And just like that, there is one episode left to premiere in The Summer I Turned Pretty. As someone who read the books and experienced the emotional turmoil that comes with watching this show, I find the fact that it’s ending to be extremely bittersweet. Also, as someone who is unapologetically Team Conrad, I find myself unsatisfied with the scraps of happily-together Belly and Conrad that we have been handed over the course of the season and the show as a whole (as anyone who I speak to on a semi-regular basis can attest to). What makes it easier, though, is the soundtrack Belly and Conrad’s moments have been afforded. There has been a lot of chatter online about the magnitude of The Summer I Turned Pretty’s music budget due to its inclusion of some huge artists; but author, showrunner and Swiftie Jenny Han has set the internet positively ablaze with the sheer amount of Taylor Swift she has infused in this show. Even more to the point is the number of Taylor Swift songs she has used to build up Belly and Conrad’s story. In celebration of the series that has occupied an embarrassingly sizable part of my brain since July 16, this Test Spin will be dedicated to the artist whose music has carried us through since episode one and the album that screams “Belly and Conrad” — Fearless (2008).
Fearless kicks off with its title track, in which Swift sings “We’re driving down the road / I wonder if you know / I’m trying so hard not to get caught up now / But you’re just so cool / Run your hands through your hair / Absentmindedly makin’ me want you” — a callback to the early days of Belly and Conrad. Fearless sees Swift still squarely in her country era — something that has caused many people to undervalue this record — but “Fearless” demonstrates exactly why country-pop Swift works, with its wide-eyed and hopeful lyrics and fun guitar break just before the bridge. “Fifteen” follows this same thread, depicting high school love in all its nostalgic (and sometimes hideous) glory. This track is absolutely underrated and has the perfect chorus: “'Cause when you’re fifteen and somebody tells you they love you / You’re gonna believe them / And when you’re fifteen, feelin’ like there’s nothin’ to figure out / Well, count to ten, take it in / This is life before you know who you’re gonna be / Fifteen.”
Next is “Love Story,” a classic and one of my favorites for obvious reasons. Swift knew her audience, so it makes sense that the “English teacher” would reference literature that just about everyone had to read in high school in such a beautiful way. I was thrilled that I got to listen to the original version of this song now that Swift finally owns her masters — the sound is so earnest and organic in its first iteration. While “Hey Stephen” clearly does not apply to Belly and Conrad, it certainly works for The Summer I Turned Pretty’s Taylor and Stephen! It is such a cute, sweet song, and while Swift’s vocals may not be at their peak yet, “Hey Stephen” is charming nonetheless. Of “White Horse,” Swift told Billboard: “It’s one of the songs that I am really proud of on the record because it’s so sparse — it’s guitar, piano and cello. It talks about falling in love and the fairy tales that you are going to have with this person, and then there is that moment where you realize that it is not going to happen.” “White Horse” brings the album back down to earth after a song like “Love Story,” grounded in its stripped-down sound and simplistic, lovely little bridge.
“You Belong With Me” is yet another iconic track; I truly cannot listen to it now without imagining listening to it during my childhood. In explaining the backstory of this song, Swift has said, “I had overheard a friend of mine talking to his girlfriend and he was completely on the defensive, saying [things like] ‘I love you more than anything! Baby, I’m so sorry.’ … So I came up with the first line … and I ran that into the storyline that I’m in love with him and he should be with me instead of her.” Meanwhile, “Breathe” is an acoustic moment featuring Colbie Caillat, and exhibits some of Swift’s best vocals on the album. We hear Swift get a bit frustrated in “Tell Me Why,” a bit of a deep cut with a more country-rock sound and stronger vocals.
“You’re Not Sorry” shines in its instrumentals, features a gorgeous build in the second verse and is a turn for the melancholy that’s vague enough to resonate with everyone in some way. This is exactly what makes Swift’s songs so ideal for a show like The Summer I Turned Pretty — any girl can relate to them somehow. “The Way I Loved You” is Belly and Conrad’s song — argue with the wall. Swift sings, “But I miss screaming and fighting and kissing in the rain / And it’s 2 a.m. and I’m cursing your name / You’re so in love that you act insane / And that’s the way I loved you” — it could not be more perfect for them. “Forever & Always” is about Joe Jonas, and while it might not be a sonic standout, she does call him out and call him a “scared little boy,” which I thoroughly enjoy. “The Best Day” is an ode to Swift’s mother and a sweet reflection on her childhood. “Change” is a powerful track from beginning to end about trying to make it in the music industry — and starting with Fearless, she did. After all, the opening notes of just about any of her songs elicit excited screams across the country as fans tune in for the new episode of The Summer I Turned Pretty each week — not many people have that effect.
Test Spins is a fortnightly throwback column reviewing and recommending classic and underrated albums from the past. It runs every other Friday.
Sydney Levinton is a junior in the College of Arts and Sciences. She can be reached at slevinton@cornellsun.com.
Sydney Levinton is a member of the Class of 2027 in the College of Arts and Sciences. She is the Arts and Culture Editor on the 143rd Editorial Board. She can be reached at slevinton@cornellsun.com.
