Tag Archives: glass closeting

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.

One Taylor Reference Might be a Coincidence, But a Dozen? That’s a KELincidence

25 Sep

OK this is going to be all about Taylor because I’m trying to convey the connections I noticed. And maybe some of it is a “reach” as the more mean-girl Gaylors and the homophobes accuse anything that’s outside the well-established narrative.  I heard many things, that alone, didn’t mean much, but compiled all together made me think, hmmmmm.  So this is me looking at Kelsea’s work through a frame of trying to find proof she is into women and also that her and Taylor had a fling/are together/are WLW besties–something is there!  But please know that I like Kelsea Ballerini as an artist, on her own terms.  For more Kelsea-centric content, see my album review from 12/8/20:

And my Top 12 songs from 1/6/17:

Now on to the clues in Kelsea’s new album!

THE LITTLE THINGS

Save your money on the roses, baby/Just leave a daisy on the dashboard

The first few lines are Kelsea rejecting romantic gestures like roses and idealized prince on a white horse rescuing a’la heteronormative tropes.  Kelsea is saying she’s OK with breaking all the straight-dating-rituals and norms for this relationship.  

Also, these lines tie directly to Taylor, and pretty blatantly.  On first listen to the album, these were the lines that clued me into the fact Kelsea might like women–and specifically, Taylor. 

At one point Taylor was using so much rose imagery that fans speculated her next album might be called Roses.  

At another point, fans speculated that Kelsea’s new track, ROSES was a collaboration with Taylor:

Interesting…

Remember Taylor’s song Gold Rush? This product is called Rose Blush:

Walk past, quick brush/I don’t like slow motion double vision in rose blush

Here are other examples of roses/gardens in Taylor’s work:

  • Love Story: So I sneak out to the garden to see you
  • Blank Space: Rose garden filled with thorns
  • Cruel Summer: And I snuck in through the garden gate every night that summer just to seal my fate
  • Betty: Would you tell me to go fuck myself or lead me to the garden?
  • Betty: In the garden would you trust me if I told you it was just a summer thing?
  • Cowboy Like Me: Now you hang from my lips like the Gardens of Babylon

Here’s some more interesting rose/flower/garden incidents in Kaylor:

Taylor is twinning with Karlie’s cover from 5/21/18 when she collects are folklore Grammy on 3/15/21.

And again here Taylor is undeniably twinning with Karlie’s 9/13/21 Met dress for her I Know You Think About Me video announcement/promo on 11/14/21:

And daisies.  Let’s not forget how important daisies are in the story of Kaylor.

The Big Sur road trip was epic in the start of Taylor and Karlie’s love story.  With many lyrics referencing it, the daisy on the DASHBOARD, daisy tag on Karlie’s social media, and the same daisy in Taylor’s liner notes–it’s one of the biggest proofs for Kaylor.

In other words those 2 lines of Kelsea’s song are telling her new romance to leave Karlie behind and stop with all the roses/daisies/gardens to focus on the little things with her.

Don’t gotta ride in on a white horse

That is a literal title of one of Taylor’s first hit songs.  And that song also fits the theme of this song about rejecting heteronormative indoctrination:

Kelsea is saying she doesn’t want a Prince Charming on the white horse to rescue her. She wants a non-stereotypical love that means more to her because of little things rather than grand gestures of Disney movies and rom-coms.

When you’re younger they say it’s a kiss in the rain

Again, I’m not saying Taylor has a copyright on “rain” the word, imagery, metaphor, symbolism–it’s pretty common in writing.  But there is a preponderance of rain songs, especially kissing in rain songs in Taylor’s work, so if you were trying to reference her this might be a subtle way to do it:

Throwing rocks at a window

Taken alone, this line is just a common writing theme.  As the fourth very close association to Taylor things in one song, in a row–it seems intentional on Kelsea’s part that she wants the listener to be reminded of Swift.  The next line of Kelsea’s song could also be a reference to another early Taylor Swift song, Ours:

 And Ours just happens to have one of the same messages contained within Kelsea’s track 1:  Subject to Change.  That society may judge LGBT love, but the happiness of the individual must be prioritized so the relationship is pursued even so.  

But it’s when we’re in a crowded room, put your hand on my back

This line reminds me of the themes in at least 3 Taylor Swift songs:  Ours that we just talked about.  Taylor’s line, 

They’ll judge it like they know about me and you/And the verdict comes from those with nothing else to do

When people see a same sex couple, they’re not sure if they’re just friends, or if the two people are in a relationship, especially straight people!  Heteronormativity works hard.  When Taylor says they know about me and you, she’s saying people are speculating that she and the person she’s talking about in the song are not just friends, but gay together.  Furthermore, those gossiping people disapprove and stigmatize anything that is not straight.  So Kelsea’s line makes me think of a covert couple in a public space.  They can appear as friends to safely avoid further scrutiny or judgment.  Because when it’s a woman’s hand on another gal’s back, heteronormativity says they’re just friends!  

The second song of Taylor’s that this line makes me think about is, I Know Places:

Pretty much that whole song is an expansion of the line we talked about in Ours.  Same theme.  “Friends” out in a public space, and someone inside that secret relationship daringly depends on heteronormativity to make their gesture of love to appear as just friendly.  It’s both daring and safe for a female couple to touch out in front of the public.  People usually chalk it up to friendship.  But there are the gossips that want to call it out as WLW and disparage it.  So for the couple there is always that fear of being exposed.  And in Taylor’s case, she says she hides the relationship away from prying eyes so they can love safely. 

The third of Taylor’s songs that Kelsea’s line reminds me of is, So It Goes… 

I think Kelsea is talking about the same phenomenon Taylor speaks of with “magician” and “illusionist” in public spaces.  When this couple is out on the town, they appear straight.  Maybe they’re flirting with guys, or “dating” a guy.  They can do small coupley things that the naysayers will interpret as female friendship, but this couple is on high alert not to get caught.  But Taylor’s song is saying when they’re alone, it’s “wear you like a necklace” time.  

And waiting on me in the morning with my coffee black…

It’s wine and vinyl, my head on your shoulder…

Reminder, I know Taylor doesn’t have the only references to drinking in any song.  But also, if you were talking about Taylor Swift, it might be apt to mention alcohol.  Taylor’s discography has at least 11 lines that talk about wine, not counting all the champagne/beer/whiskey/cocktails/drunk references.  And it wouldn’t be surprising that two artists might hang out listening to vinyls, signing vinyls, or otherwise listening to music and doing merch.

Used to think it would be a backseat sex scene/Drawing hearts on the window…

A clear callback to the song, Heartfirst where she met a man at a party and went to the car with him. But the line here says, USED to think.  So Kelsea has changed her mind about what love is to her.  Which she clearly tells us on the first track.

Just pull me in and kiss me slow/Ooh, it ain’t just for show (it ain’t just for show)

And this line reminds me of Taylor’s Peace:

Peace describes half of the couple being blue and depressed.  The other person says they will be there for them, warm their heart, die for them.  But only privately.  Outsiders think the love is PR or just friends, but they don’t know the real story.  Their love is a hidden secret and it’s true and deep, but also the person asks is this secret relationship going to be enough for you?    

(Ah) let’s not go big, let’s just go home

I know, I know the concept of “home” is not owned by Taylor.  But also lyrics of Taylor’s that contain the word…

home {also in Exile and Peace and Tears Ricochet}

~[Cornelia Street from Lover = “leading us home” “I took the long way home“]

~[Cruel Summer from Lover = “…I cried like a baby coming home from the bar”]

~[Delicate from Reputation = “do the girls back home touch you like I do?”]

~[Gorgeous from Reputation = “guess I’ll just stumble on home to my cats”]

~[I Think He Knows from Lover = “I’ll make myself at home“]

~[Lover from Lover = “take me out and take me home (forever and ever)”]

~[Miss Americana and the Heartbreak Prince from Lover = “I think you should come back home“]

~[New Year’s Day from Reputation = “or if you strike out and you’re crawling home“]

~[Paper Rings from Lover = “went home and tried to stalk you on the internet”]

~[Style from 1989 = “takes me home” “just take me home“]

So here, Kelsea is offering to be the one to take Taylor home.  She’ll provide peace and stability, just the little things.