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      today my topic is top 10 hottest women in the world . my name is shivraj . I am a 11th student . top 10 hot girl in the  world if you injoy this blog plz share and do the comment . lest get start .



                

Top 10 Hottest Women in The World

The mainstream media holds many women who are great with their beauty, sensuality, personality and talent. These women have a certain class and charisma that differs them from the rest. Likewise, here we have created a list of top 10 most beautiful and hottest women in the world as of 2018 in the mainstream culture.
 

     1. Candice Swanepoel

So these are the hottest and sexiest women in the whole world. They have been ranked according to their worth, popularity and ranking in several associated industries.

2. Scarlett Johansson

She has been considered as one of the most talented actress in Hollywood. She has rose to a high popularity and her worth has increased to a great extent in Hollywood. She has starred in several science fiction movies lately. She is blessed with a gorgeous look and she is one of the hottest and sexiest women.

3. Katy Perry

She moved to Los Angeles to pursue her career in music. She started gaining popularity after her debut ‘I kissed a girl’ went viral. Besides her success in the music industry, she has great look. She has also flaunted her body in some of her music videos.

4. Irina Shayk

Irina Shayk is a successful fashion model. She has worked with several big brands and fashion magazines. She got her pass into the world of fashion modelling after she was the winner of Miss Chelyabinsk in 2004. Irina Shayk has a beautiful and tempting look, she also has a great body.

5. Jennifer Lawrence

She has starred in many Hollywood movies and TV shows. Her breakthrough is considered to be with the 2011 X-Men movie. She is also one of the hottest women 2018 as she has a sexy body and looks.

6. Zooey Deschanel

Zooey Deschanel is an actress, model, singer and songwriter. Her father is an award winning cinematographer and her mother is an actress too. She gained a high popularity after she played in the movie ‘Almost Famous’. Zooey Deschanel has also produced songs and albums which are featured in some TV shows and movies that she has played in.

7. Alessandra Ambrosio

she has also received offers for Victoria’s Secret campaigns. She was listed 6th in the list of highest paid models by Forbes.

8. Jessica Alba

Jessica Alba mesmerises everybody with her sensuality and sexy looks. Besides having great success in TV shows, she has starred in many Hollywood movies which have turned out to be blockbusters. Due to this, she has received multiple awards. Besides being one of the sexiest women in the world, she is also one of the world’s sexiest celebrities.

9. Mila Kunis

She attended acting school to pursue her career in the film industry. She has starred in many TV shows and Hollywood movies. Mila Kunis is one of the hottest women in 2018.

10. Cara Delevingne

She also has a delightful personality too which has led her to have a great fan following. Cara Delevingne is also known for her catwalks on Victoria’s Secret fashion shows.

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The First Sex

The First Sex is a 1971 book by the American librarian Elizabeth Gould Davis, considered part of the second wave of feminism. In the book, Gould Davis aimed to show that early human society consisted of matriarchal "queendoms" based around worship of the "Great Goddess", and characterised by pacifism and democracy. Gould Davis argued that the early matriarchal societies attained a high level of civilization, which was largely wiped out as a result of the "patriarchal revolution". She asserted that patriarchy introduced a new system of society, based on property rights rather than human rights, and worshipping a stern and vengeful male deity instead of the caring and nurturing Mother Goddess.
These views of Gould Davis on a Great Goddess predominating in Neolithic Europe and the Near East are similar to those made by a number of writers in the early and mid 20th-century, including Eric Neumann,^[1] Thorstein Veblen, Merlin Stone, Robert Graves, Marija Gimbutas, J. J. Bachofen, Walter Burket, James Mellart, Robert Briffault.^[2]
Although many of her views are considered unsupported by most anthropologists and archaeologists today, a number of writers have continued to develop the themes that Gould Davis originated.^[3]

Synopsis

The "Gynecocratic" World

In the first part of The First Sex, Gould Davis used evidence from archaeology and anthropology to support a theory of matriarchal prehistory. The chapters in this section of the book focus on individual parts of the evidence for peaceful matriarchal queendoms: three are titled "Mythology Speaks", "Anthropology Speaks" and "Archaeology Speaks". Gould Davis said that the "loss of paradise" when the "Great Goddess" was replaced by a vengeful male deity is the theme of all surviving myth. She argued that evidence from the Neolithic site at Çatal Hüyük showed there to be no wars or even violent death, and that even physical injury to animals may not have been permissible there. She pointed to other parts of the Mediterranean in which female tombs are preserved more carefully than male ones, and took this to be evidence of female primacy. In "Anthropology Speaks", Gould Davis focused on taboos, chiefly incest, and aimed to show how taboos against brother-sister relationships acted to protect women against violent men. She also argued that menstrual blood was originally sacred rather than polluting or "unclean", and that only when people began to eat meat did men become bigger than women, because of selection of weak women by men.

The Patriarchal Revolution

In this section of the book, Gould Davis examined how mythology and society changed as a result of a suggested violent conversion from matriarchy to patriarchy. Her theory proposed that patriarchal revolution resulted from the violent invasion of nomadic tribes who were warlike and destructive, overrunning the peaceful, egalitarian matriarchies. These nomads (Semites from the Arabian Peninsula) are argued to have never achieved a civilization of their own, but only to have destroyed or taken over older ones. Gould Davis asserted that many tales in the Old Testament were actually rewritings of older stories, with goddesses changed to male actors, or a goddess raped or overthrown and her powers usurped by the new father deity. This, she suggested, was part of a concerted effort to wipe out all evidence of female authority. Because the violent invaders wished to establish the a patrilineal system of inheritance, rigorous control of women's sexuality became paramount. Thus women's right to sexual pleasure was redefined as sinful, and virginity was conceived of as a property right of a woman's father or husband. Gould Davis discussed female circumcision as a means to protect the virginity of women and assure clear lines of paternity. This practice is described in the book in graphic detail, as performed with unsterilized instruments, without anaesthesia (conditions pertaining to all surgical practices before the nineteenth century).

Pre-Christian Women in the Celtic-Ionian World

In this part of the book, Gould Davis focused on the role of women in the ancient civilizations of Crete and Mycenae. Her research suggested to her that, as in her model of prehistoric civilization, women were the primary powers. The book saw the Cretan and Mycenaean civilizations as remnants of the ancient pre-Christian Celtic culture, which Gould Davis also believed to have granted women a great deal of power. She claimed, for example, that the monarchy was matrilineal, and that most of the tribal chiefs were women rather than men.
Gould Davis claimed that Greek women possessed rights that are presently denied by the Catholic, Orthodox, and conservative Protestant churches, such as the rights to abortion and divorce. She cited many well-known historians to support these claims. She also argued that women participated in almost all aspects of ancient Greek and Roman society, including government, learning and sport. In the following chapter, "The Celts", she argued that similar rights prevailed until the collapse of the Roman Empire, for a matrilineal system of monarchical descent, and for Celtic women being the major preservers of learning during the early Middle Ages.

The Tragedy of Western Women

The final part of The First Sex focused on the period since Christianity became the state religion of the Roman Empire in 313 A.D. Gould Davis aimed with this part of the book to show how Semitic myths of male supremacy were preached by the early Church Fathers to a Pagan people who would not believe them and did not take them seriously until Constantine became emperor. Gould Davis believed that the writings of Paul in the New Testament were used by the Church to justify violence against women, leading throughout the Middle Ages to a level of cruelty and barbarity unheard of in previous ages. Gould Davis believed that once Christianity had attained civil power, the demotion of women and the "terrible materialism that marks and mars our present civilization" were inevitable. She argued that the influence of Mary as a "Goddess" grew as the violent imposition of Christianity erased the ancient Goddess religion. Quoting Jules Michelet, Gould Davis argued that women by the fifteenth century were treated so badly by men of all social classes that they were seen as "worse than beasts". The Church, she said, approved of this domestic violence, and brutality to women extended beyond families to the priesthood, who cited the Bible to justify themselves.
In Gould Davis's view, the status of women was only improved briefly by the Reformation and a flowering of learned women during the sixteenth century. Afterward, Puritanism's witch-hunts and a strengthened papacy placed women back in the same level of submission, and women were tortured and studied in the most prurient manner for "witch marks". Millions of people, she said, most of whom were women, died by burning, drowning, hanging, or from torture during the Catholic and Protestant Inquisitions.^[4] In Gould Davis's view, the seventeenth and eighteenth centuries marked the first time Western women accepted their own inferiority, and before Mary Wollstonecraft nobody spoke up for them. Gould Davis made a special effort to show how the minds of women were subjugated during the seventeenth, eighteenth, and nineteenth centuries.
In the last part of The First Sex, Gould Davis attempted to show the beliefs used to subordinate women to be myths, contending that in reality women are stronger, and physically, mentally, and morally more than equal to men; and that the survival of humanity depends on the restoration of women to their former position as rulers of society. Gould Davis argued that patriarchal civilization is destroying itself, and that only the values of the "matriarchates" can save humanity, because a society based on the mechanistic, Cartesian duality of dominant and violent males leads inevitably to a focus on technology and gadgetry rather than on loving human relationships.

Advocacy for future matriarchy

Gould Davis called for "the matriarchal counterrevolution that is the only hope for the survival of the human race^[5] and opined that "spiritual force",^[6] "[m]ental and spiritual gifts",^[6] and "[e]xtrasensory perception"^[6] will be more important than "physical force",^[6] "gifts of a physical nature",^[6] and "sensory perception",^[6] respectively, so that "woman will again predominate"^[6] and that "the next civilization will ... revolve ["about"] ["divine woman"]",^[6] as it had in the past that she asserted.^[6]
According to critic Prof. Ginette Castro, Gould Davis proposed a discourse "rooted in the purest female cauvinism"^[7] and seemed to support "a feminist counterattack stigmatizing the patriarchal present",^[8] "giv[ing] ... in to a revenge-seeking form of feminism",^[8] "build[ing] ... her case on the humiliation of men",^[8] and "asserti[ng] ... a specifically feminine nature ... [as] morally superior."^[8] Castro criticized the essentialism and the assertion of superiority as "sexist"^[8] and "treason".^[8]

Influence and criticism

Since its publication, there has been criticism of The First Sex. In Goddess Unmasked,^[9] Phillip Davis argued that the assertions by Gould Davis and Marija Gimbutas are severely distorted at best, that serious study of artifacts in Europe and Anatolia does not support the idea of a peaceful matriarchy, and that there is no evidence for a female monotheism of the type advocated by Gould Davis. Similarly, in her 2000 book The Myth of Matriarchal Prehistory, Cynthia Eller attempted to show that, not only is Gould Davis's theory of prehistoric matriarchal queendoms unsupported by archaeological evidence, but even if it were true, it would not give women any more hope for a just and equal future, simply because replicating the ancient past in today's world is not feasible. She did, however, accept the notion that some Neolithic and Bronze-Age societies centered around female deities: “Certainly we are aware of numerous cross-cultural instances of goddess worship accompanied by widespread use of … [female] figurines, so this is one of the most likely explanations of the Neolithic figurine assemblages.” Continuing, she wrote, “Especially persuasive is the fact that goddess figurines — and larger-scale goddess images as well — exist in later cultures in the same geographic area” as the prehistoric figurines (p. 139).
In a partially sympathetic review, Ginette Castro wrote, "For this obscure librarian from Florida, myth is historically true" . . . "Elizabeth Gould Davis's historical reconstruction depends a great deal on drawing morals from the tale, and is filled with numerous, glaring extrapolations. However, the argument is so skillfully and ingeniously woven that the woman reader cannot help but be swayed." "Although it is difficult to grant the book any immediate practical value, it must be recognized that it has a cultural interest, that of exposing the sexual substrata of our culture."^[8]
Other writers with a feminist orientation have, however, reviewed the book more harshly. Kay L. Cothran, in the Journal of American Folklore, wrote, "the book is an example of folklore misapplied" . . . "The problem of evidence runs throughout the book, which is heavily footnoted and jammed with quotations. The difference between citations and evidence has not impressed itself upon [Gould] Davis. Her notes come from a librarian's search, not a scholar's research. For [Gould] Davis, a reliable source is one that agrees with her; one that disagrees is a part of the conspiracy." "So the kindest thing one can say for [Gould] Davis' folkloristic and general scholarly competence is that it does not exist. It is unfortunate that she buries some sound information under such piles of rubbish."^[10]
In a similar vein, Amy Hackett and Sarah Pomeroy, in Feminist Studies, wrote, "Unfortunately, The First Sex is a bad book, as we shall demonstrate. Yet it deserves more than a perfunctory dismissal." "The book's extravagant disorganization makes the job of summarizing nearly impossible." "It typifies [Gould] Davis's method that her 'historical' chapters reflect an inverse relationship between what available sources, documents, statistics, and the like allow us to know about women in a given period and the space she devotes to that period. Some excellent sources do exist for women's history, but [Gould] Davis prefers to rely on the obscure, idiosyncratic, and piquant, ignoring more substantive sources." . . . "until historians reject old-fashioned science and opt for intuition, [Gould] Davis's brand of history will be unacceptable."^[11]
According to Castro, the book "undeniably" encouraged women to study their history.^[7]

virat kohli story

Virat Kohli ( pronunciation (help ); born 5 November 1988) is an Indian international cricketer who currently captains the India national team. A right-handed top-order batsman, Kohli is regarded as one of the best batsmen in the world.^[1] He plays for Royal Challengers Bangalore in the Indian Premier League (IPL), and has been the team's captain since 2013.

Born and raised in Delhi, Kohli represented the city's cricket team at various age-group levels before making his first-class debut in 2006. He captained India Under-19s to victory at the 2008Under-19 World Cup in Malaysia, and a few months later, made his ODI debut for India against Sri Lanka at the age of 19. Initially having played as a reserve batsman in the Indian team, he soon established himself as a regular in the ODI middle-order and was part of the squad that won the 2011 World Cup. He made his Test debut in 2011 and shrugged off the tag of "ODI specialist" by 2013 with Test hundreds in Australia and South Africa.^[2] Having reached the number one spot in the ICC rankings for ODI batsmen for the first time in 2013,^[3] Kohli also found success in the Twenty20 format, winning the Man of the Tournament twice at the ICC World Twenty20 (in 2014 and 2016). In 2014, he became the top-ranked T20I batsman in the ICC rankings, holding the position for three successive years until 2017. Since October 2017, he has been the top-ranked ODI batsman in the world and is currently the leading batsman in the Test rankings.^[4] Among Indian batsmen, Kohli has the best ever Test rating (937 points), ODI rating (911 points) and T20I rting (897 points).
Kohli was appointed the vice-captain of the ODI team in 2012 and handed over the Test captaincy following dhoni's Test retirement in 2014. In early 2017, he became the limited-overs captain as well after Dhoni stepped down from the position. In ODIs, Kohli has the second highest number of centuries and the highest number of centuries in run-chases in the world. Kohli holds numerous Indian batting records including the fastest ODI century, the fastest batsman to 5,000 ODI runs and the fastest to 10 ODI centuries. Among the T20I world records held by Kohli are: the fastest batsman to 1,000 and 2,000 runs,^[5]most runs in a calendar year and most fifties in the format. He also holds the records of most runs in a single tournament of both the World Twenty20 and the IPL. He is the only batsman in history to average over 50 in Tests, ODIs and T20Is simultaneously.^[6]
Kohli has been the recipient of many awards such as the Sir Garfield Sobers Trophy (ICC Cricketer of the Year) in 2017; ICC ODI Player of the Year in 2012, 2017 and Wisden Leading Cricketer in the World in 2016, 2017.^[7] He was given the Arjuna Award in 2013, the Padma Shri under the sports category in 2017^[8] and the Rajiv Gandhi Khel Ratna, the highest sporting honour in India, in 2018.^[9] Alongside his cricket career, Kohli co-owns FC Goa in the ISL, the IPTL franchise UAE Royals and the PL team Bengaluru Yodhas. He also has other business ventures and over 20 brand endorsements. Kohli is ranked as one of the world's most famous athletes by ESPN^[10] and one of the most valuable athlete brands by Forbes.^[11] In 2018, Time magazine named Kohli one of the 100 most influential people in the world.^[12

YouTube SuccessStory

YouTube is a video hosting platform that allows users to upload videos which include self generated music clips, educational videos, TV clips and amateur content such as video blogging. It is also a platform for music companies and corporations to release official music videos, movie trailers and also business advertising. Today it supports up to 1080p resolution and the duration limit is fixed at 15 minutes. There were more than 14 billion views on YouTube in the month of May 2010.

Three early employees of PayPal, Chad Hurley, Jawed Karim and Steve Chen founded YouTube in 2005. There are conflicting stories about what was the context and inspiration in founding YouTube. Some say that they were inspired by the difficulty in sending a video file via email. Others say that they started YouTube influenced by the website Hot or Not and were planning to make a video version of an online dating site.




Well the YouTube domain was registered in February 2005 and the site went live in May. YouTube became a huge success owing to the word of mouth appreciation it received. It offered a beta version in May 2005 but secured $3.5 million from Sequoia Capital and made an official launch in November 2005. It was followed by an $8 million funding during April 2006.

Google inc Success Story

Every day, hundreds of millions of Internet users type search terms into the address bar of their browsers and come face to face with meaningful information. While this everyday task may seem simple and unremarkable, it would be impossible without the innovative thinking of one Internet company: Google. Known around the world as a leader in online search, Google has grown into one of the biggest companies on the Internet.



Boasting up to ninety percent market share in many countries, the giant search company owns one of the most popular websites on the entire Internet – the instantly recognizable Google.com search page.





Despite Google’s current dominance of search, the company hasn’t always been a major leader. Developed in the late 1990s as a Stanford University computing and data research project, Google’s founders –  sergey brin and  larry page – invented a unique way of judging the usefulness of online data known as Page Rank.

Love Story (song)

Background

In Swift's words: "This is a song I wrote when I was dating a guy who wasn't exactly the popular choice. His situation was a little complicated, but I didn’t care. I started this song with the line, 'This love is difficult, but it's real.' When I wrote the ending to this song, I felt like it was the ending every girl wants to go with her love story. It's the ending that I want. You want a guy who doesn’t care what anyone thinks, what anyone says. He just says, 'Marry me, Juliet, I love you, and that's all I really know.' It's sort of told in a character kind of thing, where it's Romeo and Juliet, and it's not me saying that I'm getting married or anything...but I think it's fun to write about it." Swift has said things that imply that this was written about the same person "White Horse" was written about.^{[citation needed]}

Composition

"Love Story" was first released as the debut single off Swift's second album, Fearless, in 2008. In an article for Billboard, Swift described "Love Story" as "a love that you've got to hide because for whatever reason it wouldn't go over well. I spun it in the direction of ; our parents are fighting. I relate to it more as a love that you cannot really elaborate on — a love that maybe society wouldn't accept or maybe your friends wouldn't accept."^[3]
The song is a mid-tempo, backed by  . In the lyrics, the narrator alludes to Romeo and Juliet and to describe a lover whom her father will not let her see. In the end, however, the father reconciles and the lover proposes to the female narrator. The proposal is accompanied by a modulation in key up a tone, from D to E. Swift has repeatedly mentioned in interviews that the song was written around the lyrics, "This love is difficult, but it's real."
The Pop Mix replaces the Country-style instruments (i.e. the banjo) and adds a heavier bassline, a drum loop, and heavier electric guitars.
The International Radio Mix is a hybrid mix of the album version and pop edit, keeping the storybook theme of the original song with a pop overtone arrangement.
In June 2009, Swift performed "Thug Story," a parody of "Love Story," with for the  . In October 2009, Swift performed "Love Story" on .

Critical reception

The song received a mostly positive response from critics. Jim Malec of The 9513 gave "Love Story" a thumbs-up rating. Although he said that the song had a "wonderful, idealized ending" and that it seemed to comprise too much of a plot line for a four-minute song, he nonetheless made note of the lyrics, saying, "the complications and difficulties surrounding her affair are just as grave as Juliet's... the fact that Swift, arguably the genre's biggest star at the moment, has done so here is a breath of fresh air, even if the song does otherwise follow a disappointingly unoriginal pattern." He added, "None of these criticisms, however, will have a major impact on the song’s effectiveness, or on its ability to strike a resonant chord with its intended audience... what's more, 'Love Story' shows an artist willing to take chances by venturing from the format’s standard song structure, and to let her personality shine through–even if the lyric generally follows a well-worn path."^[4]
Nick Levine from the UK website gave the song 3 stars and praised Swift for knowing her "way to a radio-friendly chorus" and stated she "has enough charm to pull off lyrics that essentially rewrite Romeo & Juliet with a happy ending". He concluded his review of the song by saying "Like a  rom-com, this is completely corny but hard not to like".^[5]
However, the story of Romeo and Juliet is intended to be considered a tragedy as opposed to a love story. There are some who feel the song misrepresents the original ideals of the story and creates a widespread miseducation of classic literature.
On November 10, 2009, Swift was awarded with the  Award for "Country Song of the Year."^[6]
Both the pop and original country versions of the song were used in the trailer for the 2010 film .

Love Story" (2008)

Writing and inspiration

"Love Story" came along late into the production of Fearless.^[4] Swift wrote "Love Story" about a man who was never officially her boyfrind. When she introduced him to her family and friends, they did not become fond of him.^[5] "His situation was a little complicated, but I didn't care", said Swift.^[6] Swift also felt like it was the first time she could relate to the plot of William Shakespeare's Romeo and Juliet (1597), one of her favorite narratives, which she described as, "The only people who wanted them to be together were them.^[5] She conceived the idea for the song when she reflected about the scenario: "I thought, 'This is difficult but it's real, it matters—it's not simple or easy but it's real'." She then centered the song on the line, which was ultimately placed in the "Love Story"'s second refrain.^[7] All events, with the exclusion of the end, narrated in the song regarded Swift's actual story. The song's conclusion differed from that of Romeo and Juliet. "I feel like they had such promise and they were so crazy for each other. And if that had just gone a little bit differently, it could have been the best love story ever told. And it is one of the best love stories ever told, but it's a tragedy." Instead, she chose to write a happy ending.^[8] She took her favorite characters and conceptualized the ending she believed they deserved.^[9] She perceived it to be the ideal ending that girls hoped for, including herself.^[7] "You want a guy who doesn’t care what anyone thinks, what anyone says." Although it was fictional, Swift said it was an enjoyable experience to write about.^[6] Swift wrote the track on her bedroom floor in approximately twenty minutes, feeling too inspired to put the song down unfinished.^[5]
Swift and her love interest continued their relationship, but then separated because it was hard for them to see each other.^[8] To Swift, the song resembles much optimism regarding love and how encountering the right person could surpass skepticism.^[9] She deemed "Love Story" one of her most romantic songs, although she was never in an official relationship with the subject of the song^[5] In retrospect, Swift said the song is "about a love that you've got to hide because for whatever reason it wouldn't go over well", adding "I spun it in the direction of Romeo and Juliet. Our parents are fighting. I relate to it more as a love that you cannot really elaborate on — a love that maybe society wouldn't accept [or] maybe your friends wouldn't accept."^[10]

Recording

 

Swift performing "Love Story" on the Fearless Tour.

"Love Story" was recorded in March 2008 at Blackbird Studios in Nashville, Tennessee, alongside record producer Nathan Chapman and various personnel.^[11] Swift sang into an Avantone CV-12 multi-pattern tube microphone, manufactured by Avant Electronics. The microphone had a new old stock tube that was designed and built by country singer, record producer, and audio engineer Ray Kennedy for Chapman. Chapman had received the microphone from Kennedy as a loan, as a "try this for a while" experiment. Although he previously had tested numerous microphones on Swift, he had not been able to find one to match her voice perfectly. When Swift came to Chapman's home to record a radio edit for one of the singles from Taylor Swift, she immediately grew fond of the microphone.^[11] "When she put on the headphones and said, 'Test,' completely unprompted, she said, 'This is my mic. I love this mic. I just wanna use this one from now on!' She had no idea what it was, just loved it, and I went along with something that felt right for her. We've been using it ever since, and it sounds great on her voice," Chapman said.^[11]
"Love Story" was recorded with Pro Tools and tracking vocals, which Swift sang live with the band. The band consisted of acoustic guitars, bass guitars, and drums.^[1] All other instruments were overdubbed by Chapman. He said, "I think there are nine acoustic guitars on that track, and I stacked several background vocals — me singing, 'Ah's'."^[11] Audio engineering was executed by Chad Carlson in Blackbird Studios' Studio D, with the usage of the API Legacy Plus equipments: Avantone CV-12, Neve 1073, and Tube-Tech CL-1B. Audio mixing done by Justin Niebank and was set in Studio F, with the usage of the console Solid State Logic 9080 K series and Genelec 1032 console. In between, overdubs were executed in Studio E by Chapman.^[11] "Love Story", along with the rest of the album, was mastered by Hank Williams at MasterMix Studios in Nashville, Tennessee.^[1] The song was mixed for mainstream airplay by Chapman. He pulled Niebank's stems into his Mac OS laptop and used Apple Logic to create the pop version. Chapman made mix tweaks and created new elements with his laptop. In order to do so, he muted the country instruments and replaced them with new elements characteristic to pop music, replacing banjo and fiddle with electric guitar. The pop version's opening beat is a Logic loop in the Ultrabeat beat generator. All the new electric guitars were done with the Amplitube Stomp I/O.^[11]

Composition

	"Love Story" (2008) 0: A 24-second audio sample of Taylor Swift's "Love Story", a midtempo number that narrates from the perspective of the fictional character Juliet Capulet.
Problems playing this file? See media help.

"Love Story" is a country pop song with a length of three minutes and 54 seconds.^[12] It is set in common time and has a moderate tempo of 120 beats per minute^[13] It is written in the key of D major and Swift's vocals span one octave, from A₃ to B₄.^[13] Swift croons "Love Story" softly and sweetly,^[14][15] with a slight twang.^[16] It follows the chord progression D (add)₉–Asus₄–Bm–G⁶₉.^[13] The song is of a swirling and dreamy soprano. The melody is simple, containing a rushy pace which continually grows and concludes with a key change to E major.^[14]
The lyrics of "Love Story" are written in first person, in which Swift refers to herself as the Romeo and Juliet character Juliet Capulet and her love interest as Romeo Montague.^[16] Fraser McAlpine of the BBC described the song as a narrative, in which Swift is the narrator.^[14] The song's plot revolves a youthful romance foiled by parental disapproval. In the end, love prevails and the couple finds their "happily ever after".^[15] The first verse introduces the characters at a ball, where they meet.^[14] In the second verse, the story transitions to the couple sneaking about after dark^[14] and references Nathaniel Hawthorne's The Scarlet Letter (1850).^[17] The song's refrains have Swift waiting for her love interest to appear: "Romeo, take me somewhere we can be alone/ I'll be waiting/ All there's left to do is run."^[16] The song's final refrain has Swift narrating from Romeo's perspective^[18] and proposing marriage to Swift.^[6]

Critical reception

"Love Story" was highly acclaimed by critics upon release. Kate Kiefer of Paste magazine recognized the song to be Swift's best and added that once the lyrics are learned, it is impossible to not sing along.^[19] Sean Dooley of About.com credited the song for transitioning Swift from a "fresh-faced star to crossover superstar". Dooley attributed the song's commercial success due to her departure from her past lyrical themes, which summarized "I wish this boy knew how I really felt about him".^[20] While reviewing Fearless, Dooley selected "Love Story" as one of the best tracks on the album.^[21] Jonathan Keefe of Slant Magazine admired how Swift attempted to incorporate sophisticated elements, like Romeo and Juliet and The Scarlet Letter, although it was not successful because of its awkwardness, inexplicable nature, and pointless conceit. Keefe credited its success to its prominent hook.^[17] James Reed of The Boston Globe thought otherwise, stating Swift's charm was in her songwriting skills.^[16]
Fraser McAlpine of the BBC stated, "'Love Story' is a stunning pop song and, because it really does tell a love story, it's heart-warming and draws the listener into the exciting and romantic fairytale world."^[14] However, she felt Swift's vocal performance was not incredible, but was passionate to complement the song's sentiments. McAlpine resumed by stating that "Love Story", although obvious, a bit dramatic, and probably targeted towards younger audiences, was just lovely and that Swift proved herself a true princess of pop with the song.^[14] Chris Neal of Weekly called "Love Story" an "ebullient first hit."^[22] Deborah Evans Price of Billboard magazine gave the single a favorable review and called it an "enchanting offering". Price noted that "Love Story" demonstrates one of Swift's appeals, her writing and singing of age-appropriate material that can be both relatable to her audience and others. As a result, she predicted the song would have much commercial success in the country music industry.^[15] Alex Macpherson of British newspaper The Guardian described the song to be by a "joyous rush" that, according to him, was later replicated by Swift's own single "" (2010).^[23] of Country listed the song at number 17 on its list of greatest country songs of all time.^[24 In 2017, ShortList's Dave Fawbert listed the song as containing "one of the greatest key changes in music history".