Glenn Kotche Viola: Amy Swain, Elisa Bergersen, Matthew Kettle, Morgan Goff, Nicholas Bootiman Violin: Agata Daraskaite, Akiko Ishikawa, Anna de Bruin, Cara Laskaris, Dan Oates, Eloisa-Fleur Thom, Emily Holland, lona Allan, Julian Azkoul, Kirsty Mangan, Marianne Haynes, Nicole Crespo O’Donoghue, Ronald Long, Sophie Mather Vocals: Taylor Swift
28. “Peter”
Producer: Aaron Dessner, Taylor Swift Composer: Taylor Swift Lyricist: Taylor Swift Associated Performer: Aaron Dessner, Taylor Swift Bass Guitar: Aaron Dessner Drum Programming: Aaron Dessner Keyboards: Aaron Dessner Mastering Engineer: Randy Merrill Mix Engineer: Bryce Bordone Mixer: Serban Ghenea Piano: Aaron Dessner Recording Engineer: Bella Blasko, Jonathan Low Studio Personnel: Bella Blasko, Bryce Bordone, Jonathan Low, Randy Merrill, Serban Ghenea Synthesizer: Aaron Dessner Vocals: Taylor Swift
29. “The Bolter”
Producer: Aaron Dessner, Taylor Swift Composer: Aaron Dessner, Taylor Swift Lyricist: Aaron Dessner, Taylor Swift Acoustic Guitar: Aaron Dessner Additional Engineer: Bella Blasko Associated Performer: Aaron Dessner, Abi Hyde-Smith, Akiko Ishikawa, Alicia Berendse, Anna de Bruin, Brian O’Kane, Bryce Dessner, Cara Laskaris, Chris Kelly, Dan Oates, Dave Brown, David McQueen, Elisa Bergersen, Eloisa-Fleur Thom, Emily Holland, Glenn Kotche, lona Allan, James McAlister, Jonathan Farey, Kirsty Mangan, Marianne Haynes, Matthew Kettle, Max Rulsi, Max Welford, Meghan Cassidy, Morgan Goff, Natasha Humphries, Nicholas Bootiman, Nicole Crespo O’Donoghue, Paul Cott, Reinoud Ford, Ronald Long, Sophie Mather, Sophie Roper, Taylor Swift, Thomas Bartlett Asst. Recording Engineer: Laura Beck Bass Clarinet: Max Welford Bass Guitar: Aaron Dessner Cello: Abi Hyde-Smith, Brian O’Kane, Max Ruisi, Reinoud Ford Conductor: Robert Ames Double Bass: Chris Kelly, Dave Brown, Sophie Roper Drum Programming: Aaron Dessner Drums: Glenn Kotche Electric Guitar: Aaron Dessner French Horn: David McQueen, Jonathan Farey, Paul Cott Keyboards: Thomas Bartlett Mastering Engineer: Randy Merrill, Ryan Smith Mix Engineer: Bryce Bordone Mixer: Serban Ghenea Percussion: Aaron Dessner, Glenn Kotche, James McAlister Piano: Aaron Dessner, Thomas Bartlett Recording Arranger: Bryce Dessner Recording Engineer: Bella Blasko, James McAlister, Jeremy Murphy, Jonathan Low, Thomas Bartlett Studio Personnel: Bella Blasko, Bryce Bordone, James McAlister, Jeremy Murphy, Jonathan Low, Laura Beck, Randy Merrill, Ryan Smith, Serban Ghenea, Thomas Bartlett Synthesizer: Aaron Dessner, James McAlister, Thomas Bartlett Viola: Elisa Bergersen, Matthew Kettle, Meghan Cassidy, Morgan Goff, Nicholas Bootiman Violin: Akiko Ishikawa, Alicia Berendse, Anna de Bruin, Cara Laskaris, Dan Oates, Eloisa-Fleur Thom, Emily Holland, lona Allan, Kirsty Mangan, Marianne Haynes, Natasha Humphries, Nicole Crespo O’Donoghue, Ronald Long, Sophie Mather Vocals: Taylor Swift
30. “Robin”
Producer: Aaron Dessner, Taylor Swift Composer: Aaron Dessner, Taylor Swift Lyricist: Aaron Dessner, Taylor Swift Additional Engineer: Bella Blasko Associated Performer: Aaron Dessner, Abl Hyde-Smith, Agata Daraskaite, Akiko Ishikawa, Alicia Berendse, Amy Swain, Anna de Bruin, Benjamin Lanz, Brian O’Kane, Bryce Dessner, Cara Laskaris, Chris Kelly, Dan Oates, Dave Brown, David McQueen, Elisa Bergersen, Eloisa-Fleur Thom, Emily Holland, Galya Bisengalieva, George Barton, Glenn Kotche, lona Allan, James McAlister, Jonathan Farey, Julian Azkoul, Kirsty Mangan, Marianne Haynes, Matthew Kettle, Max Ruisi, Morgan Goff, Nicholas Bootiman, Nicole Crespo O’Donoghue, Paul Cott, Reinoud Ford, Ronald Long, Sophie Mather, Sophie Roper, Taylor Swift, Thomas Bartlett, Vicky Lester Asst. Recording Engineer: Laura Beck Bass Guitar: Aaron Dessner Cello: Abi Hyde-Smith, Brian O’Kane, Max Ruisi, Reinoud Ford Conductor: Robert Ames Double Bass: Chris Kelly, Dave Brown, Sophie Roper Drum Programming: Aaron Dessner Drums: Aaron Dessner, Glenn Kotche Electric Guitar: Aaron Dessner French Horn: David McQueen, Jonathan Farey, Paul Cott Harp: Vicky Lester Keyboards: Aaron Dessner, Thomas Bartlett Mastering Engineer: Randy Merrill Mix Engineer: Bryce Bordone Mixer: Serban Ghenea Percussion: Aaron Dessner, George Barton, Glenn Kotche, James McAlister Piano: Aaron Dessner, Thomas Bartlett Recording Arranger: Bryce Dessner Recording Engineer: Bella Blasko, Benjamin Lanz, James McAlister, Jeremy Murphy, Jonathan Low, Maryam Qudus, Thomas Bartlett Studio Personnel: Bella Blasko, Benjamin Lanz, Bryce Bordone, James McAlister, Jeremy Murphy, Jonathan Low, Laura Beck, Maryam Qudus, Randy Merrill, Serban Ghenea, Thomas Bartlett Synthesizer: Aaron Dessner, Benjamin Lanz, James McAlister, Thomas Bartlett Timpani: George Barton Viola: Amy Swain, Elisa Bergersen, Matthew Kettle, Morgan Goff, Nicholas Boothman Violin: Agata Daraskaite, Akiko Ishikawa, Alicia Berendse, Anna de Bruin, Cara Laskaris, Dan Oates, Eloisa-Fleur Thom, Emily Holland, Galya Bisengalieva, lona Allan, Julian Azkoul, Kirsty Mangan, Marianne Haynes, Nicole Crespo O’Donoghue, Ronald Long, Sophie Mather Vocals: Taylor Swift
31. “The Manuscript”
Producer: Aaron Dessner, Taylor Swift Composer: Taylor Swift Lyricist: Taylor Swift Associated Performer: Aaron Dessner, Abl Hyde-Smith, Akiko Ishikawa, Alicia Berendse, Anna de Bruin, Brian O’Kane, Bryce Dessner, Cara Laskaris, Chris Kelly, Dan Oates, Dave Brown, David McQueen, Elisa Bergersen, Eloisa-Fleur Thom, Emily Holland, George Barton, lona Allan, James McAlister, Jonathan Farey, Kirsty Mangan, Marianne Haynes, Matthew Kettle, Max Rulsi, Meghan Cassidy, Morgan Goff, Natasha Humphries, Nicholas Bootiman, Nicole Crespo O’Donoghue, Paul Cott, Reinoud Ford, Ronald Long, Sophie Mather, Sophie Roper, Taylor Swift, Thomas Bartlett Asst. Recording Engineer: Laura Beck Cello: Abi Hyde-Smith, Brian O’Kane, Max Rulsi, Reinoud Ford Conductor: Robert Ames Double Bass: Chris Kelly, Dave Brown, Sophie Roper Drum Programming: Bryce Dessner, James McAlister French Horn: David McQueen, Jonathan Farey, Paul Cott Mastering Engineer: Randy Merrill, Ryan Smith Mix Engineer: Bryce Bordone Mixer: Serban Ghenea Percussion: George Barton Piano: Aaron Dessner, Bryce Dessner Recording Arranger: Bryce Dessner Recording Engineer: Bella Blasko, Bryce Dessner, James McAllister, Jeremy Murphy, Jonathan Low, Thomas Bartlett Studio Personnel: Bella Blasko, Bryce Bordone, Bryce Dessner, James McAlister, Jeremy Murphy, Jonathan Low, Laura Beck, Randy Merrill, Ryan Smith, Serban Ghenea, Thomas Bartlett Synth Bass: Aaron Dessner Synthesizer: Aaron Dessner, Bryce Dessner, James McAlister, Thomas Bartlett Viola: Elisa Bergersen, Matthew Kettle, Meghan Cassidy, Morgan Goff, Nicholas Bootiman Violin: Akiko Ishikawa, Alicia Berendse, Anna de Bruin, Cara Laskaris, Dan Oates, Eloisa-Fleur Thom, Emily Holland, lona Allan, Kirsty Mangan, Marianne Haynes, Natasha Humphries, Nicole Crespo O’Donoghue, Ronald Long, Sophie Mather Vocals: Taylor Swift
The Tortured Poets Department is out now via Republic. Find more information here.
After meeting on the set of the recent batch of Spider-Man films, Zendaya and Tom Holland mostly kept their relationship under wraps despite occasionally being photographed in public together. That still didn’t stop a rampant bout of engagement rumors, but more recently, the two have been less clandestine about being together.
Case in point, Zendaya stopped by Jimmy Kimmel Live! on Thursday night where the actress opened up about a brush with the law while she and Holland were out and about. However, if you’re not a fan of celebrities getting special treatment from the police, you might want to look away.
“Tom and I were rushing to a spin class… with my mother,” she said. “I was not going to do the spin class. He was going to do the spin class ’cause I don’t do that. But we were going a little fast ’cause we were running late.”
However, when they were pulled over for speeding, they were able to circumvent the ticket. “They recognized that he was Spider-Man, and we were fine,” she explained, with a laugh. “We got a warning, and everything was OK.”
Despite this tactic working pretty well for Tom Holland, we’re going to highly recommend that you don’t try to get out of a ticket by telling the police that you’re Spider-Man. Probably don’t do that.
You can watch Zendaya’s appearance on Jimmy Kimmel Live! below:
The Western Conference playoffs always seem to be a war of attrition, and this year, it sure looks like we’re slated to have that happen again. With seven teams already decided and an eighth up in the air until Friday night, it’s difficult to pick which team will be able to navigate things and earn a berth in the NBA Finals. Yes, Denver are the favorites to do so as the defending champions, but all it takes is one or two games where they aren’t quite at their best to open the door for someone else to pounce through.
As such, we decided to look at the most important player on each team in the West as the playoffs get underway. Whether it’s the team’s top dog or a supporting player who will have to find an extra gear, every team has one guy who has to be at their very best this time of year if they are going to make their way through the postseason.
Oklahoma City Thunder: Shai Gilgeous-Alexander
Shai Gilgeous-Alexander made the leap from a star on a mediocre team to a superstar who impacts winning at an elite level this year, and he’s going to get rewarded with all the stuff (a top-5 MVP finish, a first-team All-NBA nod) that comes for guys who do that in the regular season. Now, it’s time for him to carry that over to the playoffs, where the Thunder are the surprising 1-seed in the Western Conference and have to figure out how to navigate what could be an absolutely hellacious postseason run.
Gilgeous-Alexander hasn’t played in the postseason since 2020 and didn’t make it out of the first round in either of his first two appearances. Since then, he’s leveled up his game every single year to the point that he’s now one of the best players in the NBA, particularly on the offensive end of the floor, where he’s a killer from the midrange and at the rim. He makes everyone around him better, too, which is the skill that separates superstars from everyone else. And as Oklahoma City attempts to make it to the NBA Finals for the first time since the Kevin Durant, James Harden, and Russell Westbrook era, Gilgeous-Alexander’s ability to do that will be more important than ever.
Denver Nuggets: Michael Porter Jr.
The obvious thing here is that Nikola Jokic is going to be a handful no matter what. But it’s worth remembering last postseason, when Denver had a rock solid 8-man rotation: Its usual starting five, then Bruce Brown, Jeff Green, and Christian Braun off the bench. Among those starters, Porter played the fewest minutes and struggled the most during the playoffs, as he only shot 42.3 percent from the field and 35.1 percent from three. His rebounding was a valuable asset, but his struggles in the NBA Finals, in particular during games 2-4, were a problem the Nuggets had to solve. (Fortunately, Jokic is the best problem solver in the game, so they ended up winning a ring in five games.)
This year, Brown and Green are gone, and while guys like Braun, Reggie Jackson, and Peyton Watson have done a nice job in reserve roles, it’ll be a little harder to navigate a bad series from Porter this time around. We know Jokic is going to be Jokic, and we can safely assume that Jamal Murray (if he is healthy) will level up like he usually does in the postseason. If Porter can provide the offensive spark that he’s capable of providing this time around, it’s going to be really hard to keep Denver from going back-to-back.
Minnesota Timberwolves: Karl-Anthony Towns
A common criticism of Karl-Anthony Towns is that he shrinks when the playoffs rolls around. He shoots 52.4 percent from the field and 39.8 percent from three during the regular season in his career, but in three trips to the postseason, those numbers drop to 47.1 percent and 33.3 percent, respectively. With how crucial his ability to stretch the floor and provide a scoring punch is to everything Minnesota does on offense, he absolutely cannot have that sort of a postseason stinker again, especially because the Timberwolves’ first round opponent, Phoenix, is able to score in bunches and has given them some problems this year.
Anthony Edwards showed last year that he’s going to be a handful as the No. 1 option on a playoff team. There is a very good chance that’s not enough if Minnesota wants to make it out of the first round since 2004. Towns, who has only played in two games since returning from a torn meniscus that he suffered in early March, is going to be looked to first as a major weapon on offense. Considering his history this time of year, there’s no guarantee that ends up happening. But if it does, don’t be surprised if the Timberwolves go on a run.
Los Angeles Clippers: James Harden
We do not need to go through the list of high-profile James Harden playoff stinkers, in large part because someone else has probably already done that this week. Harden, more than any other player in the sport, is defined by his propensity for shrinking when the lights are at their brightest. Perhaps, then, it makes sense that he’s now a member of the Clippers, as the franchise has been desperate to get over the hump ever since the Chris Paul trade brought them a level of respectability they never had.
Kawhi Leonard’s health will obviously be crucial as Los Angeles begins its playoff run, and if he’s not healthy or he’s severely compromised, Harden’s role is going to become far bigger. But even if he plays, Harden has to thrive in his role as the team’s point guard. He has to get the ball to Leonard and Paul George in their spots, and when the opportunity is there for him to get his own shot, he has to take it — if there is a source of optimism, it’s that Harden has done a good job with this when the team has been humming this year. The Clippers brought him in to be the difference maker, and it’s time to show why.
Dallas Mavericks: Kyrie Irving
The idea behind the Mavericks mortgaging their future to bring in Kyrie Irving was basically that Luka Doncic just needs someone else capable of shouldering some of the offensive burden. Kristaps Porzingis ended up not being the guy they needed in that role, while they fumbled the Jalen Brunson situation and saw him leave for the Knicks. As such, they brought in Irving, who has been an incredibly good fit next to Doncic when the two have shared the floor this season.
We know that Doncic is going to bring his A-plus game during the postseason, particularly against a Clippers team that he’s now facing for the third time in five years in the first round and has never gotten past. Can Irving, who has reached some incredible playoff highs during his career, do the same? If he can remove some of the load that Doncic has historically had to take on and keep the Mavs’ machine humming, and Dallas’ defense can hold its late season form, then Dallas is going to be a very, very dangerous team in the West.
Phoenix Suns: Bradley Beal
The Suns decided that depth wasn’t going to be all that important this season if they had a third star alongside Devin Booker and Kevin Durant. The bad news is that Beal was only able to appear in 53 games due to lingering injuries that he could never quite shake, but the good news is that he (along with Booker and Durant) were able to play enough to keep Phoenix above the Play-In line. And when the three of them are on the floor together, things tend to go pretty well — per Cleaning the Glass, lineups with the three stars together are outscoring opponents by 7.5 points per 100 possessions.
Beal gets the nod as the most important Sun over the other two for no reason other than this is not a stage he’s been on in a while. Last year, Booker and Durant took it to the Denver Nuggets with some incredible individual performances, as the Suns were the only team to take two games off of the eventual champs. While that happened, Beal sat at home, as he did for four of the last five postseasons. The bet that Phoenix’s front office made this offseason was that Beal is the sort of guy who could help them take that next step, and now, he has the chance to show that was a smart bet.
Los Angeles Lakers: Anthony Davis
“It was just a lot of, like, the talking and all the Lakers, there was just so much of that going on,” Davis said in the lead-up to the season about how Denver reacted to their sweep of Los Angeles in the Western Conference Finals last year. “Like, alright, we get it, y’all won, but I think me and Bron had some conversations, like, we can’t wait.”
Well, good news, Anthony! Ducking the favorites to get out of the West to prolong a playoff run would have been totally understandable, but instead, the Lakers are getting the exact thing they’ve wanted: A chance at revenge. And of course, Davis is going to be under a microscope, both because of that comment up above and because he just always is. His defense is always superb (which it has to be against Nikola Jokic), but he comes under scrutiny in the postseason because his offense fluctuates so much. He needs to bring it on that end of the floor every single night, and if he does, we’re going to get the best version of the Lakers.
8 seed: Brandon Ingram or De’Aaron Fox
Unfortunately, either the Pelicans or the Kings would go into the playoffs with crucial players on the shelf due to injuries — Zion Williamson for the former, Kevin Huerter and Malik Monk for the latter. Either team could win Friday night’s Play-In Tournament game and earn a matchup with the Oklahoma City Thunder, and upon getting to that stage, they’re going to need their best offensive player to rise to the occasion. Ingram has generally played better when he’s out there as the main guy (i.e.: without Williamson), while Fox has once again played at an All-Star level this year, even if he did not make it to Indianapolis in February. Both teams would face a major uphill battle to get out of the first round against a Thunder team that has been rock solid on both ends of the floor this season, but if they’re going to pull the upset, it’ll require a monster series from either of these guys.
Zac Efron went so hard to mold his physique for The Iron Claw that he made Jeremy Allen White wonder whether if he should even bother, since Zac swiftly became the jacked king of the set. However, White wasn’t exactly hurting in the thirst department due to both The Bear and those Calvin Klein photos.
The pair portrayed two of the four central Von Erich brothers in the A24 film, which probably should have stirred up a Best Actor nomination for Efron, who crushed the performance of the only brother still alive. If you missed the film in theaters, do not despair.
When Does ‘The Iron Claw’ Arrive On Max For Streaming?
A little less than five months after the film’s December 22, 2023 release date, the A24 streaming agreement with Max will yield results for those clamoring to gaze at muscles and cry their eyes out, too. The official Max streaming date will be Friday, May 10.
At that point, you can see Lily James low-key steal the show with her down-home dialect as Kevin Von Erich’s wife, Pam. Additionally, Maura Von Tierney steps in as matriarch Doris Von Erich with Holt McCallany as overbearing (at best) and domineering (at worst) patriarch Fritz, along with Harris Dickinson as David Von Erich. The toxic family dynamic took the brothers through triumph and far too much tragedy. Get ready to stream, but grab your tissues first.
About a week ago, what appeared to be a Drake diss track toward Kendrick Lamar leaked online. Given how convincing AI-assisted songs have become, though, it was hard to say for sure if it was real or not. We now know, though, that the song is totally real, as Drake officially released “Push Ups” on streaming services today, April 19. He went hard with the art, too.
For the single’s cover art, Drake leans into the line, “You won’t ever take no chain off of us / How the f*ck you big steppin’ with a size 7 men’s on?” The lyric pokes fun at Lamar’s relatively diminutive stature: Various sources have Lamar’s height listed at between 5’4″ and 5’6″. So, in that spirit, the cover art is a modified version of the size tag you would find on the tongue of a sneaker, showing off a size 7 shoe.
Elsewhere in the song, another barb presumably about Lamar goes, “You ain’t in no Big Three, SZA got you wiped down / Travis got you wiped down, Savage got you wiped down.” Drake also said of Metro Boomin, “Metro, shut your hoe ass up and make some drums, n****.” Drake later went full boar on the drums thing.
Amazon’s new video game adaption series, Fallout, arrived on April 12 in one massive, bingeable chunk, and less than ten days later, the show has overtaken streaming. Such is the power of Walton Goggins‘ charisma (in this case, as The Ghoul), and the freakishly fun show not only capitalizes upon that obvious strength (and the heroic performance of Ella Purnell) but also adds itself to the growing collection of recently successful video game adaptations.
Let’s cut to the chase with the question that has already surfaced.
Will There Be A ‘Fallout’ Season 2?
Yes. Enough said? Not quite. Amazon officially renewed (as of April 19) for a second season, and this might seem like speedy news (which it is) yet not quite a surprise. Variety had already revealed that the show was set for a $25 million tax cut for the next season if filmed in California. So there you go.
For the uninitiated, here’s the first season synopsis:
“The gentle denizens of luxury fallout shelters that are forced to return to the irradiated hellscape their ancestors left behind—and are shocked to discover an incredibly complex, gleefully weird, and highly violent universe waiting for them.”
Fallout‘s entire season is available for the taking on Amazon Prime Video.
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