Archive | November, 2022

Question… Fighting Drama, Queer Love is a Fight, the Masters & Kaylor are the Fight of her Life [Part 7]

30 Nov

Taylor wins the pronoun game.  I’m not even going to try to untangle the speaker/recipient/changing characters in this song.  It was written so convoluted that I haven’t even seen a satisfactory answer to this yet.  Instead, I took lyric snippets from other songs featuring the same word, to get a feeling about Taylor’s sentiment and even song-subject. Don’t get overwhelmed with the length of this post.  The word I’m trying to point-out from Question… lyrics is highlighted. 

Did you wish you’d put up more of a fight? (Oh)

Fight:

So many, so many…  It’s a pretty crucial and central piece of Taylor’s writing.

call it what you want

Me

Only the Young

Miss Americana and the Heartbreak Prince

paper rings

Afterglow

false god

Madwoman

my tears ricochet

Ivy

Evermore

Hoax

Emotions devolve with each mention of “fight.”  Taylor begins fighting other people.  In Call it What you Want Taylor’s reputation is bad due to Snakegate.  But there’s a lot of hope because Taylor’s baby loves her for who she is and sticks by her side despite the drama.  

In Me! Taylor acknowledges that she makes it all about her, which causes fights with her lover.  But she never wants the lover to leave her, she does care.

Taylor’s love life is linked to politics, because her lover’s beard is linked to the Trump clan.  When the U.S. becomes hyper-polarized and everything is politicized, Taylor can’t let her image be tainted by Republican evil.  Only the Young captures the fear of evil reigning, and Miss Americana and the Heartbreak Prince clearly ties political happenings to fights with her lover.  Not wanting to get caught up in bad politics hurts the WLW relationship because Karlie has ties to the Ku$hners, either contractually or for convenience/status/money. And Taylor is afraid because people are whispering, she’s a bad bad girl. They suspect she’s gay, and especially in this political environment, that is terrifying to her.

Paper Rings, Afterglow, and False God show Taylor’s emotional trajectory regarding the fights with her lover.  Paper Rings is upbeat and hopeful.  In Afterglow, Taylor takes responsibility for her part in the fighting.  She jumps to conclusions and gets paranoid.  And in False God, Taylor is dejected.  She is in hell when her and her love fight.

The Lover era is tainted by the master’s heist.  Taylor is angry at $cooter and $cott for stealing her lullabies.  Throughout the Lover album, Taylor still seems wistful about Kaylor.  She wants to lure Karlie back to her.  Taylor still loves her despite all the “fights and flaws.”  There is a distinct change in tone from Lover to the folklore era.  Taylor realizes or suspects something about her lover.  Madwoman and My Tears Ricochet are mostly lashing out at $cott and $cooter, but there are snippets about a lover’s betrayal in there too.

Madwoman

This is Karlie on $cooter’s yacht after the master’s heist.

My Tears Ricochet

I don’t know how involved the Ku$hners and/or Karlie were in the Master’s Heist. I don’t know if Taylor knows for sure, or just suspects foul play and betrayal by Karlie. In It’s Time to Go, Taylor was pretty explicit mention twin and crook who was caught. She knew fans would piece together that she was talking about Karlie. Yet, an album later, in Happiness Taylor mentions all the relationship troubles went both ways. Two people are to blame for the demise.

Ivy alludes to the fight of her life.  Taylor is talking about both the masters and Kaylor.  Evermore asks what she was fighting for, because ultimately she was double-crossed by this lover that she was so set on fixing things with.  Hoax is one of the saddest, most hopeless songs in all of Taylor’s catalog, and mentions her winless fight.  She is re-recording the masters, but she lost the girl.

Question… Too Trusting at Fifteen and Public Perception Evolves over 15 Years [Part 6]

29 Nov

But fifteen seconds later they were clapping, too?

Fifteen:

Fifteen

I think 15 is a deliberate choice.  Taylor is calling back to this song for good reason.  This incident where there is a kiss in a crowded room is similar in some ways to Taylor’s 2009 Fearless self.  In that early album, Taylor is full of hope, trust, optimism.  And as in the case of Abigail, you have to look before you fall in order to not get hurt.  You can’t blindly trust empty words as an adult, or you pay the price.  Taylor is saying she set herself up for disappointment by being naïve and open.  The Kaylor situation was fraught, and I’m not certain, but Taylor might be comparing this subject of Question… (Karlie?) to those senior boys that had ulterior motives.

Then, what did you do?

Did you leave her house in the middle of the night? (Oh)

House:

Seven

Betty

Ivy

House seems to be a physical place where someone lives.  But Taylor also uses “house” as the embodiment of a person and their sensibilities.  The house in Seven (is Taylor, I think, but could be the childhood friend) is haunted (gay? conflicted? imperfect?) 

Haunted

Taylor says she thought this girl was WLW.  There’s nothing to figure out with a boy.  That’s “normal”, accepted, expected. It’s not difficult to figure out if a boy likes you that way.  But if the love interest is a girl–is she friendly or flirty?  When Taylor can’t breathe in this gal’s absence, she knows it’s love.  Taylor discovers she loves a girl–she’s haunted.  She knows she’s gay.

Taylor is in a conservative city.  Country music is “traditional” and constrictive.  Taylor has religious imagery in some songs so her family might abide by the Bible, and that makes her feel conflicted about her sexuality.  She does not see her queerness as positive, she deems it a curse or jinx–she’s haunted.  And being haunted/gay makes the homophobic father mad.  Enter hiding in the closet-a lifelong defense mechanism. In Betty, passing by your house can mean both riding on a skateboard past someone’s home, and James passing by Betty, the person. When Taylor dares to act on this haunted part of her, there are real fears the husband will harm his wife (Taylor’s lover) and her. She has to be very, very sneaky about hiding the gay-affair, or He will burn their house of love down.

Middle of the night:

Untouchable

Taylor is contemplative in the middle of the night, all the way back to her country music days.  She worries about her decisions.  She anxiously fantasizes about her lover.

It’s still the central conflict: Taylor has to choose between authentic gay love and her career. When she slips and her true love is shown in public, the crowd goes crazy. Everyone has an opinion about it, which makes Taylor panic.

Taylor indicates there has been a change in societal acceptance over the last 15 years. Public perspective on homosexual acceptance between 2007-2022 shifted monumentally. At the beginning of Taylor’s career, you had to be closeted in order to make it. She was forced to hide her real self in order to make country music.

Now, ‘out’ artists go mainstream and hardly anyone bats an eye. Taylor painted herself into a corner. She had to trade-off queerness for fame, which involved closeting, dancing around the truth, and bearding. She’s been telling her audience the whole time that she feels trapped. Cages are common in Taylor’s lyrics and artistry.

So even though society is more open to queers in music, Taylor has to un-do some central and significant parts of her branding in order to live more openly and authentically. She would lose fans who felt she had been lying to them the entire time.

Question… shows that due to her own fear and internalized-homophobia, Taylor chose to be haunted in secret. She did not double-down and say, hey-Karlie is my lover! after Kissgate. Her anxiety got the best of her. But in the middle of the night Taylor agonizes about it. She wishes it was different. Taylor wants Karlie to be cool with having an exclusively private relationship so Taylor can have her and continue her music legacy.

or “leaving out the side door” as the case may be

The Squad Changes Taylor’s Image from Boy-Crazy to Friend

28 Nov

I’m not certain the entire squad assembled organically.  Sure, Brittany, Abigale, Emma Stone, Selena met Taylor in school and in her early work events.  But the sudden influx of models just might be P.R. trying to break the narrative that Taylor Swift is boy crazy.  Think for a moment if Taylor and her team realized she liked women and overcompensated to maintain her good girl, all-American image by arranging fake boyfriends (beards)?  It might look like a lot of short, sudden, superficial relationships with guys that benefit from promotion or other gays…

In order to do that we have to talk about “The Squad” and in order to do that I need to intersperse Taylor’s history with men:

Sounds like a Cowboy Like Me situation.

Here’s what else I found:

Showmance P.R.

Ugh-no quotes from this piece of $hit.

Cover for Dianna.

True or false?

The smartest thing you could do if you want to hide that you’re bisexual or gay (aside from bearding) is do a gay project.  It overwhelms the Google search and makes you look like an ally.  Insert:  

Or is it?

Look what else happened in 2011:

Showmance for P.R.

Maybe it was more about the house than the boy?

Uck.  Can you believe a woman wrote this?

8 queers wearing I love TS tanks…

Joe, Taylor, John, Jake, Connor, Harry, Calvin, Tom = 8 beards to this point

Two words:  Getaway Car.

So they were at the same event, him randomly (Mastermind) but I couldn’t find a picture of them together at any point…  

WHAT.

So Taylor is dating Calvin.  But danced with Tom and traveled everywhere together.  But also she met Joe that same night.  And then, lemme leave this here:

Another female writing this $hit?!  Shame on you.

Same ACM awards Karlie presents TS with song of the year:

Karlie and kelsea:

Simultaneously:

Question… Can the Ultra-Famous have Reeaal Friends? [Part 5]

27 Nov

Taylor wins the pronoun game.  I’m not even going to try to untangle the speaker/recipient/changing characters in this song.  It was written so convoluted that I haven’t even seen a satisfactory answer to this yet.  Instead, I took lyric snippets from other songs featuring the same word, to get a feeling about Taylor’s sentiment and even the song’s subject(s). Don’t get overwhelmed with the length of this post.  The word I’m trying to point-out from Question… lyrics is highlighted.  

Miss Americana showed me that Taylor is pretty isolated, and lonely much of the time. In the documentary I came away with the impression that the people around Taylor are mostly superficial. Brendan was distracted, for instance. Abigale is still Taylor’s friend, but things were stilted. They are in different places in life. Abigale has a family and Taylor’s super-fame is not relatable. They had little to talk about. Tree, Taylor’s publicist seemed like the most genuine, interested person, but she’s on the pay-role. The other people on Taylor’s team seemed harsh and judgmental. Their focus was the brand making money, not Taylor the person who has actual thoughts and feelings. Taylor’s love interest was seldom shown. It was weirdly secret, and when Taylor won her Grammy’s she had nobody to share her happy moment with. Taylor’s mom was the only person that was there for Taylor, the person. And I think Taylor’s super-celebrity status makes her alone in the world. Her idea of friends conveys this:

And every single one of your friends was making fun of you

Friends:

Dorothea

blank space

You need to calm down

paper rings

london boy

Lover

champagne problems

tis the damn season

the last great American dynasty

Archer

This is why we can’t have nice things

Closure

Taylor talks about 5 categories of friends, with many people overlapping in the categories over time.  There are famous friends, other queers, peripheral friends, betrayers, and a friend who became her lover.

There are strategic friends.  “You got shiny friends since you left town.” The friends are new, dazzling, and elevate status.  What Dorthea does not say is that the friends have a lot in common, are good listeners, or loyal.  I get the impression from the passing remarks that these relationships could be superficial or to be in a certain scene.   The friendships are for publicity, to get in a door, or just thrust together because they are in the same business.  In the highly satirical song, Blank Space, she casually says “let’s be friends.”  There is nothing real or authentic about it.  It’s not a friendship based on trust or mutual interests, it’s mutually beneficial.  Taylor is describing entering into a contract for the benefit of the media and general public, not a genuine connection.  

Then there are other queers.  Taylor feels their commonalities.  They are physically around where she lives, and in the industry.  They share similar experiences and struggles.  Though Welcome to New York doesn’t specifically say “friends” it has a similar tone to the rest of these songs.  

Welcome to New York

These people escaped their small towns and the homophobia so rife in them.  Many of them were estranged from family and had no one when they came to New York looking for a better life.  They put that angst, and the pain of being bullied for being gay, away and lived more authentically.  These people came together, and are coexisting in the same space, but Taylor doesn’t mention being especially close to any of them.  She is doing her own thing, and they are going about their business too.  They nervously and excitedly walk through the village realizing there are people like them.  They search for love–a unique experience given their childhood isolation and trauma.  And Taylor is right there with them, feeling the difference in acceptance between Nashville and New York.  In You Need to Calm Down, these friends are explicitly named as part of the queer community.  The homophobes are comin’ at them like a missile.  And Taylor is on the inside of the gay trailor-park, the same as the queer friends.  Though she isn’t close to any one person in this community, she gets it.  Taylor is one of the queers.

There are other people that are around during the important relationship.  In a lot of the songs, friends are relegated to the background, while Taylor and her Lover are centered in the lyrics.  In Paper Rings the friends were high the first night they met.  It’s like Taylor barely notices the friends because her love “blurs her periphery”-they are just inebriated people that can crash in the living room.  The friends are just there in songs like London Boy.  Champagne problems reiterate that the friends are fickle, not evergreen.  If something goes wrong, the friends aren’t there cheering.  Much like this song, Question…

The fourth category are betrayers.  I get major frenemies vibes from most of these songs, actually.  In Tis the Damn Season Taylor talks about so-called friends just there to gossip.  Last Great American Dynasty uses bitch-pack, a moniker that may be a bit sarcastic, but isn’t a super-nice way to describe actual friends.  The Archer says all her enemies started out as friends.  In This is Why we Can’t Have Nice Things, Taylor reminds the audience that she isn’t that great at picking out authentic friends.  She aligned with people who later turned on her, and threw her under the bus.  She makes a point to toast her real friends, but in the same breath mentions the people she can actually depend on-her mama and her baby(lover).  

Finally, there is Karlie.  Her lover and her went from friends to this.  She keeps writing pages about their epic love story.  And after the final break-up being friends again would iron it out so nice.  But Taylor doesn’t want that.

Question… Closeting Leads to Fall Out [Part 4]

26 Nov

Taylor wins the pronoun game.  I’m not even going to try to untangle the speaker/recipient/changing characters in this song.  It was written so convoluted that I haven’t even seen a satisfactory answer to this yet.  Instead, I took lyric snippets from other songs featuring the same word, to get a feeling about Taylor’s sentiment and possibly ascertain the subject. Don’t get overwhelmed with the length of this post.  The word I’m trying to point-out from Question… lyrics is highlighted. 

But one thing after another f—ing situation

Circumstances, miscommunications

Miscommunication:

The story of us

Miscommunication is negative in both Taylor’s songs that feature the word.  She loses mutuality in these relationships, there’s misunderstandings causing real and imagined slights.  It causes tumult for the couple.  Even though there is still love, things break down. There is also a LOT of this during the Kaylor relationship, as told by The Great War, and other songs.

And I have to say, by the way

I just may like some explanations

Can I ask you a question?

Question:

Marjory

coney island

Marjory has a tricky bridge with a double-subject.  Yes, throughout the song Taylor is talking about her beloved Grandmother [this song means a lot to me because of that].  But this part that I highlighted not only is talking about actual swimming with Grandma, it also speaks to someone tall (Karlie) pushing Taylor to let go of control and swim in this new water (public-WLW).  Taylor hates and fears it (the actual deep water her Grandmother urges her to swim to, where she can’t touch the ground, and the metaphorical unknown, “falling feels like flying til the bone crush” depth where she has no control. She complains because Taylor has always micromanaged her brand and image.

Further, Taylor indicates the I gave you everything, what more could I have given sentiment alluded to in many other songs.  She says she should have had an open, honest discussion with Karlie, instead of playing games (Cornelia Street), giving the silent treatment (Afterglow), and losing communication.  Taylor should have kept the receipts, because now with the husband and child and connection to Trump, Karlie is completely dead to her (gross metaphor, but apt in the song about Taylor’s deceased Grandma). 

And in Coney Island Taylor is regretful about this.  She says when the sun sets (Karlie leaves) it gets cold and depressing.  In that song, too she is asking questions to Karlie after she already left for a heterosexual life.  Karlie didn’t like being private only, or being on the backburner to Taylor’s career, but put up with it politely for a long time.  Until she couldn’t take it anymore and finally gave up, “putting the sea between you and me.”

Did you ever have someone kiss you in a crowded room?

Crowded:

Dress

The story of us

Taylor is saying she’s like a duck in these two songs: Calm, palatable, relatable, suitable for the crowd/public, but there is a lot of anxiety, stress, and secrets going on underneath the surface. Taylor has a WLW lover (disguised as best friend) right there in the limelight with her. Secret moments in a crowd/public convey the closeted aspect of her WLW relationships.  The are in plain sight, but protected in a magical cloak of friendship thanks to heteronormativity.  And Story of Us has the same feel.  Taylor is standing in public with a happy face but her lover, soon to be ex is estranged due to the misunderstandings caused by closeting breaking them down.  Question’s kiss in a crowded room talks about the Betty-type aspect of going public with this secret love, and the consequences, both positive and negative of that. Despite troubles caused by the veneer of perfect, all-American good girl, best friend to fans brand-image, these secret, female loves stay with Taylor forever, like a tattoo. She needs to have them in her life, but must chose between them and closeting for fame/legacy.

Question… Cognizance Illuminated [Part 3]

25 Nov

Taylor wins the pronoun game.  I’m not even going to try to untangle the speaker/recipient/changing characters in this song.  It was written so convoluted that I haven’t even seen a satisfactory answer to this yet.  Instead, I took lyric snippets from other songs featuring the same word, to get a feeling about Taylor’s sentiment and even subject. Don’t get overwhelmed with the length of this post.  The word I’m trying to point-out from Question… lyrics is highlighted. 

We had one thing going on

I swear that it was something ’cause I don’t remember who I was

Before you painted all my nights a color I’ve searched for since

Paint:

Again, there’s so, so many so I picked ones I thought were more pertinent.  Here’s the others:  the best day, I’m only me when I’m with you.

dear john

John Mayer was an abusive mind-fuck that left Taylor feeling destabilized.  He brings her up only to shove her down.  She uses “paint” as a way to describe him controlling the situation.

everything has changed

Dancing with our Hands Tied

paper rings

the 1

Miss Americana and the Heartbreak Prince

coney island

Peace

Taylor seems to regard the word “paint” as something that washes over her, changing emotions entirely. Creating a vibe. An emotional washing over of an entire situation. She is painted sad, she is painted happy. When she paints artistically, the same emotional change colors her creative works. Walls and murals represent overall emotional states (depression/love). Her songwriting conveys deep feelings.

The songs that have “paint” show that Taylor’s world lit up when she really felt love (instead of comp-het).  Someone opened her eyes in Everything has Changed and she felt passionate/invigorated, less depressed, more open than she had prior to that moment.  Taylor confirms this sentiment in Dancing with our Hands Tied when she describes being deeply depressed until this new, real love paints her golden. 

Though in The 1, Taylor offhandedly mentions her and her love never painted by the numbers.  She’s framing their relationship as “different” “weird” which shows society’s sentiment about homosexual love, as well as her own internal homophobia and fear of being outed.  BUT something awoke in Taylor, even if she’s afraid of it.  In Paper rings, painting is mentioned, but immediately prior to that Taylor says they went from friends to this and she has dirty dreams about this former friend, turned lover. The painted wall is showing the feelings that arose from this new love. Taylor says she jumped into the relationship even though it made her blue.  She’s sad because the couple represents a stigmatized form of love and they had to hide it from society.  Also because Karlie had a commitment to a guy (beard/arrangement) so Taylor had to share.  “I’m with you even if it makes me blue” has the double meaning that Taylor is still going to beard with Joe in order to obscure this secret love–and that makes her depressed. 

Miss Americana and the Heartbreak Prince tells how and says how Taylor sort of came full circle (and obviously with far less toxicity than JM) going from recipient to perpetrator of turning the sky from blue to gray. Now it’s her girlfriend that she makes sad by hiding.  She hurts her lovers ultimately because of her fear of being an out WLW.  Even so, in Peace, Karlie doubles down on her love and level of commitment.  Karlie says she will warm Taylor’s heart to cast off Taylor’s waves of depression.  Karlie brings up Taylor’s authentic love for her too–shown by the butterfly mural that was commissioned during Lover promo.  The love Karlie feels is not for show, even though Kaylor has many, many complications Karlie would sit in the trenches with Taylor, give her a child and she would even die for Taylor.

Color:

I’d lie

out of the woods

Me!

Delicate

paper rings

tolerate it

In the song, I’d lie, Taylor is indifferent to the boy.  When he talks she is daydreaming, counting the colors in his eyes, which she notices looks like his father’s eyes.  She also notices his sister is beautiful.  And what would Taylor lie about?  “If you asked me if I loved him…  I’d lie”  She would say yes, she loved HIM, even though she has eyes for his sister. 

Taylor overtly recognized real love (vs. comp-het) in Out of the Woods when she says “the rest of the world was black and white but we were in screaming color.”  It speaks again, to her having an awakening because of this novel love she felt for this new type of person (a woman).  Taylor further conveys this new knowledge that she’s queer in Me! When she describes herself as not like the others and mentions the rainbow of colors (pride flag, LGBTQQAA all represented).  After her gay-awakening, Taylor sees the world with new eyes.  The blue is brighter and more unique in Delicate. 

Paper Rings, despite it’s high-pop cheery tone, is Taylor coming back down to Earth.  Jumping into this same sex relationship brings complications.  There is hiding, which causes fights.  There are beards for each and the necessary closeting makes both partners depressed.  The wall is blue, like their moods.  More so, parents and the industry don’t like it.  For these authority figures it’s reduced sales, a less palatable persona– a problem.  Taylor says her love should be celebrated–she is seeing the world in screaming color, but these people with power over her just tolerate it.

Everything I just wrote about paint and color was summed up neatly in Taylor’s two lines:

I swear that it was something ’cause I don’t remember who I was

Before you painted all my nights a color I’ve searched for since

Finally enlightened about the gay part of herself the world became more vivid to her.

Question… Good Girl or Wrong Choices? [Part 2]

24 Nov

Taylor wins the pronoun game.  I’m not even going to try to untangle the speaker/recipient/changing characters in this song.  It was written so convoluted that I haven’t even seen a satisfactory answer to this yet.  Instead, I took lyric snippets from other songs featuring the same word, to get a feeling about Taylor’s sentiment and even subject. Don’t get overwhelmed with the length of this post.  The word I’m trying to point-out from Question… lyrics is highlighted.  

Good girl, sad boy, big city, wrong choices

We will look at good girl, city, wrong, and choices in other songs.

Good girl:

Style

Sad, Beautiful, Tragic

Good girl speaks of innocence and socially acceptable passive femininity.

Big city:

There’s a long, long list of songs that mention “city” so I chose ones that I thought went with the vibe of Question…  Here’s the others just for consistency:  The Lucky One, Never Grow Up, The Last Great American Dynasty, Holy Ground, I almost do, Mine, mean.

Cornelia st

false god

King of my Heart

In these songs “city” is NYC.  Screaming your name is many ads and campaigns that feature the subject of Cornelia Street (Karlie).  Taylor says, “I’m New York City” the place Karlie calls home.  Taylor is saying she is Karlie’s home.  Finally, in King of my Heart Taylor reveals that her and Karlie have a private relationship inside her room, because the boys never took her where Karlie does (same, girl).  Taylor’s priorities changes from men/money to sexing Karlie in private.

Wrong (Choices):

Here’s a couple that I thought were more loosely related:  long story short, only the young.  End Game for Choices (but I think it’s the Ed Shereen part).

Wonderland

state of grace

tolerate it

new years day

Evermore

Betty

The trend in all these “wrongs” is a stigmatized type of love.  Loving in shades of wrong.  Took a wrong turn.  Staying when it’s wrong.  Something went awry in Taylor’s world.  And Taylor is a wealthy, white, cis(I’m guessing), female in America.  Loving some dude, any dude is not socially unacceptable.  I would say it’s welcome and expected.  The love that is “tolerated” the love that ruins relationships (Betty) because it has to be hidden, is WLW love.  The hiding brings complications. They must both beard. But Taylor gets a sense she’s been betrayed when she sees Karlie “dance” with him. As told in Betty. And to try to salvage Kaylor, Taylor keeps writing letters to come out, but fear wins out and she throws them into the fire.

Good girl, sad boy, big city, wrong choices

Taylor wants to remain appropriately feminine to the public. Hiding her authentic self makes her depressed, makes her lover sad, and is destructive to the relationship = sad boy. Big city is the setting and personification of the Kaylor love story. Wrong choices indicates a desire to love and really feel it rather than be palatable, but also the stigma of gay love. It is “wrong” to the majority and Taylor fears that more than she fears losing her true loves. She can’t bring herself to come out.

Taylor Swift’s Question… Analysis [Part 1]

24 Nov

Taylor wins the pronoun game.  I’m not even going to try to untangle the speaker/recipient/changing characters in this song.  It was written so convoluted that I haven’t even seen a satisfactory answer to this yet.  Instead, I took lyric snippets from other songs featuring the same word, to get a feeling about Taylor’s sentiment and even subject. Don’t get overwhelmed with the length of this post.  The word I’m trying to point-out from Question… lyrics is highlighted.  

(I remember)

False God

August

Other Side of the Door

Wildest dreams

All Too Well

The “remember” in each of these songs seems tinged with sadness and regret.  They all deal with miscommunications with lovers.  It’s the first line of Question… which tells us the subject of the song will be sadness and regret about losing a lover.

Snow on the Beach-I Guess They Call it Falling

22 Nov

I don’t like this song. I think it’s boring, and not really a duet or feature. I’m less trying to analyze this in a serious way and more of a playful trying to connect dots. I saw a SwiftGron analysis and thought it was quite plausible, but I don’t know anything about that period of time, so if I tried to find connections it would really be just copying someone else’s work. Also, I wanted to include Kelsea Ballerini, because I do think her album is all about Taylor.

I think the gist of this song is Taylor becoming infatuated with Karlie.  The weirdness is a different kind of love.  The weirdness is public homophobia.  The silent snow is the private, closeted nature of the relationship.  It’s not the first time Taylor had a private, closeted relationship.  I don’t think (because I don’t have the foundational knowledge) Taylor is directly referencing Dianna and Swiftgron in these lyrics, but Taylor’s WLW relationship behavior comes into play.  Being closeted and famous is hard on a relationship and both Swiftgron (I think?) and Kaylor were full of extenuating circumstances and external forces making things difficult.  Both relationships were on and off.  And there might have been some overlap between Swiftgron and Kaylor.  Enter Kelsea Ballerini.  I also don’t think Taylor is intentionally mentioning KelSwift in this song, but this song also has parallels to Kelsea’s album.  Kelsea is commenting on this type of situation, and the lyrics of her songs fit very well in the Kaylor rebound (or cheating?) situation.  Alas, I was unable to tie Zoe Kravitz to the song even though I think her and Taylor have something going possibly currently or during quarantine at least…

One night a few moons ago

I saw flecks of what could’ve been lights

But it might have just been you

Passing by unbeknownst to me

This line reminds me of Taylor’s song,

Long Story Short

Dianna’s Tumblr was:

It also reminds me of

Question…

Life is emotionally abusive

And time can’t stop me quite like you did

Like you did—it’s in past tense.  So this part of the song is not talking about a current love.

And my flight was awful, thanks for asking

Does it place this song timeline around Snake-gate (2016)?

My first thought regarding this line is the end of the LWYMMD video showing all the different eras/reputation song Taylors.  One of the Taylors cuts the wing of the plane to show a possible scrapped album (Karma?) and graffitis “Reputation” on the side.  The controversy caused a change in album eras from hippy to dark.

Or is it bringing up the new private jet controversy?

Or is Taylor just referring to someone who does ask about her day, and invest in her feelings (she flies a lot)?

Unlike the subject of Lavender Haze (Joe?):

I’m unglued, thanks to you

Kissgate Damage Control:

Very hurtful, Taylor.

Question… 

And it’s like snow at the beach

Weird but fucking beautiful

Taylor does a special behind the music for two songs only, and one of them was Lavender Haze, a very gay-sounding title, given the LGBT communities history, ties, and affiliations to that color.

Of course the Hetlors took that and ran with homophobia. Because of course a vague “weird” means stigma over gayness, amIright?

In this particular instance the “weird rumors” in Lavender Haze are the 1950s shit.  Marriage/pregnancy, etc…  But is she playing with the assumptions of Hetlers in this song by saying what they thought (in this situation and every situation, honestly) was “weird” aka gay stuff, is the love she considers beautiful?

Flying in a dream, stars by the pocketful

You wanting me tonight feels impossible

But it’s coming down, no sound, it’s all around

Coming down can also be negative. The relationship is coming down because of external forces. Alluded to in

Question…

Being nearly outed causes Kaylor to go into damage control and eventually go dark altogether.  Which causes many problems for Taylor and Karlie.  It’s stressful, and a lot of the issues are external, not really malicious between them (The Great War).  Yet, it’s too much pressure and I suspect they break up several times based on Death by a Thousand Cuts and many other songs.  Somewhere in the Kaylor on and off relationship, I Taylor could have had a thing with Kelsea.

Listening to Kelsea’s album, it’s certain Kelsea, at least, loves(d) Taylor.  

Looking back at Taylor’s past I think it’s reasonable to think that Kelsea could have been a rebound to one of the break ups, if not the final Kaylor break up.  Because closeting causes relationship stress.  And Taylor did that before.  I think.  Did Dianna and Taylor also have an on and off relationship?  I missed all of Swiftgron so I don’t know as much about it.  But Style addresses this:

So it’s plausible it could happen again.

Kelsea’s I Guess They Call it Fallin’

PEDESTAL?

How common of a word is this?

But here it is in a Taylor song.

Long Story Short

and I think that song is referencing this TS song–

Wonderland

Strangers watching, gossip, gay rumors may have had a hand in making that relationship go south. The closeting killing love is a repetitive theme in Taylor’s love life.

Like snow on the beach

Like snow on the beach

Like snow on the beach

Like snow, oh, oh oh

This scene feels like what I once saw on a screen

I searched aurora borealis green

This is the part that convinced me most about someone else’s Dianna theory. The cold beach vacation where Northern Lights can be seen? And Dianna having green eyes. It’s pretty on the nose. But here’s what I found in my own research:

Karlie is a spokesperson for Swarovski. Who, like developed the Aurora Borealis effect in crystals.

I’ve never seen someone lit from within

Blurring out my periphery

Taylor can only see this person.  Everything else is blurred.  This person made her lose all perspective and her entire focus is on them.

My smile is like I won a contest

Here’s a song talking about winning a prize. I think “winning” Karlie over Jo$h is what Willow is talking about.

Willow

And to hide that would be so dishonest

This line gets into the meat of the Kaylor external problems and primary conflict:

I Know Places

Gay Panic.  Taylor wants to keep the WLW private. She wants to remain safely within the kingdom of her bedroom with her private lover.

Taylor says she is too afraid and goes into gay panic damage control mode if the rumors get too loud.

Peace

I think the first verse of Peace is Taylor saying she’ll always stay afraid, in the closet and the remaining verses of the song are Karlie assuring Taylor it will be fine. Karlie says she loves Taylor for real. And they’ve always glass-closeted and it’s been OK so far.

Renegade

To me, this song seems like Taylor’s idea of what Karlie wants to tell her (“Karlie” talking):

I guess Karlie got tired of waiting and decided Taylor’s fear of living out in the open with her was more of a ‘do you just not want to’ situation.  She went back to her beard and had a baby.

Exile

Taylor says she is in agony remaining in the closet, but seeing Karlie have a public boyfriend (he’s a beard). Karlie tells Taylor, just come out we were always walking right on the edge of public/private love.  Taylor knows how the movie ends and is still fearful about being openly WLW.  Karlie says she can’t come out for Taylor, she can’t spend any more time commiserating the imperfect circumstances, Karlie has no more tears for this situation.  Now Taylor now has to live with seeing Karlie in a public relationship with a family.  And Taylor says she’ll come out.  But only the side door = Lavender Haze.

Back to this song:

And it’s fine to fake it ’til you make it

‘Til you do, ’til it’s true

Taylor signals about WLW.  She inserts gay lyrics and double-meanings.  She’s softly coming out, little by little.  Coming out the side door, faking it til she can actually do it.  

Also, the fake it part could be Taylor trying her best to move on from Kaylor.  She doesn’t want to be blue and stuck at the restaurant.  So she tries to feel something with other women.  Kelsea says she’s at least one of these women:

Fletcher’s remix of Better Version, feat Kelsea Ballerini

See my other post about this verse, and how I ruled out Morgan Evans as the subject, and ruled in Taylor.  I mean fuck HER is not about Morgan, right?  I guess Kelsea could also play the pronoun game, but in a Fletcher (out as some part of the LGBTQ community) song?!

Now it’s like snow at the beach

Weird but fucking beautiful

Here’s a couple of Kelsea songs with the same type of vibe of Snow on the Beach. It seems like Kelsea and Taylor might have had a stargazing date or something like that.

Kelsea’s Love is a Cowboy

Kelsea I Guess They Call it Fallin’

Flying in a dream, stars by the pocketful

Kelsea’s Marilyn:

Kelsea brings up the main problem: Taylor choses fame over her own authenticity. She is a celebrity that everyone knows, yet goes to a house, not a home, alone. It’s personally unfulfilling hiding your sexuality and true loves as the trade-off for legend-status.

You wanting me tonight feels impossible

But it’s coming down, no sound, it’s all around

Kelsesa’s I Guess They Call it Fallin’

Like snow on the beach

Like snow on the beach

Like snow on the beach

Like snow, oh, oh oh

I can’t speak afraid to jinx it

I don’t even dare to wish it

But your eyes are flying saucers from another planet

Kelsea’s Universe:

Now I’m All For You like Janet

I think it’s nice to reference other important artists in your work.  That said, this line is very jarring and fights with the tone of the rest of the song.  I find it to stick out like a sore thumb, be forced, and out of place.  I’m not sure if this was part of Lana’s contribution, but I’ll reach anyway to try to put it into some context (I’d like to throw it out).  I couldn’t find any commonality between Janet and Karlie.  Or Zoe Kravitz (who I would love to find some sort of lyrical evidence on because I think this is a real thing too).  I found a teeny thing relating to Kelsea, but don’t scratch my eyes out about it–it’s the best I could do with this one…

Kelsea is divorced now. Possibly because she discovered her sexuality through a love or fling with a woman.

Can this be a real thing? Can it?

Are we falling like snow at the beach?

The snow coming down and all the fallin’s fit together. It does seem like two perspectives talking about the same moment.

Kelsesa’s I Guess They Call it Fallin’

Weird but fucking beautiful

Flying in a dream, stars by the pocketful

Kelsesa’s I Guess They Call it Fallin’

Kelsea doesn’t like being played with. She felt all these strong feelings and real emotions, but the other person let her down. They are living in a dream world, not reality.

You wanting me tonight feels impossible

But it’s coming down, no sound, it’s all around

Like snow on the beach (snow on the beach)

Like snow on the beach (are we in a dream?)

Like snow on the beach (you want me)

Like snow (like snow)

But it’s coming down, no sound, it’s all around

I think the repetitive ending is very similar to the end of Kelsesa’s song.

Kelsesa’s I Guess They Call it Fallin’

Like snow on the beach (it’s coming down, it’s coming down)

(It’s coming down, it’s coming down)

Like snow on the beach

(It’s coming down, it’s coming down, it’s coming down, it’s coming down)

(It’s coming down, it’s coming down, it’s coming down, it’s coming down)

(Coming down, it’s coming down, it’s coming down, it’s coming down)

Taylor loved Karlie.  The closeting was too much.  Kaylor was unsustainable.  Karlie moved on and Taylor was still at the restaurant, hair pinned up.  Taylor may have tried to soothe her broken heart, and/or move on by seeing Kelsea.  But the KelSwift relationship is just another let down.  Kelsea Taylor simply can’t let go of Kaylor and that makes her unable to be open to new love right now.  Kelsea, made discoveries about herself partially as a result of this fling/hook-up/dating? 

And now she’s hurt too.

Fletcher’s Song, Kelsea Ballerini’s Verse. Taylor Swift is the Ex Kelsea is (actually/additionally) Talking About

19 Nov

Fletcher Better Version (Remix)

[Verse 2: Kelsea Ballerini, Kelsea Ballerini & FLETCHER]

I was there on the side of your stages

I grew up for our difference in ages

Never thought we were subject to changes, yeah

And I did my best to fix it

‘Til death ’cause then I meant it

Your next girl is gonna get you reinvented and not pretendin’

“‘Til death cause I meant it” is a red herring or double-meaning or 2nd person being addressed–whichever you like. 

This post will say why:

[side-note: I have whole other posts planned on why Taylor might be “Becky” and a double meaning for that song could be addressing Kelsea’s dalliance (and Fletcher’s thirst) for Taylor. Also, we need to talk about Snow on the Beach in its entirety.]

Pertinent Taylor lyrics:

Happiness.  Interestingly has parts in the same vein as this song of Fletcher’s about growing from a relationship, and the next person getting the benefit of those lessons.

“I haven’t met the new me yet”  

Your next girl is gonna get you reinvented 

Snow on the Beach.  We will talk about this song, but in it’s own post or this very long post will be too, too long.  But the line that comes into play against Kelsea’s verse in Fletcher’s remix:

“Fake it til you make it”

and not pretendin’

Let’s talk about the timeline referenced in Kelsea’s verse. The beside stages different ages part:

Ages and Years the Players Moved to TN/Nashville and got signed:

Kelsea

Kelsea’s Ex-husband

Suspected dalliance and Kelsea’s recent song-muse

To sum up birthdays and age differences:

Morgan Evans’ b-day is 4/25/85 (8yr difference from Kelesa)

Taylor’s b-day is 12/13/1989 (4yr difference from Kelsea)

Kelsea’s b-day is 9/12/93

Let’s talk about proximity since beside stages puts Kelsea close to the song’s subject:

Moved closer to Nashville and got a foot in the door of the industry:

Taylor was first of these 3, getting there in 2002 at age 13-

Taylor gets signed at a younger age and earlier year than the other two, 17 in 2006-

Morgan got a toe into Nashville in 2007.  He lived in Australia, so it took longer for him to break into TN-

Morgan was born in Australia and lived there until 2015-

Morgan gets signed last of these 3 in 2017-

Kelsea moved to Nashville in 2008, after Taylor was there, but before Morgan moved to the U.S.-

When they got to TN, how old they were compared to Kelsea’s age:

Taylor came to Nashville as a songwriter in 2004 at age 14 (Kelsea was 11)

Morgan flew to Nashville (from Australia where he lived) to record a single in 2007 at age 22 (Kelsea was 14)  

Kelsea moved to Nashville to write songs in 2008 at age 15.

Morgan didn’t move to the U.S./Nashville until 2015 at age 30 (Kelsea was 22)

In the verse, Kelsea is figuratively and literally looking up to the person on the stage. She is younger than them and they are more established in the industry than she is in the timeline of the verse.

Age of getting signed:

Taylor got signed in 2006 at age 17 (Kelsea was 13)

Kelsea was signed in 2012 at age 19.

Morgan was signed in 2017 at age 32. (Kelsea was 24 and had already been signed for 5 years)

So the verse already doesn’t really work with Morgan. He’s actually getting fame in another country when Kelsea is not yet in the business. Then, when he does break into Nashville, it’s after Kelsea.

When did Kelsea meet them:

Kelsea (who had been signed for 4 years already) met Morgan (who would be signed the next year) for the first time when she flew to Morgan’s country, Australia in 2016 

She was 23 when they met (hardly “growing up”).

Was Kelsea beside Morgan’s stages?  It looks like she was in TN and he was in…  Australia.

So we established Kelsea was in the U.S., not Australia.  She got signed prior to Morgan.  They did not meet until she was 23, when he was yet unsigned, and she had already been signed for 4 years.

I was there on the side of your stages

I grew up for our difference in ages

These lines are vague enough that they don’t say exact ages/years/people.  But I interpret the sentiment of those lines as Kelsea looked up to this older, more established and famous person when she was young.  Then she grew into a more personal relationship with that person.

Enter Taylor Swift.

Kelsea “met” Taylor (as a fan) in 2008.  Taylor was 19 and Kelsea was 15.

Taylor mentions Kelsea’s song in a Tweet in 2015.  Taylor was 26 and Kelsea was 22.

That same year (2015)

KELSEA BALLERINI PERFORMS WITH TAYLOR SWIFT IN NASHVILLE OVER THE WEEKEND

By Samantha Dawn Mutschler / September 29, 2015

Taylor Swift performed in Nashville as a part of her 1989 Tour this past weekend and she brought out a very special guest. Kelsea Ballerini performed her number 1 song “Love Me Like You Mean It” with Swift for thousands of screaming fans. It was a huge moment for women in Country music with both women performing the first debut song from a woman to hit number 1 in 9 years!

Ballerini continues to wow audiences of all ages with her music, recently being named one of People’s “One’s to Watch”. It was a special moment for her, stating on her instagram:

Ballerini met Swift about 8 years ago at a meet and greet at one of Swift’s concerts, as time has flown by the success of both of these women have blossomed.

In 2017 Kelsea crossed over from fan to friend.  Taylor was 28 and Kelsea was 24

You see the evolution.  Kelsea looked up to Taylor as a child, even moving to Nashville because she was inspired by Taylor.  Kelsea was a fan.  Then took a very familiar path to music stardom.  Taylor noticed Kelsea as an artist and her Tweet boosted Kelsea’s followers and chart numbers.  Kelsea was invited to perform with Taylor, more equal in status than a fan, but Taylor was still more of a mentor.  Then Taylor invited Kelsea into her personal life.  I think that better matches the lyrics in Fletcher’s song.

Never thought we were subject to changes, yeah

This is maybe the most important line in the verse because it’s a multiple meaning and references other work (Kelsea’s most recent GAY album).

In the context of divorce with Morgan, Kelsea is saying they grew apart (yawn).

Subject to Changes is the title of Kelsea’s most recent album.

Subject to changes in the context of the album is Kelsea realizing she likes women.

Taylor

is not the only one who can write for

plausible deniability.