girl crush of the century

‘You Don’t Get Many Songs Like That’: Liz Rose on Co-Writing Taylor Swift’s 'You Belong With Me’ Chorus

One of Taylor Swift’s secret weapons in her early hit-making days was Nashville songwriting veteran Liz Rose, who co-wrote a number of Swift’s best and biggest early hits, including “Teardrops on My Guitar,” “White Horse” and “You Belong With Me.” The latter went all the way to No. 2 on the Billboard Hot 100, and established the country star as a major pop player.

“It’s really fun to start a song, and you can just hand it to the room, and they all start singing it,” Rose tells Billboard of the enduring smash, whose explosive shout-along refrain we just named the 20th-best chorus of the entire 21st century. “You don’t get many songs like that.”

After Swift wrote third album Speak Now entirely on her own, she and Rose only collaborated once more – on 2012’s Red highlight “All Too Well” – but the latter has remained an in-demand country and pop songwriter, even winning a Grammy in 2016 for her work on Little Big Town’s surprise crossover hit “Girl Crush.” Rose spoke to Billboard about her memories of co-penning (and later performing) one of Swift’s early signature hits.

Was the chorus the first part of the song that came together?

We always started at the beginning. It just flowed out, honestly. She’s so fast. And Taylor kind of knew – she came in with [sings] “You’re on the phone with your girlfriend…” And it just kind of flowed into that chorus.

Are there individual strengths that you and Taylor have as co-songwriters, where you put your emphasis on one part and she does another?

We were always back-and-forth. She comes in with the story and the melody – I truly believe that she heard the production in that song while we wrote it. And that song always amazes me, because when I do writers’ night and I try to play it, I always make the audience sing it – or I make girls get up to sing it.

And that chorus – it’s impossible to sing! I don’t know how she did it. Well, I mean, she’s young and she has a great voice. But the high-reaching [parts of the chorus]… usually I just stop and let the audience sing it. I’m like, “Y’all take this, I can’t do it!”

Was there a part of the chorus that once it came together, you guys knew you were good to go?

Oh, man, just the way it flowed so fast. And I loved the way that it was [only] half of the chorus the first time – have you noticed that? I just think that was so cool, the way we did that.

It does seem like something you guys did a number of times together – where the chorus does shift as the song goes on, and by the third chorus, there’s a key word or phrase that gets turned on its head a little. What do you think the power of doing that is?

It makes you want to stay until the end of the song. And I think that it makes a song more personal. It does it in [Fearless single] “White Horse,” and it does it in “You Belong With Me.” It just makes the listener feel like the writer and the artist care about the song – that they’re like, “Okay, you’ve heard it, but wait a minute – ‘cause I want you know that this really affected me, I’m gonna dig the knife in just a little bit deeper.” We were never through writing a song until we were through writing a song. Until the last line.

I noticed listening to the song recently that it almost sounds like a ‘90s rock song, the way the verses explode into the chorus. Was that something you guys were intentionally going for, or just how it came together?

I think it was there when we were writing it. We wrote it, like, the day before she cut it. And she, I believe, wanted to make sure she’d written everything she could write for the record before she finished cutting it. So I think she came in wanting to write an up-tempo [number], and came in with that story, wanting to write this really fun, fast, driving song. And you can hear it in the guitar, in the work tape.

Do you think this is the best chorus you and Taylor ever did together?

Absolutely. When I go out and do it – when I don’t even have to sing it [Laughs] – it’s pretty awesome! There’s a lot of joy in it. It’s really fun to do live, it’s really fun to watch young girls to 50-year-old women get up and sing it.

Do you have a favorite chorus of the 21st century, or a song that comes to mind when think of a great 21st-century chorus?

Oh, gosh. Well “Girl Crush,” of course. [Laughs.] But that I didn’t write? Taylor’s song “We Are Never Ever Getting Back Together.” I mean, that song is amazing. And [Florida Georgia Line’s] “Cruise.” Think about what “Cruise” did, with FGL. Just that it makes you want to sing it, whether you’re a fan of theirs or not, it doesn’t matter. That song, it had a big impact on country music. And “Mama’s Broken Heart,” Miranda [Lambert], that Kacey [Musgraves] wrote. There’s some great ones.

Group Chat
  1. When they tell Yoongi you like him
  2. One of them stealing your nerd glasses
  3. About their dance practice (21st century girl)
  4. Having a none romantic crush on one of them
  5. Losing them at an amusement park
  6. Planning Tae B.D Party
  7. Jimin confession
  8. group chat mix up / Confession with Tae
  9. Planning a trip with bts
  10. Group chat mix up (dirty texting) / Jungkook
  11. Group chat mix up (sexting) / Jin
  12. Group chat mix up / Jungkook
  13. Pulling a prank on kookie
  14. Choosing between Tae and kookie
  15. fangirling about vlive pt1
  16. fangirling about vlive pt2
  17. When Yoongi finds female underwear in the laundry
  18. Praising them
  19. Joking about making a girl group with J hope (female member of bts)
  20. Fining out you’re dating Jaebum (female member of bts)
  21. J hope feelings accidentally reveled
  22. Accidentally sending nudes in the group chat
  23. When you run away from them at an amusement park
  24. Asking them to be your and Jin baby god father
  25. When they found out you were attacked / in the hospital
  26. when youre suicidal
  27. When your hair annoy them
  28. Discovering your ig (female member)
  29. Discovering who you’re related too (female member)
  30. Namjoon secret relationship ((boyfriend)
  31. When you find their embarrassing pictures
  32. When they find your Youtube account
  33. When they’re not human
  34. When jungkook likes you an actress
  35. Joking about leaving them for mvp
  36. When you’re in love with Jungkook
  37. When Yoongi is your favorite one
  38. Wedding plans with Yoongi
  39. About your horse show
  40. When they miss you /  And you’re on tour
  41. Tae best friend (male) cross dresser
  42. wedding plans with with Jungkook
  43. When you’re learning Korean
  44. When Namjoon has a tall girlfriend
  45. When you curse in the group chat
  46. the boyfriend finds out that y/n cheated on him with Jungkook
  47. Jhope new bae is gender fluid 
  48. When you and Jungkook annoy the boys about IU
  49. When bts butt into y/n date
  50. Asking them what Disney princess they’d date
  51. Jungkook and the y/n tell the rest of BTS that you are engaged
  52. When you get fired
  53. When Namjoon sext in the group chat.
  54. Jimin getting jealous in the group chat
  55. When your bird rats you out
  56. Bts discovering your secret
  57. Losing each other at a fair
  58. When they comfort you about a abusive father.
  59. when they miss you and you’re on tour pt.2
  60. Helping their noona with panic / anxiety attacks
  61. When bts tease you and JK about hickey marks
  62. When they find out about your mix tape
  63. When they find out about your nipple piercing
  64. a major philosophical discussion about chicken and the butterfly effect
  65. text Jimin about your wedding plans / but the members don’t know 
  66. When you have your coming of age day
  67. when you apologize for having anxiety attacks in public
  68. when the find out about y/n & Yoongi secret relationship

‘You Don’t Get Many Songs Like That’: Liz Rose on Co-Writing Taylor Swift’s 'You Belong With Me’ Chorus

One of Taylor Swift’s secret weapons in her early hit-making days was Nashville songwriting veteran Liz Rose, who co-wrote a number of Swift’s best and biggest early hits, including “Teardrops on My Guitar,” “White Horse” and “You Belong With Me.” The latter went all the way to No. 2 on the Billboard Hot 100, and established the country star as a major pop player.

“It’s really fun to start a song, and you can just hand it to the room, and they all start singing it,” Rose tells Billboard of the enduring smash, whose explosive shout-along refrain we just named the 20th-best chorus of the entire 21st century. “You don’t get many songs like that.”

After Swift wrote third album Speak Now entirely on her own, she and Rose only collaborated once more – on 2012’s Red highlight “All Too Well” – but the latter has remained an in-demand country and pop songwriter, even winning a Grammy in 2016 for her work on Little Big Town’s surprise crossover hit “Girl Crush.” Rose spoke to Billboard about her memories of co-penning (and later performing) one of Swift’s early signature hits.

Was the chorus the first part of the song that came together?

We always started at the beginning. It just flowed out, honestly. She’s so fast. And Taylor kind of knew – she came in with [sings] “You’re on the phone with your girlfriend…” And it just kind of flowed into that chorus.

Are there individual strengths that you and Taylor have as co-songwriters, where you put your emphasis on one part and she does another?

We were always back-and-forth. She comes in with the story and the melody – I truly believe that she heard the production in that song while we wrote it. And that song always amazes me, because when I do writers’ night and I try to play it, I always make the audience sing it – or I make girls get up to sing it.

And that chorus – it’s impossible to sing! I don’t know how she did it. Well, I mean, she’s young and she has a great voice. But the high-reaching [parts of the chorus]… usually I just stop and let the audience sing it. I’m like, “Y’all take this, I can’t do it!”

Was there a part of the chorus that once it came together, you guys knew you were good to go?

Oh, man, just the way it flowed so fast. And I loved the way that it was [only] half of the chorus the first time – have you noticed that? I just think that was so cool, the way we did that.

It does seem like something you guys did a number of times together – where the chorus does shift as the song goes on, and by the third chorus, there’s a key word or phrase that gets turned on its head a little. What do you think the power of doing that is?

It makes you want to stay until the end of the song. And I think that it makes a song more personal. It does it in [Fearless single] “White Horse,” and it does it in “You Belong With Me.” It just makes the listener feel like the writer and the artist care about the song – that they’re like, “Okay, you’ve heard it, but wait a minute – ‘cause I want you know that this really affected me, I’m gonna dig the knife in just a little bit deeper.” We were never through writing a song until we were through writing a song. Until the last line.

I noticed listening to the song recently that it almost sounds like a ‘90s rock song, the way the verses explode into the chorus. Was that something you guys were intentionally going for, or just how it came together?

I think it was there when we were writing it. We wrote it, like, the day before she cut it. And she, I believe, wanted to make sure she’d written everything she could write for the record before she finished cutting it. So I think she came in wanting to write an up-tempo [number], and came in with that story, wanting to write this really fun, fast, driving song. And you can hear it in the guitar, in the work tape.

Do you think this is the best chorus you and Taylor ever did together?

Absolutely. When I go out and do it – when I don’t even have to sing it [Laughs] – it’s pretty awesome! There’s a lot of joy in it. It’s really fun to do live, it’s really fun to watch young girls to 50-year-old women get up and sing it.

Do you have a favorite chorus of the 21st century, or a song that comes to mind when think of a great 21st-century chorus?

Oh, gosh. Well “Girl Crush,” of course. [Laughs.] But that I didn’t write? Taylor’s song “We Are Never Ever Getting Back Together.” I mean, that song is amazing. And [Florida Georgia Line’s] “Cruise.” Think about what “Cruise” did, with FGL. Just that it makes you want to sing it, whether you’re a fan of theirs or not, it doesn’t matter. That song, it had a big impact on country music. And “Mama’s Broken Heart,” Miranda [Lambert], that Kacey [Musgraves] wrote. There’s some great ones.

'You Don't Get Many Songs Like That': Liz Rose on Co-Writing Taylor Swift's 'You Belong With Me' Chorus

One of Taylor Swift’s secret weapons in her early hit-making days was Nashville songwriting veteran Liz Rose, who co-wrote a number of Swift’s best and biggest early hits, including “Teardrops on My Guitar,” “White Horse” and “You Belong With Me.” The latter went all the way to No. 2 on the Billboard Hot 100, and established the country star as a major pop player. “It’s really fun to start a song, and you can just hand it to the room, and they all start singing it,” Rose tells Billboard of the enduring smash, whose explosive shout-along refrain we just named the 20th-best chorus of the entire 21st century. “You don’t get many songs like that.” After Swift wrote third album Speak Now entirely on her own, she and Rose only collaborated once more – on 2012’s Red highlight “All Too Well” – but the latter has remained an in-demand country and pop songwriter, even winning a Grammy in 2016 for her work on Little Big Town’s surprise crossover hit “Girl Crush.” Rose spoke to Billboard about her memories of co-penning (and later performing) one of Swift’s early signature hits. Q: Was the chorus the first part of the song that came together? A: We always started at the beginning. It just flowed out, honestly. She’s so fast. And Taylor kind of knew – she came in with [sings] “You’re on the phone with your girlfriend…” And it just kind of flowed into that chorus. Q: Are there individual strengths that you and Taylor have as co-songwriters, where you put your emphasis on one part and she does another? A: We were always back-and-forth. She comes in with the story and the melody – I truly believe that she heard the production in that song while we wrote it. And that song always amazes me, because when I do writers’ night and I try to play it, I always make the audience sing it – or I make girls get up to sing it. And that chorus – it’s impossible to sing! I don’t know how she did it. Well, I mean, she’s young and she has a great voice. But the high-reaching [parts of the chorus]… usually I just stop and let the audience sing it. I’m like, “Y’all take this, I can’t do it!” Q: Was there a part of the chorus that once it came together, you guys knew you were good to go? A: Oh, man, just the way it flowed so fast. And I loved the way that it was [only] half of the chorus the first time – have you noticed that? I just think that was so cool, the way we did that. Q: It does seem like something you guys did a number of times together – where the chorus does shift as the song goes on, and by the third chorus, there’s a key word or phrase that gets turned on its head a little. What do you think the power of doing that is? A: It makes you want to stay until the end of the song. And I think that it makes a song more personal. It does it in [Fearless single] “White Horse,” and it does it in “You Belong With Me.” It just makes the listener feel like the writer and the artist care about the song – that they’re like, “Okay, you’ve heard it, but wait a minute – ‘cause I want you know that this really affected me, I’m gonna dig the knife in just a little bit deeper.” We were never through writing a song until we were through writing a song. Until the last line. Q: I noticed listening to the song recently that it almost sounds like a ‘90s rock song, the way the verses explode into the chorus. Was that something you guys were intentionally going for, or just how it came together? A: I think it was there when we were writing it. We wrote it, like, the day before she cut it. And she, I believe, wanted to make sure she’d written everything she could write for the record before she finished cutting it. So I think she came in wanting to write an up-tempo [number], and came in with that story, wanting to write this really fun, fast, driving song. And you can hear it in the guitar, in the work tape. Q: Do you think this is the best chorus you and Taylor ever did together? A: Absolutely. When I go out and do it – when I don’t even have to sing it [Laughs] – it’s pretty awesome! There’s a lot of joy in it. It’s really fun to do live, it’s really fun to watch young girls to 50-year-old women get up and sing it. Q: Do you have a favorite chorus of the 21st century, or a song that comes to mind when think of a great 21st-century chorus? A: Oh, gosh. Well “Girl Crush,” of course. [Laughs.] But that I didn’t write? Taylor’s song “We Are Never Ever Getting Back Together.” I mean, that song is amazing. And [Florida Georgia Line’s] “Cruise.” Think about what “Cruise” did, with FGL. Just that it makes you want to sing it, whether you’re a fan of theirs or not, it doesn’t matter. That song, it had a big impact on country music. And “Mama’s Broken Heart,” Miranda [Lambert], that Kacey [Musgraves] wrote. There’s some great ones.

Okay, so, Darcy Lewis is no stranger to your average girl crush. This is the twenty first century, after all, and girls are girls. Which is to say - way more to recommend them, on your average day, than most dudes. If nothing else, they smell better.

Pepper Potts, though? Not a girl. And, Darcy is starting to realise with a sinking feeling that feels a lot like doom, not so much a crush, either.

Darcy has this thing for tracing events. It’s the political scientist in her, maybe. Some shit in your life happens, and you grab the thread and trace it back through the tapestry of your life. She doesn’t need her internship if she’s better at planning her course credits. She doesn’t tase Thor without the internship. She doesn’t get brought into the SHIELD fold without Thor. She doesn’t get hired for the Avengers PR team once SHIELD turns out to be full of Nazis without being with SHIELD in the first place.

She doesn’t meet Pepper without being on that team.

It’s nearly ten at night when she shoulders her way into the older woman’s office, tablet clutched in one hand, armful of baked goods in the other. “Raided a proposal meeting at lunch. I’m like, ninety percent sure no one was fundraising for charity with the cupcakes.”

“I’ll write a check,” Pepper replies absently, not looking up from her own tablet. Her elbows are resting on the desk, fingers threaded through her hair, and - and it’s not an image that should make Darcy want.

“For me? You shouldn’t have.” Really, it’s not dissimilar to dealing with Jane in the middle of Sciencing, except Jane doesn’t make Darcy’s heart skip a beat when she looks up and gives her a tired smile.

“Sorry, Darcy. I zoned out there for a moment.”

“Totally understandable. What with it being closer to midnight than it should be, and all. Have a muffin, I’ve got like, ten.”

“You aren’t my secretary, you know.”

“You make your secretary fetch you baked goods? What is this, the fifties?”

Pepper laughs, soft as her smile and twice as exhausted. She takes a muffin, though, double chocolate. Darcy is pretty sure they both notice the way her gaze lingers too long as Pepper absently licks the frosting off her thumb.

She winces, waiting for the Potts Patented look of careful guardedness, the firm but easy dismissal.

Pepper clears her throat, straightening. She flips the cover over on her tablet, shaking her hair back over her shoulders. “You know what, I think I’m done here. But the cafe in the lobby is still open, if you wanted to get a drink with me.”

“Like a date?” Darcy blurts, and just barely manages to avoid hating herself for it because there’s definitely a charge in the air. She might not be an actual scientist, but she knows chemistry when she feels it, all right?

Pepper’s smile now has all the exhaustion stripped from it, and it lights up the room. “Don’t be silly. I wouldn’t take you to a cafe for our first date.”

The smile is contagious. Darcy feels it creep onto her face, settle in her voice like it belongs there. “Oh, really? So where would you take me?”

Score for Lewis and innuendo, teaming up to win a faint blush across the bridge of Pepper’s nose.

“If you’re free tomorrow at seven, I’ll show you.”

Score for Potts and firing right back. Darcy knows that Pepper has a call with the Australian office at seven tomorrow, because she’s a little over-invested. She also knows that Pepper is a big CEO who can make her own decisions, and also that she herself is in no way unselfish enough to pass this up.

“Hey, barring the Avengers blowing something up, I’m free as a bird.”

They look at each other.

“I’ll clear a back up time,” Pepper suggests, and Darcy laughs right up until the moment the older woman brushes a kiss over her cheek. Except it’s really more the corner of her mouth, and Darcy, usually unable to shut up, momentarily forgets what words are.

“Coffee?” Pepper says brightly, and her body just barely rasps Darcy on her way to the door. One of the cupcakes dies for the cause as Darcy accidentally squeezes it a little too tight.

“You’re a bad woman,” she accuses, catching up.

Pepper doesn’t even need to say anything. That damn smile does it all for her.

I’m loving the current season of Doctor Who so far: funny woc lesbian companion (whose first episode is all about her massive crush on a girl stretching across time and space), 19th century London, a spooky house, and the horrifying death void of space (and I just finished episode 5, got a couple more to go but not tonight)

Sunday blarbs

I have a rule in this house.  On Saturday and Sunday NO ONE is allowed to wake up before 9am… (or at least don’t wake ME up before 9am.)  Normally, this is never an issue.  We are a family of very enthusiastic sleepers.  

Not only have I now broken this rule… I’ve broken it TWICE.  

For the second day in a row, I was up at a bright and sparky 6:30am.  

WHAT IS WRONG WITH ME!!!?????  

My being upright at that hour of the day is against my very being….

and what’s even more dark and twisty? I feel rested and chipper!

…. for a minute anyway and then I had breakfast.

A big one.  

2 eggs, ½ english muffin w/goat cheese and chia seed, and 2 slices center cut low sodium bacon.  390 calories

It was “worth every single calorie” delicious.

Then I cleaned… again… ick.  

Up next?  

Me in T-minus 2 minutes

awwwwwwhhhh  yeeeeaaaaah