Taylor Swift’s fifth album—which, as has been (very) widely reported and commented upon, marks her first full-fledged “pop album”—is now upon us. And now that we’ve listened to 1989 in its entirety (three bonus tracks and three voice memos, included) many, many times, we have compiled the following list of our favorite moments, themes, lyrics, and other related material from this latest chapter of The Taylor Swift Story.

The pen-clicking sound at the end of the chorus of “Blank Space.”

None of the songs, seemingly, are about John Mayer, meaning we don’t have to again contemplate the Mayer-Swift “relationship.”

The chorus of “How You Get the Girl” is going to sound really good scoring some inescapable makeup commercial this winter.

“Wildest Dreams” sounds like the song version of a Lana Del Rey spec script, but, somehow, this is more endearing than anything else, coming from Swift (in the way most artists attempt, at one time or another, to mimic/emulate their slightly older idols/contemporaries).

Despite initial skepticism, “Welcome to New York” has grown on us significantly. (Full disclosure: we were out of the state for the past 10 days, and found ourselves responding much more favorably to the song’s weirdly sanitized, easy-breezy depiction of the city when we were not within it ourselves. By the time we got off our flight late Sunday night, bleary-eyed, greeted with some large red-block “WELCOME TO NEW YORK” signage at J.F.K., it took pretty much all our remaining strength to not Instagram a picture of it captioned, “It’s been waiting for me,” with an un-ironic smiley-face emoji.)

“IN THE CLEAR YET GOOD” (from the end of the chorus of “Out of the Woods”).

We can report from personal experience that “Shake It Off” is an almost criminally good wedding party song.

“Bad Blood” makes us want to run through the streets knocking over trash cans (in a (very) good way).

The repeated, yelped “stay” in “All You Had to Do Was Stay.”

The way she pronounces “white T-shirt” and “tight little skirt” in the chorus of “Style.”

The way she pronounces “tall” and “hell” in “Wildest Dreams.”

The album is extremely cohesive: all the songs are clearly of a piece. It’s almost like she wrote a thesis statement on a whiteboard (you know she has a whiteboard) two years ago (“I moved to New York and I’m single and I like to work out and crop tops are cool!”) and derived all of the songs from there.

That we are pretty sure she started consistently wearing a red lip this summer only so the “red lip” lyric in “Style” would track.

The way she dressed the entire summer, and during the promotion of this album, was also extremely consistent and appealing—it always looked like she had put some thought into what she was wearing, but less in a “try hard” way, and more in the manner of the coolest senior girl, when you were a freshman in high school, who always appeared immaculately put-together.

The lyric “the monsters turned out to be just trees,” from “Out of the Woods” (which, we would feel confident betting, at least 50 people have already gotten tattooed on their bodies).

That we now have Gchat fodder for the next three weeks, at a minimum

That we imagine Lorde emailed Taylor something like, “Hey tay, do you think I could get I Know Places for the hunger games soundtrack I’m putting together???,” and Taylor wrote back a super-thoughtful e-mail, declining, which Lorde never responded to, but which she couldn’t even be mad about because Taylor’s e-mail was really on point and courteous and prompt.

The use of the unusual “ex-man” and “ex-lover” in “Shake It Off” and “Blank Space,” respectively, which makes us never want to use the word “ex-boyfriend” again.

The spoken-word “hella good hair” from “Shake It Off” (we can’t help it, it charms us).

That everyone we have spoken with thought she was singing “Starbucks lovers” in the chorus of “Blank Space,” before realizing it’s “long list of ex-lovers.”

That everyone we’ve spoken with seems to have a different list of “fave songs.”

The self-awareness/wit of “Blank Space” (a lot of these are about “Blank Space,” huh? Well, it’s really good!).

That Harry Styles (the ostensible subject of a lot of these songs) seems like the kind of dude who probably doesn’t even realize this album has been released.

That one of the bonus tracks is titled “Wonderland,” which means that—let this sink in—there has never, in fact, been a Taylor Swift song called “Wonderland” before this point, which is very hard to believe and reminds us all to never make assumptions about anything.

That this promo cycle has led Swift to create, and consistently update, her (truly amusing) Tumblr.

That she decided to share three voice memos from the recording process of the album.

That the memos indicate that, when she initially floated the ideas for these songs to producers, they were very (to a semi-shocking extent) close to what would end up being their final forms.

The Nelly joke she makes on the “Blank Space” voice memo.

That—whereas most people spend the weeks after a breakup turning off their phones and mainlining television shows they don’t even like—Swift spent the immediate aftermath of the Styles breakup writing and recording the winning “All You Had to Do Was Stay.”

This Kelly Clarkson cover of “Shake It Off.”

That you can tell she actually had fun filming the “Shake It Off” music video (this can not be said about a lot of recent pop-music videos).

The way she touches her head while singing “I remember” at the 3:14 minute mark of this performance.

The way she peers out at her fans from inside her shower at the 1:46 minute mark of this video.

That “New Romantics” would be track No. 4, rather than a bonus track, on pretty much any other 2014 pop star’s album.

The lyric “Boys and boys and girls and girls” from “Welcome to New York.”

The lyric “Cause you know I love the players / and you love the game” from “Blank Space.”

That there is at least someone out there who thinks she is talking about James Deen, the porn star, not James Dean, in the chorus of “Style.”

That we are incapable of not singing along to the beginning of the chorus of “This Love” (“This love is good / this love is bad”) and its nursery rhyme-ocity makes us smirk every time.

That the “move the furniture so we could dance” line from “Out of the Woods” reminds us of the transcendent “we're dancing around the kitchen in the refrigerator light” section of Red’s “All Too Well.”

That the “foxes” reference in “I Know Places” makes us think of the fox sweater she wore when she was dating Styles, hands down the best thing to come out of that relationship.

That the album isn’t on Spotify (yes, this is definitely frustrating, in a logistical sense, but isn’t the fact that Beyoncé and Swift are powerful enough to shun Spotify sort of über-glamorous?).

That, somehow, “Bad Blood,” which is (almost definitely) about a very unrelatable, specific situation related to Katy Perry (Perry stole her dancers for her arena tour!) is perhaps the most wholly relatable track here.

That Katy Perry is almost definitely going to tweet an awkward response to “Bad Blood” within the next week.

That, for a fun game, you can imagine that any (or all) of the songs on this album are about Karlie Kloss.

That the (non-deluxe) album ends with a song called “Clean,” which just seems so Swift it hurts.

That we feel very confident Imogen Heap and Swift had a seven- to nine-minute discussion about scented candles during the recording of “Clean.”

That, for the rest of our lives, no one will have to use their phones to look up how old Taylor Swift is, when someone asks at a dinner party.

That the foreward in the liner notes ends with the phrasing, “From the girl who said she would never cut her hair or move to New York or find happiness in a world where she is not in love . . . ,” which makes us want to start over Sex and the City from the beginning.