Tag Archives: Karlie Kloss

The Midnights clock has a lot of hidden meanings

3 Oct

I’m sure there’s a lot of layers (fitting with the Lover house if the clock is upside down, counting down, so many things), but I wanted to speak on an obvious one I noticed:

The numbers on the clock correspond with Taylor’s albums:

1 is her first, Self Titled, album…

4 is her fourth album, Red

8 is her eighth album, folklore

You get the idea. The numbers also are the order of the albums in Taylor’s catalogue.

Additionally, the color of the numbers signify Taylor’s sexuality at the time that album was released. By that I mean the muse, the crush, and closeting to out ratio:

Half of 3, 4, 5, and half of 6 are red. Meaning the latter half of Speak Now to the first part of Reputation was Dianna-love was burning red. We saw the Swiftgron evidence of the movie date, the costume party with the note on the door, the moment during the Shirly McLane birthday party, on and on.

Half of 6, 7, 8, and the first part of 9 are gold. So Taylor was in love with sunshiny Karlie from Reputation, through lover, and folklore, then started getting over her (but was still hung up on her) as Evermore went on.

Lyrically that makes a lot of sense.

I think these two more obviously colored album/era/muses show us the colors on the clock are predictive for the eras that haven’t happened yet. Especially since 9, 10, 11 look similar to the 1, 2, 3 that already happened.

The other colors are more mysterious since we don’t really know exactly what goes on in Taylor’s personal life unless she writes about it, and we can tie that to real life events. If she keeps the lyrics subtle, or if the events weren’t public knowledge, the loves/muses are ???

Also, I’m having a lot of trouble distinguishing the colors, telling the colors apart, and seeing matching colors (help!). It’s like the color next door influences my eyes to blend the colors together…

1 looks blueish with 11 looking light a lighter version of that same color. It might be a less muddy, dark color because Taylor was more herself/out/free/innocent in these eras. Think of the Myspace posts, and we haven’t seen the album 11 era yet, but can guess she might be going for the same vibe as self-titled era.

2 and the latter half of 9 have a green hue to me, but Cool says it’s gray/silver. 10 looks alike, just a little lighter.

3 looks like a mix of the colors of 1 and 2– it’s darker/greener (to my eyes) than 1, but a little more blue than 2. During Speak Now era, Taylor was outspoken but groomed and marketed to be America’s sweetheart. So she openly had baby-gay vibes toward Emily, but wrote very coded songs that were super-duper straight to the media/public. It’s a mix of the innocence during debut and the slick marketing with covert lyrics of Fearless.

3 and 10 and 2 and 9 seem really similar to each other.

Does Fearless (2) and latter Evermore (9) have things in common?

Break-up? Feeling lonely?

Will early Speak Now (3) and Midnights (10) have something in common?

What do we think are key characteristics/muses/closet:out ratio in early Speak Now?

The theory is unfinished, but something to pay attention to.

And 12 is the brightest, whitest, most obvious one, so there is something big happening there.

KelSwift and Kaylor on again off again

1 Oct

You saw my disclaimer on the other 3-4 posts that yes, this post is Taylor-centric because I’m trying to find connections.  The thing that started this was Kelsea’s lyric:  DAISES ON THE DASHBOARD?!  For what reason?  It’s not a common expression, or something that happens.  That is a purposeful, direct connection to Kaylor.  So here we are, seeing ANY possible others…  But I like Kelsea as an artist in her own right, I’m not saying she’s copying Taylor, or that Taylor wrote her songs or anything disrespectful.  I’m just trying to call out possible intentional connections that Kelsea placed across her new album.

If this is confirmation bias–it’s sure strong.  And it speaks to how Taylor’s writing has the ability to capture universal, relatable feelings in all sorts of situations.  So many lyrics of Taylor’s encapsulate just what an individual is feeling or going through.  If this song is not intentionally referencing Taylor’s work–then Kelsea needs to give Taylor a call, because Tay could really be an understanding shoulder to cry on.  She gets what Kelsea is going through–says her lyrics.

Each one of these lyrical parallels would be considered a “reach” by the mean-Gaylors and the hetlors.  And it’s true, after seeing the daises line, I was really looking deep, and trying to pull out any, little thing that connected to Taylor. So some of these just might be stretching it. This write-up may delve into fan-fiction territory, but take from it what you like, and leave what feels too “reachy” (to use a word I’m tired of). But when there’s TEN “reaches” in one song is it confirmation bias or a preponderance of evidence?  Time will tell.  Midnights out October 21, 2022.

I GUESS THEY CALL IT FALLIN’ (Lyrics)

I guess they call it falling ’cause you end up on the ground/You can’t live forever with your head up in the clouds

I mean, Taylor Swift [Lover] OUT now?!

As we discussed before Kelsea might be talking about the beginning of the Lover era where Taylor was actively trying to get Karlie back (the literal signs, the mural, etc, etc…).  A lot of cloud imagery was used for Lover promo so Kelsea uses the word “clouds” to describe this more complex situation.  See Kelsea’s song Weather in another post.

Think it’s written in the stars ’til they burn out

I am waiting to see if Taylor talks about stars in her new album–it’s a pet theory of mine with no evidence yet.  I have seen stars (and the moon) mentioned across this album of Kelsea’s.  And it makes sense to me for Taylor to move on from Karlie (the sun) to Kelsea the stars and/or moon.

…I was like, “Oh my God”, every thought played like a video

I thought the quotations and video was an odd turn of phrase, so I looked up Taylor’s lyrics where she says, “Oh my God” and found:

A song about the media and public having this perception of Taylor.  She is tongue in cheek here, playing into that (false) perception.  The subtext/secret meaning of the song is about bearding.  

Shake It Off is a song about ignoring haters and living your best life. 

That song also addresses the media and public’s perception of Taylor:

The third song where Taylor uses, “Oh my God” talks about the perception that Taylor is a serial dater who just writes songs about her exes:

All three of these songs talk about the (false) perception in the general public that Taylor is boy-crazy. And the narrative pushed by the media that Taylor just writes songs about her exes. The were really big music videos for Taylor as well.

I think in this line Kelsea is saying when her and Taylor were first having romantic sparks, she was incredulous.  Kelsea might have been surprised because the media portrays Taylor as a man-eater, and Taylor’s public persona leans into dating and writing songs about men.  So Kelsea might have been shocked to have a romantic connection with Taylor. She might also have been a bit star-struck to have something serious with someone of Taylor’s caliber of fame, since Kelsea had seen Taylor in her music videos before meeting her in person.

Left your shirt, and the hurt, now I curse your Acqua di Gio

Taylor’s Tis the Damn Season mentions perfume:

It’s about how Taylor goes back to her hometown (Nashville, where Kelsea also lives) to visit her parents and has an on again off again fling when she’s home. Both people are OK with this situationship. Taylor talks about how when she’s home that relationship and life (road not taken) seems good, but she left that geographic location.  But it still is part of her and stays with her.   

In Illicit Affairs Taylor talks about sleeping with someone who is committed to somebody else (Karlie is officially with Jo$h).  They have to lie and sneak around to see each other.  But living in secret gets real old, and the high of their encounters feels less and less good as time goes on because of the million lies.

The perfume is used as a “tell” of the encounter.  Perfume can be used to cover up the scent of the side-chick so her smell is not noticed by the boyfriend. Karlie might put on the perfume Jo$h bought her (or perfume she picked out because Jo$h liked the smell) to cover up Taylor’s smell on her. It could go the other way too: Perfume cannot be worn during the encounters because it would leave scent-evidence that the person was there.  If Jo$h could smell Taylor’s perfume on their bed there would be questions.

Kelsea curses the perfume because the scent left behind makes her think of Taylor.  And also the perfume represents secrets and hiding an affair, so it makes Kelsea think of the Kaylor bearding triangle.  

That night you told me I hung your moon (I hung your moon)

If Midnights has moons and stars, I will not shut up about it!!!

I jumped right in with no parachute (No parachute, oh, oh)/…Did you only get me high to let me down?

Taylor uses “high” in two of her more WLW songs:

Call it What You Want is a definite Karlie song (Call it what you want, Karlie what you want).  Taylor tells Karlie that she can call what they have going on whatever she wants.  Karlie is  nervous about it.  Karlie doesn’t want to be a cheater.  But Taylor just wants to keep what they have going alive, even if it needs to be secret and unofficial.  It doesn’t have to be lesbian-love, call it anything that makes you more comfortable. It speaks to the on-again off-again nature of Kaylor also. With Karlie being nervous about breaking her commitment to Jo$h as one reason for the encounters to be fleeting and secretive, on and off.

Kelsea using “high” in opposition to down could reference an on and off Taylor relationship.  And when Kelsea thinks of Taylor’s songs pleading with Karlie to be with her, that’s what gets Kelsea down.  Whenever Kaylor is “on” that means Taylor is emotionally unavailable and physically gone from Kelsea. Kaylor and KelSwift and similar relationships. One person is on, then off, here than gone.

Another song where Taylor uses the word “high” is Don’t Blame Me.  In the song Taylor compares WLW love to a drug.  She says it’s bad for her and her brand and her image, but also she can’t stay away. “My drug is my baby.”  

Kelsea feels like her love with Taylor gets her high also.  When Taylor comes around and loves Kelsea, it’s like a drug.  It’s that same drug Taylor speaks about in her song, the WLW love, and Kelsea can’t leave it alone even though there’s a let down when Taylor/the WLW love leaves again.

I guess they call it falling ’cause you end up on your face/Sleeping by myself in a bed I didn’t make

If Taylor and Karlie were on and off, it’s possible Taylor got with Kelsea during the Kaylor “off” periods.  And it wasn’t Kelsea’s choice to be alone during the Kaylor “on” periods.   Taylor’s song, Willow describes Taylor sneaking in to see Karlie even though she’s committed to Jo$h (bearding contract or bisexual love, we don’t know).

Willow talks about sneaking around to be with your secret WLW lover despite commitments to men and secrecy to preserve public images. The partner is mythical, because they are gone a lot, mostly a dream not reality. Describing a lover as a trophy or champion ring could speak to Taylor and Jo$h fighting over Karlie. In their fighting, they’re treating her as an object without autonomy to make her own choices. “Prize I’d cheat to win” probably has the double meaning of cheating in a relationship, and also cheating/lying to the public to hide the true nature of the relationship. “I’m begging for you to take my hand, wreck my plans, that’s my man” is one partner asking the other to commit fully to them. Wreck the bearding plans (for one or both Taylor/J0e and Karlie/Jo$h). In an interview, when asked about Jo$h, Karlie repeatedly referred to him as “my man” which came off as awkward. So Taylor may have written Willow with that in mind, to convey Karlie’s commitment to Jo$h as a stumbling block to be “home” (a committed relationship with each other).

Sleeping in a bed I didn’t make, is Kelsea saying that her relationship with Taylor, got her dragged into all this Kaylor drama. She didn’t create the Kaylor bearding triangle, but she has to live with the consequences of it too. Kelsea is left alone when Taylor is literally going back to Karlie, or emotionally still hung up on Kaylor.

… I should’ve known, should’ve known, should’ve known, should’ve known (I should’ve known, known)

I thought Kelsea’s repetition of this phrase was pointed, but didn’t know why.  I looked up the phrase in Taylor’s lyrics to check if Kelsea was insinuating a connection.

It’s funny that the lyric ties to White Horse a song about someone holding out hope that this other person will come around.  Ultimately Taylor realizes this person is going to let her down because she is being starry-eyed and dreamy about love, not realistic.

So that sentiment goes right along with Kelsea falling for an person who is back and fourth, in and out of her life.  There are highs when they’re together, but it comes at the cost of loneliness and feeling bad when Taylor physically leaves for Karlie (in earlier years), or emotionally checks out for missing the Kaylor relationship (in more current times).

… Then the wind, blowing in, threw me right off of my pedestal

Red is a song also about highs and lows of a passionate love that ends suddenly.  It seems connected to the theme of this song as well.

The word, “wind” again conjures, Willow which describes secret meetings and fooling the media/public with the bait and switch.  It’s a lover that comes and goes in secret, same as in Kelsea’s song.

In the second half of Kelsea’s phrase she says threw me off my pedestal. “Pedestal” is a very loaded word in GayLore.  It conjures Dianna, one of Taylor’s early girlfriends.  It’s also a common phrase when digging into Gaylor (Taylor’s LGBT subtext and secretive relationships) to say “going down the rabbit hole” which was Dianna’s heading on Tumblr (I think?).  

Taylor doesn’t have a copyright on the word, but if Kelsea were trying to reference Gaylor things, that would be a good way to do it.  In Long Story Short, Taylor describes being at the top, then falling down (kinda like this song) then clinging to the nearest lips. . .

…[Bridge]/I should’ve known gravity was gonna pull/You and me, down, down, down

In one of Taylor’s gayest songs, she uses “gravity” to describe the pull she has to a dangerous partner/type of love.  And Taylor says that other person (Dianna?) is quicksand.  Meaning not stable, fickle, here and gone.  Sort of like this song is saying Taylor is in and out, bringing Kelsea love to make her high, then leaving and making Kelsea fall to the ground, sad and lonely.

But I know now/I should’ve known gravity was gonna pull/You and me, down, down, down

A second song of Taylor’s uses “gravity” to describe her inability to stay away from this lover/love that’s bad for her brand.  Dancing with Our Hands Tied aka the Kissgate song, is another of Taylor’s gayest songs.  So it’s funny that this song talking about a love interest that is fickle and leaving all the time, talks about that love interest feeling scared about homophobia.  Taylor, loves Karlie, but doesn’t want to get caught as WLW and lose her career success.  So she runs away and hides, despite love.  And Kelsea is acknowledging that not only Kaylor takes Taylor away from their relationship, but Taylor’s skittishness about being out(ed) is a barrier to her being emotionally/romantically available.

But I know now/…[Outro]/(I guess they call it fallin’, ah-ah, ah)/I guess they call it fallin’/(I guess they call it fallin’, ah-ah, ah)

Finally, one of Taylor’s songs that uses “falling” perfectly encapsulates the meaning of this song.  

Taylor tells Dianna to stay with her instead of leaving all the time.  Taylor fell in love, but it’s not happy, it’s cruel because Dianna is worlds away.  Now the shoe is on the other foot and Taylor is worlds away while Kelsea is sad when she’s gone.

If you were only gonna let me go/Ah-ah, ah, ah-ah

Kelsea Ballerini Tells Taylor She’s Being as Fickle as the Weather as Long as She’s Not Over Kaylor

29 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.

[ellipses indicate lines I omitted.  Highlighted text is her lyrics, plain text is my commentary]:

Weather

I’ve been thinkin’ you’ve been thinkin’ ’bout something else (Mm-hmm, mm-hmm, mm-hmm)

I suspect at least 10 songs on Taylor’s last (true vs re-recordings) album Evermore contain Karlie references.

The, I Bet You Think About Me music video dropped 11/15/21 was practically overt in it’s Karlie images and symbolism.

On the left, music video groom on the right, Jo$h Ku$hner, Karlie’s husband:

Taylor knocks the groom over on the wedding cake:

I think she’s going for some symbolism here:

And Taylor eats a cherry: 

Whatever the red scarf represents (many Swifties say it’s Taylor’s virginity)…  Taylor gave it to the bride:

At the first dance, the groom (Jo$h) pulls the bride in, and to me, it looked like a “you’re mine” gesture.  As in Jo$h made known he owns Karlie, or there is a contract, or he will keep her:

When Taylor/bride walks away from the dance, she shows us red sneakers under the wedding dress.  I’m sure you can guess who else wore sneakers under her wedding gown?  It’s Karlie.

And in the lyrics of this same vault track I think Taylor snuck in a more modern reference to some shoes that Karlie was recently marketing:

Aside from this video, as well as a preponderance of lyrics from folklore, Evermore, and some vault tracks, and the general sadness on Taylor’s face and in her voice for every event/performance she’s attended since 2020–the new album about to drop is called Midnights.

Karlie is a spokeswoman for this Midnight perfume released July of 2022:

And Taylor, wearing silver (right picture), said TS10 will be called Midnights.  A month later:

And during this Midnights Era, Taylor wore gold, which is similar in aesthetic to the gold in Karlie’s Midnight perfume ad.

This was not an exhaustive list of the times Taylor has referenced Karlie in recent times.  So you can see why Kelsea would feel the person she’s talking to in the song (Taylor?) is thinking about something else–breakup with Karlie.

Yeah, we felt perfect, now I’m nervous, can you even tell? (Oh,oh)

This headline says, “. . . perfect for a date. . .”  when Taylor and Kelsea were photographed shopping together.  It just might fit with the perfect lyric if Kelsea is trying to contrast the current unsettled times in a relationship, where someone is not over their ex, and maybe a flight risk, with the good times they had.

Did I wake you up on the wrong side of the bed?

Kelsea just might be alluding to Taylor sleeping with Karlie, and the image that Taylor snuck into her video while dressed in drag.  In The Man music video Taylor, as the man, gets out of bed with a slender woman.  And when the man gets out of the bed, this sun-looking item on the wall is obscured, bringing “my loaded gun, my eclipsed sun” lyrics from Hoax (a song probably about the Kaylor break-up) to mind.  Make of that what you will.  

Is there someone’s body that you’d rather be laying with instead?

The line in this song might be intended to conjure the mental image of that video clip and its wink to Kaylor.  Also, the expression ‘wrong side of the bed’ means grumpy, bad day, etc…  Kelsea (if my theory pans out about her and Taylor being together in some manner) may be telling Taylor that she’s acting moody, and negative, and grumpy, because she is missing a different person in the bed (Karlie).  Or missing the person that used to be on that side of the bed (Karlie).  Without more info it’s hard to say for sure, but if all these references across Kelsea’s new album are about Taylor, I can see how anyone would have had enough of their fling/new relationship/GF being hung up on an ex.

I’m so tired of your weather/Stormy when we’re together/Yeah, we used to be sunny and seventy-five/We wеre dancing, baby, rain or shine

Kelsea met Taylor June of 2015.  And they danced at that first party:

…Now somehow, I need a sweater

Kelsea is possibly talking about the cardigans Taylor sent her close friends for the folklore rollout (for the song/single, Cardigan):

Aside from this lyric possibly talking about the cardigan gift, a deeper meaning could be Taylor’s album/era.  During folklore, it was clear in a lot of lyrics that Kaylor were breaking up or broken up, and Taylor didn’t want that.  It’s full of regret and longing, and Taylor seems very preoccupied with Karlie in this time frame.  If Taylor had seen, was currently seeing Kelsea, or even if Kelsea wished Taylor would see her as a love interest–Taylor’s heartbreak over Karlie would get in the way.  It would not be happy, sunny times, it would be gloomy, sad times that made Kelsea feel chilly and left out. 

How’d we go from summer to cold as ice?

The romance with this person went from steamy and hot and comfortable to distant and chilly.  If Taylor was unable to move on from an ex, or held out hope of getting back with Karlie, it would put a relationship with Kelsea on the back burner.  

In Taylor’s The Lakes, she says she can’t move on.  And Taylor wishes Karlie would come back to where they had been (in the closet together) in total privacy.  The red rose is a Kaylor reference we talked about earlier, and the ice frozen ground is all the depression and loneliness and heartache and chilliness toward one another.  In Taylor’s wishful thinking Karlie and her could be together and that difficult, calamitous love, is causing her a grief she can’t overcome.

Right Where You Left Me is another of Taylor’s songs that uses frozen imagery to show she is not moving on from the Kaylor breakup:

Because Taylor can’t move on from the Kaylor breakup, any relationship between Kelsea and Taylor cannot move forward either.  If Taylor is frozen in place to where she had been with Karlie, it would be distant and chilly inside any relationship between Kelsea and Taylor.  Kelsea is left out in the cold, feeling the aloofness of a Taylor stuck in the past, or in a fantasy in her head.

Are we really lovers if you’re changing your mind/Like the weather? (Weather)

Taylor can’t decide if she wants to pine and be heartbroken about Karlie, or if she wants to move forward with someone new.  She is not committed, and Kelsea can feel how this person she’s trying to be in a relationship with is fickle, running hot, then cold as her moods change.

Uh-huh, oh/Get in or get out

Kelsea tells Taylor to either be present in the relationship with her or be alone wishing that Kaylor would have worked out.

But honestly, right now, you’re killin’ my vibe/(Killin’ it, killin’ it, killin’ it)/(Killin’ it, killin’ it, killin’ it)/So, if you wanna stay stuck in the clouds/Keep ’em around but not in my sky (Mm-hmm)

Taylor doesn’t own clouds.  Put clouds and sky were constant themes in the Lover era.  

Me! video:

Taylor didn’t want to date the man, nor did she want this man’s hand in marriage.  She accepted a kitten.  She’s saying no to men here.

Many Gaylors think Kaylor broke up or were on and off before 2019, and the Lover era was Taylor trying to get Karlie back. Evidence for the beginning of the Lover era wooing Karlie back are the lyrics around New York and the butterfly mural commission:

I think the commissioned mural looks a lot like Karlie’s Victoria’s Secret wings!

Here is a well-worded comment from a Gaylor on Reddit that explains the many reasons the Lover album isn’t a romantic love story, it’s a plea to Karlie; begging her to get back together:

Kelsea using “stuck in the clouds” in this song is not accidental.  A lot of the Lover album, imagery, videos and roll-out focused on the sky.

When Kelsea says you can stay stuck in the clouds, I think she means the mindset of trying to get Karlie back.  Just like in the Lover era.  And Kelsea tells Taylor, it’s fine if Taylor stays stuck in the Lover-era clouds, pining for Karlie, but not in her sky.  Kelsea doesn’t need anyone who is moody and hung up on their ex.

When it hits the fan, I don’t know who you’re gonna be/I’m not asking for much, just a little reliability

Kelsea is emphasizing the point that Taylor’s heartbreak about Kaylor is making her a flake in their relationship.

I’m so tired of your weather/Stormy when we’re together/Yeah, we used to be sunny and seventy-five

The number/temperature 75 is very specific.  Kelsea is saying her and Taylor(?) used to be happy, but are now gloomy.  And I found this tweet from Kelsea:

It is exactly the same temperature in the lyric!  If we can find out who Kelsea saw in L.A. on July 1, 2022 (or the few days before) we will know who this song is about!

I tried to figure out where Taylor was late June to July 1 of this year, 2022, and had a very difficult time (since I don’t know anything about Jet tracking).  If anyone can get the jet data, or other sources showing if Taylor Swift was at her L.A. house June-July, we’d be one step closer to knowing if this song is about her.

This was as close as I could get to narrowing down where Taylor was:

June 11, 2022 (Tribeca Film Festival, NY)

July 4, 2022

…[Bridge]

Baby, talk to me/Tell me what you need/Don’t leave me hanging anymore

Taylor’s song, Cowboy Like Me has a lyric about hanging.

Skeletons in the closet means a dirty secret.  Something bad in your past you hide from others.

It’s funny Taylor mentions closets in this context.  I’d say part of the point of this song is having gay-dar and being able to identify other gays (because you’re one too, so you know the signs).  And gay people hide in the closet before they’re out.  A secret and hiding in the closet??!

Here’s an excerpt about the Gardens of Babylon:

As a sidenote: The central club in America’s Queer as Folk series, about mostly gay men and a pair of lesbians, was called Babylon.

The fact that another track on Kelsea’s same album called, Love is a Cowboy really puts it over the top!

…  Are we really lovers if you’re changing your mind/Like the weather? (Weather)

And the word, “Lovers” to end the song???  OMG.  I think I’m on to something here.

Reputation Re-listen: 3rd Lens

23 Jan

1st lense: Public persona. Straight. Thought it was bad. The BF stuff was OTT. As such, the rest of this analysis is from the perspective that Oat Milk is a beard (Grammygate).
2nd lense: Kaylor. Eyes opened, everything made better sense. It’s a WLW love story.
3rd lense: in light of Karlie baby. Post FolkMore.
It’s all of those. Taylor was layering meanings into songs (for plausible deniability) before she admitted it in folklore.

I included lyrical analysis in this, but not quotes from Taylor outside of her songs. When marketing an album to the general public she tends to be an unreliable narrator, and cherry-picking takes away from the credibility of these conclusions. The truth is (buried) in her lyrics.

Call It What You Want (pertinent lines and [brackets show my words]):

My castle crumbled overnight I brought a knife to a gunfight They took the crown, but it’s alright [Snakegate] All the liars are calling me one [KimYe] Nobody’s heard from me for months [Reputation black-out] I’m doing better than I ever was, ’cause My baby’s fit like a daydream [Victoria’s Secret Angel, Karlie] High above the whole scene [tall, and also out of the KimYe drama] Windows boarded up after the storm [during reputation black-out, Kaylor went underground together] He built a fire [Karlie] just to keep me warm All the drama queens taking swings [Karda$hians] All the jokers dressin’ up as kings [Kanye] They fade to nothing when I look at him I’m laughing with my lover, making forts under covers

Taylor is in love with Karlie. She says they don’t have to label it if that doesn’t work for Karlie:

(Call it what you want, call it what you want, call it) So call it what you want, yeah, call it what you want to Call it what you want, yeah Call it what you want To [said fast it even sounds like Karlie’s name in here]

Taylor writes a lot about the sexual chemistry of Kaylor:

Don’t Blame Me

I’ve been breakin’ hearts a long time, and [Taylor’s serial-dater reputation] Toyin’ with them older guys [Jake G, John M, Tom H…] Just to play things for me to use [beards]

Something happened for the first time, in The darkest little paradise Shakin, pacin’, I just need you I get so high, oh Every time, yeah every time you’re lovin’ me You’re lovin’ me Oh, Lord, save me, my drug is my baby I’d be usin’ for the rest of my life [Lesbian sex.]

My name is whatever you decide [Karlie misspells Taylor’s name in the sand during the Big Sur trip] And I’m just gonna call you mine Halo, hiding my obsession [VS Angel and also Taylor Swift the wholesome/straight brand] I once was poison ivy, but now I’m your daisy [a daisy on the dashboard identical to the pic on the liner notes; also Ivy from Evermore calls back to this]

I rearranged the lyrics of So It Goes:

Met you in a bar [Delicate? or the 2014 Met Gala?] All eyes on me, your illusionist [Taylor is not what she seems] All eyes on us [Guests, media, the public?] See you in the dark All eyes on you, my magician [magical but twists the truth does tricks to obscure] All eyes on us You make everyone disappear, and [Taylor only has eyes for Karlie]

Cut me into pieces Gold cage, hostage to my feelings

[Taylor is in love, yet still in her metaphorical cage. She has to hide this love from the public for the sake of her career. She’s also in the cage because her love, Karlie, is committed to someone else (Jo$h).]

Back against the wall [no options] Trippin’, trip-trippin’ when you’re gone [Karlie goes back to Jo$h] ‘Cause we breakdown a little I’m so chill, but you make me jealous [Taylor doesn’t want to share Karlie] But I got your heart Skippin’, skip-skippin’ when I’m gone [Both of them feel love, not just Taylor]

[There’s a lot of outside factors standing between Taylor and Karlie, and making their relationship complicated and messy.]

But when you get me alone, it’s so simple ‘Cause baby, I know what you know We can feel it And all the pieces fall Right into place Getting caught up in a moment Lipstick on your face So it goes I make all your gray days clear and Wear you like a necklace [lesbian sex graphic reference] But when I get you alone, it’s so simple ‘Cause baby, I know what you know We can feel it You know I’m not a bad girl [Commenting on public stigma of gays] But I do bad things with you [Sexually-speaking] So it goes Come here, dressed in black now So, so, so it goes Scratches down your back now So, so, so it goes

[sex, sex, sex is so passionate and great and makes all the public image and commitments to others momentarily disappear]

I’m yours to keep [Karlie could choose Taylor] And I’m yours to lose [will Karlie choose Jo$h?] You did a number on me [Staying committed to Jo$h while seeing Taylor] But honestly, baby, who’s counting? I did a number on you [bearding, anxious about their relationship] But honestly, baby, who’s counting? [Proceeds to count. Maybe saying resentments are building up on both sides]

End game through this 3rd lens seems less like couple goals as I had previously interpreted it, and more like begging Karlie to choose her (over Jo$h):

Big reputation, big reputation Ooh you and me we got big reputations [obv Taylor and Karlie individually and together]

I don’t wanna touch you (I don’t wanna be) Just anther ex-love (you don’t wanna see) I don’t wanna miss you (I don’t wanna miss you) [When Karlie goes back to Jo$h] Like the other girls do I don’t wanna hurt you (I just wanna be) Drinkin’ on a beach with (you all over me And I can’t let you go, your hand print’s on my soul [Taylor is deeply in love with Karlie] It’s like your eyes are liquor, it’s like your body is gold [Karlie] You’ve been calling my bluff on all my usual tricks So here’s the truth from my red lips I wanna be your end game I wanna be your first string I wanna be your A Team I wanna be your endgame, endgame

[This screams, please pick me overJo$h]

Delicate under the 3rd lens seems less like a nervous 1st date and more like anxiety that Karlie is a flight risk.

We can’t make any promises Now can we, babe Is it cool that I said all that? Is it chill that you’re in my head? ‘Cause I know that it’s delicate (Delicate) Is it cool that I said all that? Is it too soon to do this yet? ‘Cause I know that it’s delicate

[Taylor is full of anxiety, not wanting to scare Karlie away, not wanting to push boundaries.]

Third floor on the West Side, me and you [Kaylor sex] Handsome, you’re a mansion with a view [Karlie] Do the girls back home touch you like I do? Long night with your hands up in my hair Echoes of your footsteps on the stairs Stay here, honey, I don't want to share [with Jo$h] 'Cause I like you Sometimes I wonder; when you sleep Are you ever dreaming of me? [vs. Jo$h] Sometimes when I look into your eyes I pretend you're mine, all the damn time 'Cause I like you

Dress is the Met Gala (2014 or 2016?). Things were sexy, there was attraction, they had undeniable chemistry.

Wildest Dreams is looking backward at the Big Sur trip Kaylor took after they met. So looking about here in the timeline. They were in love.

I believe Taylor was writing songs that went on the Lover album and was interrupted by KimYe/Snakegate. That's why some of the Lover tracks fit chronologically between Reputation tracks.

A stressor to Kaylor is election season ramping up. Miss Americana and the Heartbreak King [Taylor doesn't want her brand associated with Ku$hners/Trump. Thus she could not be open that her and Karlie are in a romantic/sexual relationship (even though she feels so much for Karlie).]

Getaway car

1st lens: Leaving Calvin (Tom?!) for Joe. Makes no sense. Too many people and an inconsistent timeline.
2nd lens: leaving beards for true love Karlie. Occasional lines don't make sense- did Taylor switch perspectives within the lyrics?
3rd lens: ditching Jo$h to have Kaylor sex. And lines like:

No, nothing good starts in a getaway car [Kaylor is doomed]
He [not Calvin, not beards. Jo$h] poisoned the well, [Jo$h was working against Kaylor, he was doing his best to thwart Taylor and persuade Karlie to stay with him] I was lying to myself [That she was hetero/bi (she's not), that she could handle a casual relationship, and that Karlie would leave Jo$h forever to be with her]. I knew it from the first Old Fashioned, we were cursed
We were flyin', but we'd never get far
There were sirens in the beat of your heart [this trist is exciting but problematic. Both for the public finding out about WLW. But also bc TS is seriously in love and that will cause problems.]

*This stanza:

It was the great escape, the prison break

Both from the Met gala (a bit confusing bc Kaylor went at least twice-2014 and 2016 I think) but also Taylor from comp-het. Now she realizes she's lesbian. I say that because Taylor already knew she liked women. She dated Diana. And I'm assuming it wasn't just a Kaylor sex, 'I am sexually attracted to women' epiphany, because Swiftgron lasted awhile and I'm assuming they were sexual. But there is some sort of revelation Taylor has in this part of the song. A change has taken place, and something is different about Taylor compared to before.

The light of freedom on my face

A change has taken place within Taylor, and it's evident to observers. Even though Taylor previously dated Diana, she has this "prison break" moment where she realizes she wasn't bisexual after all. I wonder if Taylor had previously felt like her dalliances with women were just about sex. She may not have taken them as seriously, and still thought she would end up with a guy (compulsory heterosexuality). But in this Getaway Car prison break, she sees in her negative reaction to Karlie's commitment to Jo$h (and perceived indifference to Kaylor) that her (Taylor's) love is different. She realizes she is serious about wanting a relationship, not just having funsy sex.

But you weren't thinking [Karlie wasn't thinking of more then sex, and especially not considering the long term implications of a lesbian relationship] And I was just drinking Well, he [Not any beard, Jo$h] was running after us, I was screaming, "Go, go, go!" But with three of us, honey, it's a sideshow And a circus ain't a love story [There are Jo$h, Karlie, and Taylor involved.]

I knew it from the first Old Fashioned, we [Kaylor] were cursed It hit you [Karlie]  like a shotgun [not romantic, deadly]  shot to the heart We were jet-set, Bonnie and Clyde (oh, oh) [the sneaking and sexing was fun and exciting]

Until I switched to the other side, [Taylor tells again of a revelation. She has the realization that she is not bisexual just wanting a friends w/benefits, or casually playing, but that she's actually full-lesbian with serious feelings] to the other si-i-i-i-ide [She emphasizes there is a change.]

There were sirens in the beat of your [Karlie- it's all fun and games until Taylor falls in love]  heart (should've known) [that Karlie didn't want that lesbian life] Should've known I'd be the first to leave

Taylor tells us that she broke up with Karlie. She thought Karlie wasn't taking Kaylor seriously because she remained committed to Jo$h. Taylor tells us she was angry that her conveying a true love was received with anxiety by Karlie. And also, Taylor couldn't be outed by the relationship for her public image. And thirdly, she didn't want to be associated with Ku$hners and Trump.


Cruel Summer cements this.
Shape of your body is new. [Taylor with a woman. Taylor's lesbian status is new to her.] Blue. [Taylor is depressed about the implications of being gay. But also...] It's cool, that's what I tell 'em No rules in breakable heaven [She's also depressed that it's a casual sex thing with Karlie despite agreeing to those terms .] I'm drunk in the back of the car [getaway car?] And I cried like a baby coming home from the bar (oh) Said I'm fine, but it wasn't true [what this song is about] I don't wanna keep secrets just to keep you And I snuck in through the garden gate [but Taylor can't get enough of Karlie] Every night that summer just to seal my fate (oh) [sex] And I screamed for whatever it's worth "I love you, " ain't that the worst thing you ever heard? [Because this isn't what Karlie wants (remember the shotgun to the heart)] He looks up grinning like a devil [kissgate, or Jo$h wins bc if they're outed Kaylor falls apart]

After this realization of being a lesbian, Taylor shuts Kaylor down bc of internalized homophobia, fear, and all the outside factors making Kaylor overly complicated.

Tolerate It [(song on folklore that could be looking back) parent and industry homophobia]

The Archer [worried about losing fans and career if she comes out]

Even though Daylight is the last track of the next album (Lover) I think it belongs here in the sequence of events. In the song, Taylor comes to terms with her sexuality.  I'm about to trade Daylight lyrics in what I believe to be a Chronological way:

Clearing the air, I breathed in the smoke [kissgate] I've been sleeping so long in a 20-year dark night [realization she knew she liked girls since she was 7, but was in the closet and also comp-het and bearding. Now she knows she's a lesbian.] My love was as cruel as the cities I lived in [internalized homophobia]

[Taylor comes to accept her sexuality] Like daylight It's golden like daylight You gotta step into the daylight and let it go Just let it go, let it go [Let fear and homophobia go] Maybe you ran with the wolves [Ku$hners] and refused to settle down [with Taylor under the condition that they could never have a public family bc of Taylor's image] Maybe I've stormed out of every single room in this town [Taylor is upset her and Karlie can't have real Love]

[Despite all the outside factors, Taylor cannot just leave Karlie]
I don't wanna look at anything else now that I saw you (I can never look away) I don't wanna think of anything else now that I thought of you And now I see daylight, I only see daylight And I can still see it all (In my mind) All of you, all of me (Intertwined) I once believed love would be (Black and white) [Male female love] But it's golden (Golden) And I can still see it all (In my head) Back and forth from New York (Singing in your bed) I once believed love would be (Burning red) [Passionate, sex/fighting, bisexual?] But it's golden Like daylight, like daylight

This Love Happened around this point but looking back to the Wildest Dreams times. Folkmore has call-backs to this song.

Death by a Thousand Cuts is the next part of the Kaylor story.

Trying to find a part of me that you didn't touch [so much sex, but also touched heart] Gave up on me like I was a bad drug [Karlie wants a public family and didn't want some covert hidden closeted one] Now I'm searching for signs in a haunted club Our songs, our films, united we stand Our country, guess it was a lawless land [call back to Miss Americana and the Heartbreak King where she describes GOP winning the 2016 election. This also explains 1 reason why in the Getaway Car Taylor was unwilling to publicly be out with Karlie. Taylor didn't want to be associated with Ku$hners/Trump.] Quiet my fears with the touch of your hand [Fears of a public family with Karlie are gone.]

Taylor is regretful and heartbroken she left Karlie:

get drunk but it's not enough 'Cause you're not my baby I look through the windows of this love Even though we boarded them up [Kaylor broke up] Chandelier's still flickering here [Taylor still loves Karlie] 'Cause I can't pretend it's ok when it's not [being without Karlie] No, it's not It's death by a thousand cuts Trying to find a part of me that you didn't touch My body, my love My trust But it [The sex. Taylor's trust.] wasn't enough, it wasn't enough, no,

Taylor is very depressed without Karlie. And she's re-thinking her reasons for breaking up with her.

Then is Cornelia Street:
Back when we were card sharks, playing games I thought you were leading me on [Taylor broke-up with Karlie after Getaway car because she thought Karlie wasn't taking their WLW thing more seriously. Karlie kept going back to Jo$h] I packed my bags, left Cornelia Street Before you even knew I was gone [getaway car]

But then you [Karlie] called, showed your hand [told Taylor Jo$h and her weren't real. Just a cover and means to have a public family] I turned around before I hit the tunnel Sat on the roof, you and I [Kaylor]

[Kaylor is back on]

I hope I never lose you, hope it never ends [but Taylor's afraid it's tenuous] I'd never walk Cornelia Street again That's the kind of heartbreak time could never mend [folkmore confirms this] I'd never walk Cornelia Street again


In paper Rings (through the 3rd lens)
The wine is cold Like the shoulder that I gave you in the street Cat and mouse for a month or two or three [after the 1st break-up there was still an attraction between Kaylor] Now I wake up in the night and watch you breathe [Cornelia Street told us Kaylor got back together after Karlie told Taylor Jo$h is not a real relationship. Then they sat on the roof together. Taylor looks back to Getaway car where she couldn't give Karlie that family life. But 2-3 months later here Taylor is watching Karlie sleep.] I want to drive away with you [Big Sur and also living happily ever after] I want your complications too [Jo$h situation. So Taylor says she'll accept Kaylor as it is. Karlie will still be entangled with the Ku$hners, but Taylor would rather accept that then not have Karlie at all.]

And Taylor suggests a solution that would work for Kaylor. She suggests:

I like shiny things, but I'd marry you with paper [Kaylor marriage is not socially legitimate but paper rings is Karlie's "marriage" to Jo$h (you showed your hand)] rings Uh huh, that's right Darling, [Karlie] you're the one I want, and I hate accidents except when we went from friends to this Uh huh, that's right Darling, you're the one I want In paper rings, in picture frames [Polaroid], in dirty dreams You're the one I want


Lover song:

Ladies and gentlemen, will you please stand? With every guitar string scar on my hand I take this magnetic force of a man [Karlie] to be my lover [committed lesbian partner, but socially illegitimate] My heart's been borrowed [beards] and yours has been blue [Taylor hurt her with the 1st break-up] All's well that ends well to end up with you Swear to be overdramatic and true to my lover And you'll save all your dirtiest jokes for me And at every table, I'll save you a seat, lover

Yet there's still some uncertainty and instability:

Have I known you 20 seconds or 20 years? [Mercurial soulmate] Can I go where you go? Can we always be this close forever and ever? [Taylor is still not sure that Karlie won't up and leave her permanently for Jo$h (and it's almost a self-fulfilling prophecy given what we learn in folkmore). And ah, take me out, and take me home

In Afterglow Taylor says:
This ultraviolet morning light below [Karlie marrying Jo$h while Taylor was in Australia. When Karlie got "married"  Taylor flips out  But it's not real.  She got jealous and forgot paper rings. Jo$h and Karlie have some sort of agreement on paper, a fake marriage. And in Paper Rings Taylor said she accepted that.]

Taylor broke up with Karlie a second time.

But in this song she takes responsibility for their demise, and is regretful for her blow-up. Taylor wants Karlie back.

Fighting with a true love is boxing with no gloves [Bad Blood] Chemistry 'til it blows up, 'til there's no us Why'd I have to break what I love so much? It's on your [Karlie's] face, and I'm [Taylor for thinking the marriage was real] to blame, I need to say Hey It's all me in my head [jealousy for the Jo$h situation] I'm the one who burned us down But it's not what I meant I'm [Taylor] sorry that I hurt you [Karlie] I don't wanna do, I don't wanna do this to you I don't wanna lose, I don't wanna lose this with you I need to say, hey It's all me, just don't go Meet me in the afterglow Tell me that you're still mine Tell me that we'll be just fine Even when I lose my mind I need to say Tell me that it's not my fault Tell me that I'm all you want Even when I break your heart

So that is what I think Taylor is telling us through her music. I've just rearranged it in a way I think is more linear to the actual Kaylor timeline. Also, this is not supposed to be all-inclusive. It does not include every song, nor every bit of the Kaylor relationship (I mean, this is already too long). I largely omitted a lot of their happy times, and other things. But this chunk includes some Kaylor happy times, sexy times, strife, and 2 break ups.

After this part I do think Karlie gave Taylor another chance after the paper rings break-up. The first part of the Lover era was all rainbows and butterflies and a possible coming out. But the latter half was dark and depressing. So they might have broken up in the middle of the era? I think the masters heist caused Taylor to delay a coming out publicly another time. It was just another blow and let down to Karlie in a series of promises (Coney Island) and probably Karlie thought time was running out for her to have a child. She couldn't delay a family life much longer.

After that even Kaylor had to be 'on' for a bit because prior to the surprise drop folklore, Karlie was in a cardigan and amongst trees. Karlie HAD to know. And nobody else did, and there was a bit of hope in folklore. So I don't know what occurred between sad-Lover era and folklore, but something gave Taylor hope. I think it ended for good (4th? break-up was final) because Evermore was all super-sad.

Reputation (2017) by Taylor Swift Song Ranking

20 Feb

33.3% Awesome; 40% Good; 20% OK; 6.7% Meh; Skip out of 15

5 Awesome

…Ready for It?

I Did Something Bad

Don’t Blame Me

Look What You Made Me Do

Dancing with Our Hands Tied

If you asked me I would say Reputation is my favorite album. I like how gay it is. How unapologetic. That moag! Most of the songs are fast and energetic. I can dance through pretty much the whole concert video. But numbers don’t lie. When the songs are ranked, Reputation does not top the list. It’s a surprise to me, but there’s still a lot to like here. Oh, and P.S. Taylor absolutely needs to stop doing duets or featuring men in her songs. And not because I’m anti-men or anything. I have a lot of favorite male singers. Just EVERY time she does = song ruined.

6 Good

So It Goes

Getaway Car

Dress (sexy)

Delicate

This is Why We Can’t Have Nice Things

New Years Day

3 OK

Gorgeous (b/c it’s ambiguous)

King of My Heart

Call It What You WAnt

1 Meh

End Game (don’t like featured)

Skip

1989 (2014) by Taylor Swift Song Ranking

19 Feb

50% Awesome; 31.3% Good; 18.8% OK; Meh; Skip out of 16

8 Awesome

Blank Space

Style

Out of the Woods

Shake It Off

I Know Places

Stay

Bad Blood

Wonderland

These songs are amped up and theatrical. You can ‘picture’ each one as a movie, and the music videos are practically block-buster films. Also, I hear a lot of Kaylor vibes, and it’s fun to translate the obscure lyrics and figure out signs and hints. I wish I had been engaged during this era!

5 Good

Wildest Dreams

Welcome to New York

How You Get the Girl

Clean

You are in Love

3 OK

I Wish You Would

New Romantics

This Love

Meh

Skip

…Ready for it? Lyrical Analysis & Bearding Plan

11 Jan

Sidenote:  I apologize for the shitty formatting.  I don’t know who WordPress cators to, but their platform is not user-friendly, not intuitive, and I HATE IT.  But I wouldn’t know how to get these million blog posts moved to a different platform quickly, so I remain…

Reputation was released 2017

I think this is Taylor’s song spelling out her bearding plan, code-phrase:  That’s My Man.

Knew he was a killer first time that I saw him

la·dy·kill·er/ˈlādēˌkilər a charming man who is very attractive to women.

Attractive to women. Doesn’t say this man likes women, or has many affairs with women. The definition specifically says this man is the recipiant of women’s attraction. And he’s charming/polite.


Wonder how many girls he had loved and left haunted

Taylor Swift explained the meaning… “‘Haunted’ is about the moment that you realize the person you’re in love with is drifting and fading fast…captured the intense, chaotic feeling of confusion I was looking for.”


But if he’s a ghost, then I can be a phantom

  1. phan·tom/ˈfan(t)əm a ghost
    • a figment of the imagination.
    • denoting a financial arrangement or transaction that has been invented for fraudulent purposes but that does not really exist.
      • “he diverted an estimated $1,500,000 into “phantom” bank accounts”

Interesting. Especially that last definition. If Joe is a ghost (he confused many girls), then it allows Taylor to have a financial arrangement for something that does not actually exist (love). Hmmm.

Holdin’ him for ransom

ransom ran-suhm ] noun

the redemption of a prisoner or kidnapped person, of captured goods, etc., for a price.

the sum or price paid or demanded.

a means of deliverance or rescue from punishment for sin, especially the payment of a redemptive fine.

Taylor takes Joe and keeps him for a price. Alternate definition is Taylor rescues Joe from sin for a redemptive fee.

Some, some boys are tryin’ too hard
He don’t try at all, though

Taylor reminds us some of her beards were not believable bc it was too much (Tom Hiddleston in that shirt). But this man doesn’t do anything to arouse suspicion. He’s more lowkey, and all the “privacy” he/they require means he’s a blank slate for the media and public.


Younger than my exes but he act like such a man, so
I see nothing better, I keep him forever
Like a vendetta-taI-I-I see how this is gon’ go

Taylor, who has been criticized for being a man-eater, but who also doesn’t want to ruin her career coming out as LGBT doesn’t see an alternative to keeping this beard around forever. If she has a long-term beard, she can keep her secret, but the media and public might lay off about her dating life.

A vendetta begins when one family correctly or incorrectly believes itself to have been attacked, insulted or wronged by another. Intense feelings of resentment result in the initial retaliation, which leads to the other family feeling equally resentful, angry and vengeful . Ultimately there is a long-running cycle of retaliatory violence. This continual cycle of provocation and retaliation makes it almost impossible to end the vendetta peacefully. Vendettas frequently involve the entire family members, all the relatives and associates, and can last for generations.

NDAS, anyone?

Touch me and you’ll never be alone
I-Island breeze and lights down low

No one has to know In the middle of the night, in my dreams
You should see the things we do, baby
In the middle of the night, in my dreams
I know I’m gonna be with you
So I take my time

The music changes in this part of the song, as does Taylor’s mood. Here, she’s softer, and sings, no one has to know (b/c this is a secret) in her [sexy, apparently, based on the noises] dreams she thinks of “you” someone different than the person in the rest of the song.

Are you ready for it? Me, I was a robber first time that he saw me
Stealing hearts and running off and never saying sorry

This is getting at what I was saying earlier about the man-eater stuff. Robber talks about her stealing something (hearts of boys) that aren’t hers to take. The love of a man is not Taylor’s b/c it’s not real and she’s not actually into these guys she “dated.” Running off and never saying sorry implies that after the “relationships” Taylor left and felt no remorse (bc it’s a business transaction). Short-term bearding contracts were hiding her LGBT truth but also making Taylor look too man-hungry.
But if I’m a thief, then he can join the heist

Cowbody Like Me. Taylor does the bearding contracts, but now she’s saying she found a like-minded beard, who also has the same goals as she does.
And we’ll move to an island-and
And he can be my jailer,

Taylor is trying to put out her own cutesy ship name. But she already “dated” a J, so instead of Joe-Taylor fans went Taylor-Joe, and the result is a very un-cute (in my opinion) Toe.

Burton to this Taylor

I looked Burton up in the most basic of searches and read that there were, indeed, rumors of homosexuality linked to him. He even talked about it himself in an interview:

In a February 1975 interview with his friend David Lewin he said he “tried” homosexuality. He also suggested that perhaps all actors were latent homosexuals, and “we cover it up with drink“.[24] In 2000, Ellis Amburn’s biography of Elizabeth Taylor suggested that Burton had an affair with Laurence Olivier and tried to seduce Eddie Fisher[page needed], although this was strongly denied by Burton’s younger brother Graham Jenkins.[25]

It’s no secret that Liz Taylor had more than a few gay fans, or that she had more than a few gay friends…and possibly husbands.

http://ryan-field.blogspot.com/2012/11/was-richard-burton-gay.html 

Given this information, what an interesting comparison for Taylor to make! She says Joe is like Burton (gay?) to this Taylor (in a lavender marriage?) but the public will see it as a great romance.

Every lover known in comparison is a failure

I forget their names now, I’m so very tame now

All the short-term beards could be easily debunked as fake by the media, general public, and fans. It was a failure b/c these boyfriends did not help Taylor’s public image. But a “private” long-term beard, would make Taylor look more stable (tame), and as a bonus, straight.

Never be the same now, nowI-I-I see how this is gon’ go
Touch me and you’ll never be alone

I-Island breeze and lights down low
No one has to know
(No one has to know) In the middle of the night, in my dreams

It’s important that the “no one has to know” is on the same line as the description of Taylor’s dirty dreams. She is saying no one has to know who she actually dreams about (a female?). These dreams are about someone else/not the subject of the song/not Joe.
You should see the things we do, baby
In the middle of the night in my dreams
I know I’m gonna be with you
So I take my time

This person in Taylor’s dreams, who no one has to know about, b/c it’s not the subject of this song, Joe, is the one she wants to be with. And she takes her time (in both this sex-dream, and also with this long-term bearding plan).
Are you ready for it?
Ooh, are you ready for it? Baby, let the games begin
Let the games begin
Let the games begin
Baby, let the games begin
Let the games begin
Let the games begin

If Toe is real and true love, why does Taylor refer to games many times at the end of this song? True love should not have games. Taylor just set out her long-term bearding plan in this song, so she can obscure LGBT rumors, not look like a man-eater with all the shorter boyfriend relationships, but eventually be happy with this 2nd song subject.

I-I-I see how this is gon’ go
Touch me and you’ll never be alone
I-Island breeze and lights down low
No one has to know In the middle of the night, in my dreams
You should see the things we do, baby
In the middle of the night, in my dreams
I know I’m gonna be with you
So I take my time In the middle of the night
Baby, let the games begin
Let the games begin
Let the games begin
Are you ready for it? Baby, let the games begin
Let the games begin
Let the games begin
Are you ready for it?

Taylor Swift’s Evermore as Amalgamation: Willow Analysis

30 Dec

I am immediately relieved to hear the instruments.  It’s automatically more alive and warm than folklore.  I also like when she sings at a higher octave, and the faster cadence of the chorus.

I didn’t really want to write an analysis of this song, because after seeing the video it seemed like Taylor really doubled-down on the boyfriend narrative.  And I honestly don’t think that’s her truth, so the whole thing didn’t interest me.  But I was listening to the song for a different reason today (I’m trying to rank every song in her catalogue) and noticed something about the scars line.  And when I looked at the written lyrics I noticed something…

[Verse 1]

I’m like the water when your ship rolled in that night

Rough on the surface, but you cut through like a knife

Taylor Songs with “knife” in the lyrics:

You, with your words like knives/And swords and weapons that you use against me (Mean)

My castle crumbled overnight/I brought a knife to a gunfight/They took the crown but it’s alright/All the liars are calling me one (Call it What You Want)

So cut the headlights, summer’s a knife/I’m always waiting for you just to cut to the bone (Cruel Summer)

Like the war of words I shouted in my sleep/And you passed right by/I was in the alley, surrounded on all sides/The knife cuts both ways (Long Story Short)

My only one/My smoking gun/My eclipsed sun/This has broken me down/My twisted knife/My sleepless night/My win-less fight (Hoax)

Taylor/the water in this metaphor is rough on the surface.  She’s emotional, and has all this inner turmoil about being who she is vs. keeping up the brand.  But the person she’s talking to in the song cuts through all that and gets to the inner Taylor.  

And I think the Long Story Short lyrics describe how this person passes her by but Taylor’s in this figurative alley surrounded on all sides (by her team, audience, demands, PR–all the people Taylor tries to appease all the time according to “Mirrorball” (folklore)).  The knife cuts both ways tells us listeners that yeah, Taylor’s feelings are hurt (alla Hoax) but also, Taylor is doing her own share of hurting the other person by constantly trying to please all these outside forces that surround her.  

Hoax shares that this person is Taylor’s true love.  But also Taylor’s true love is simultaneously her smoking gun, bc being with HER makes evident Taylor’s sexuality.  Being with “the only one” outs Taylor.  The following line says eclipsed sun.  So Karlie (all things gold and sunshiny) is (temporarily) hidden and gone, bc Taylor chose to appease those surrounding her by continuing to hide who she really is.  But this fight has made Taylor sleepless and ultimately unhappy.  It’s a win-less fight.  Both bc Taylor lost the sun (Karlie) to Jo$h, and because nobody is winning when they’re closeted–even if people believe the straight-boyfriend-narrative.

And if it was an open-shut case

Open-and-shut:  Easily decided or solved because the facts are very clear. 

I never would’ve known from that look on your face

The face Taylor is talking to in the song is full of ambiguity.  If the facts are clear, the look on this person’s face obscures that.  The situation is complicated and confusing.

Lost in your current like a priceless wine

[Chorus]

The more that you say, the less I know

This person is a fancy-talker, using double-speak, or obfuscating what they say.

Wherever you stray, I follow

Definition of stray intransitive verb

: WANDER: such as

A : to wander from company, restraint, or proper limits

B : to roam about without fixed direction or purpose

C : to move in a winding course : MEANDER

D : to move without conscious or intentional effort

E : to become distracted from an argument or train of thought

F : to wander accidentally from a fixed or chosen route

G : ERR, SIN

Stray is deviating from norms.  So Taylor uses a negative word to mean either this person is being intentionally evil (cheating on a husband?) or this person is flaky and wandering away from the target.  But whichever is the case, Taylor wants to go with this person off the beaten path (norms of straight marriage?), away from the target (she’s also rejecting heteronormativity).

I’m begging for you to take my hand

In marriage?

Wreck my plans, that’s my man

When I heard this line before seeing it, I took it as, there’s my man, he’s my man, I love my man kind of stuff.  When I saw how it was written I noticed it’s on the same line.  She doesn’t say, “wreck my plans/that’s my man” as separate thoughts.  She says, “wreck my plans, that’s my man” as in further describing the plans.  I feel the distinction is wreck my plans, [which are] ‘that’s my man’.  Another way of saying it is: Code name “That’s my man” are the plans being described, and the person Taylor is talking to in the song is wrecking the “that’s my man” plan. 

Like the plan is:  Here’s my long term straight relationship, I’m in love with a man.  That narrative is what’s wrecked by this person Taylor is addressing in the song.  She’s not talking to her man or about her man in the song.  [It’s really confusing to write out, I hope you get what I’m trying to put out there, dear reader]

The amalgamation of this song is the “that’s my man” line, which is easily misrepresented as an I love my boyfriend!

[Verse 2]

Life was a willow and it bent right to your wind

Head on the pillow, I could feel you sneakin’ in

Sneaking [ snee-king ]adjective

acting in a furtive or underhand way.

deceitfully underhand, as actions; contemptible.

secret; not generally avowed, as a feeling, notion, suspicion, etc.

“Sneaking isn’t a positive word either.  Taylor is already in bed and this person enters after her.  Why would Joe come in after Taylor has gone to bed?  Is he up to something?  Cheating on her?  I think this part is similar to the story of “Illicit Affairs” (folklore) where the person Taylor wants to be with (Karlie?) is cheating on her husband.  It could mean Karlie is surreptitiously seeing Taylor even though she’s supposed to be in a committed relationship with Jo$h.

As if you were a mythical thing

And it seems like this sneaking person is mythical because they are here, then they disappear.  Also, it’s like a dream (in the sense it’s what Taylor wishes for, and also in a ‘wake up and this person is gone’ way) whenever this person comes around.

Like you were a trophy or a champion ring

This line talks about competition.  Taylor is competing with Jo$h to “win” Karlie.  She talks about trophy, ring, then prize to compare the outcome of beating someone to get something shiny.

And there was one prize I’d cheat to win

And again “cheat” references Illicit Affairs.  Taylor will play dirty and be ‘the other woman’ to beat the competition (Jo$h) and win this prize (Karlie).

[Chorus]

The more that you say, the less I know

Wherever you stray, I follow

I’m begging for you to take my hand

Wreck my plans, that’s my man

You know that my train could take you home

I wonder if Taylor is talking to the same person she was talking to in the “Champagne Problems” song?  The one who “booked the night train for a reason” (I think Karlie, but could be Joe).  

One for the money, two for the show/I never was ready so I watch you go/Sometimes you just don’t know the answer/’Til someone’s on their knees and asks you/“She would’ve made such a lovely bride/What a shame she’s fucked in the head,” they said/But you’ll find the real thing instead

Those lyrics talk about Karlie’s two weddings.  And say Taylor was never ready to come out of the closet, so she watched Karlie go back to Jo$h.  Karlie didn’t know who to pick between Jo$h and Taylor, so she was ambivalent about future marriage plans with him.  The person proposing on their knees is jo$h proposing to Karlie!  “But she WOULD have made such a lovely bride” shows neither wedding was legitimate.  And she’s fucked in the head says why–Karlie isn’t into it  bc she loves Taylor.  And now this song confirms, you’ll find the REAL thing instead.  Taylor says MY train could take you HOME.  We know how important home has been to Taylor.  She wants Karlie to come with her.

Anywhere else is hollow

Karlie’s existence with Jo$h is shallow and for all the wrong reasons.  Taylor is offering Karlie substance.

I’m begging for you to take my hand

Wreck my plans, that’s my man

Taylor sings to Karlie, I’m begging you to be with ME, wreck my plans [OF] that’s my man [bearding charade].  

[Bridge]

Life was a willow and it bent right to your wind

They count me out time and time again

All the haters hate, no matter what Taylor Swift does.

Life was a willow and it bent right to your wind

A theory is that the word “willow” is derived from a Celtic language, sal meaning ‘near’ and lis meaning ‘water’.  They are used for streambank stabilisation (bioengineering), slope stabilisation, soil erosion control, shelterbelt and windbreak, and wildlife habitat. And Willows are often planted on the borders of streams so their interlacing roots may protect the bank against the action of the water. Frequently, the roots are much larger than the stem which grows from them (Wikipedia).

But I come back stronger than a ’90s trend

Taylor is persistent and proves the haters wrong with her successes every time. And also she will be persistent in trying to win Karlie back from Jo$h.

[Verse 3]

Wait for the signal, and I’ll meet you after dark

Show me the places where the others gave you scars

Who has the scars?  You drew stars around my scars says Taylor in “Cardigan” (folklore).  And in “Hoax” (folklore) she sings, “You knew it still hurts underneath my scars/From when they pulled me apart.”  Taylor is the one with the scars.  This other person in the song tells Taylor to wait for the signal and they can meet at night.  And asks Taylor to see where OTHERS gave her scars.

Now this is an open-shut case

I guess I should’ve known from the look on your face

This person (Karlie) looks at Taylor’s face and sees something definitive, there’s no mystery. Taylor is now resolute about being with Karlie despite it being the smoking gun of her sexuality.

Every bait-and-switch was a work of art

“Bait and switch” isn’t a matter of making a mistake or having a change of heart.  It’s intentional manipulation.  Someone makes a promise to do something in order get what s/he wants at that point in time–knowing all the while that s/he will never honor that promise (http://psychotherapist-nyc.blogspot.com/2018/03/bait-and-switch-as-form-of-manipulation.html).  

Sounds to me like Karlie “marrying” Jo$h.  But she really didn’t, or she didn’t do it intending to stay and be faithful to him, bc “she’s fucked in the head” and in love with Taylor.  The work of art will be when Karlie leaves Jo$h and Kaylor is happily together.

[Chorus]

The more that you say, the less I know

Wherever you stray, I follow

I’m begging for you to take my hand

Wreck my plans, that’s my man

You know that my train could take you home

Anywhere else is hollow

I’m begging for you to take my hand

Wreck my plans, that’s my man

The more that you say, the less I know

Wherever you stray, I follow

I’m begging for you to take my hand

Wreck my plans, that’s my man

You know that my train could take you home

Anywhere else is hollow

I’m begging for you to take my hand

Wreck my plans, that’s my man

It’s a happy Kaylor ending.  Karlie left Jo$h on the Taylor train, because it was a marriage for shallow reasons.  And Taylor asks Karlie to be with her, wreck her plan of bearding.  Kaylor shaves the beards and ends up together-yay!

Taylor Swift’s Evermore as Amalgamation: Dorthea Analysis

26 Dec

Who is Dorothea?  Firstly, remember each song on the album is an amalgamation.  Taylor has blended several people in each song.  So I’m pretty sure Dorothea is representative of a person Taylor knows in real life.  And from the sound of this song, it seems like during high school, in TN.  But I know some historical figure or story is probably also mixed in so I found some possible candidates online:

Lesbian of the Day, Dorthea from fire emblem 3 houses.  I saw this line in a search, and as far as I can deduce, Fire Emblem is a video game?  I didn’t get into it that much b/c I am disinterested in gaming.  But of interest,  I noticed that the female version of Byleth can romance other female characters like Edelgard and Dorothea.

Of even more interest to me was a slang term on Wikipedia.  In gay slang, a “friend of Dorothy” (FOD) is a gay man and more broadly, any LGBTQ person.  Which is kind of exactly what this song is talking about!

Thirdly I found a piece of media, that had connections to lyrics in Evermore:

Rebecca Shoptaw is at the helm of Middlemarch, but she creates LGBTQ+ short films on YouTube.  Many of her films have been featured at film festivals such as the North Carolina Gay and Lesbian Film Festival and the MiFo LGBT Festival.  Shoptaw is known for putting queer narratives on screen [and this] has translated to “Middlemarch: The Series,” where several of the characters are LGBTQ+ and gender-bent (http://fourteeneastmag.com/index.php/2017/08/06/middlemarch-the-series/).

One character in Middlemarch is, Dorothea stubborn and strong-willed, going against common advice to wed Casaubon, a much older man. Her marriage to him is driven by her desire to be taught by him, and she devotes herself to him entirely. Unfortunately, Casaubon doesn’t trust her unmitigated devotion.  She feels betrayed by his insinuation that she was unfaithful. In response, Dorothea refuses to finish Casaubon’s work, an indication that she is returning to her independent, pre-marriage self (https://www.sparknotes.com/lit/middlemarch/character/dorothea-brooke/). 

It could be any of those, or it could be none.

[Verse 1]

Hey, Dorothea, do you ever stop and think about me?

When we were younger down in the park

Another time Taylor spoke of a park in song was “You Belong with Me” {Fearless):

Walk in the streets with you in your worn-out jeans/I can’t help thinking this is how it ought to be/Laughing on a park bench thinking to myself/Hey, isn’t this easy?

This song gets mentioned again later too.

Honey, making a lark of the misery

Often unplanned, a lark can happen when you are feeling adventurous. The act of trying something new like this can also be called larking. A lark is also a kind of songbird. Using lark to describe carefree fun might come from 1800s sailors’ slang, skylark, to describe playing in the rigging of the ship, up high like a lark.

You got shiny friends since you left town

These “shiny” friends could be new, rich, important, famous…  Whatever shiny means, it distinguishes these friends from the small town people.

A tiny screen’s the only place I see you now

And I got nothing but well wishes for ya

Taylor indicates there has been a split between them, they don’t see each other on park benches anymore, but Taylor doesn’t harbor any ill-will about it.  It’s another song that tells a detailed story, without being straightforward about who the subjects of the song are..  Someone in Tupelo?  An old friend?  It doesn’t seem to be about Karlie, but there are some similarities in the way Taylor describes Dorthea, and in how she regards her.. 

[Pre-Chorus]

Ooh, this place is the same as it ever was

Ooh, but you won’t like it that way

The subject of the song is restless, she longs for more than a small town life.

[Chorus]

It’s never too late to come back to my side

The stars in your eyes shined brighter in Tupelo

“Stars in your eyes.”  I think Taylor uses this line several times on this album to convey someone thirsty for fame or money or status.  And I think that’s why a song about an old relationship pops up here.  This girl’s hunger to get out of town and be famous, makes Taylor think of Karlie, who is always chasing a bigger, greater life–more fame, more money.

And if you’re ever tired of bеing known for who you know

You know that you’ll always know me, Dorothea (Uh-uh)

Dorothea (Ah-ah)

Again, Taylor emphasizes that if Dorothea wants to resume a more down to Earth existence again, Taylor is open to being there for her.  Taylor is not mad at Dorthea chasing something bigger (and maybe Taylor is conveying she’s not mad at Karlie for doing that same thing?).

[Post-Chorus]

Ooh, you’rе a queen sellin’ dreams, sellin’ makeup and magazines

Ooh, from you, I’d buy anything

Perhaps like a model?  A real life supermodel?  Who else has makeup campaigns and owns and poses in magazines?  Karlie has been called a Capitalist Queen.

[Verse 2]

Hey, Dorothea, do you ever stop and think about me?

When it was calmer, skipping the prom just to piss off your mom and her pageant schemes

This line is about rebelling against norms.  Dorothea, skipped a very traditional high school milestone.  She also didn’t want to conform to a feminine standard by participating in pageants.

And damn, Dorothea, they all wanna be ya

Taylor is still jealous of everyone wanting her subject.  Just like in “Gorgeous,” and similar to the sentiment of “Gold Rush.”  Both songs seem to be about how Taylor thinks Karlie is beautiful and doesn’t like to think about all the other people that want Karlie.  It’s a (gay) pattern that started in her home town with Dorothea.

But are you still the same soul I met under the bleachers? Well

This question bleeds over to the pre-chorus:

[Pre-Chorus]

Ooh, I guess I’ll never know

Here’s where “You Belong with Me” comes back into play:

She’s Cheer Captain, and I’m on the bleachers/Dreaming about the day when you wake up and find/That what you’re looking for has been here the whole time

Ooh, and you’ll go on with the show

Taylor can’t decide if Dorothea is still the same person she knew before she was known for the wealthy/famous people she hangs around.  This “You’ll go on with the show” line insinuates Dorothea is putting on a front, living a lie, acting fake to keep up appearances, and hold on to this new, more recognized life.  Remind you of anyone?!

[Chorus]

But it’s never too late to come back to my side

The stars in your eyes shined brighter in Tupelo

Honestly, I think Taylor used a random MS town just to rhyme nicely to “who you know.”

And if you’re ever tired of being known for who you know

You know, you’ll always know me, Dorothea (Uh-uh)

Dorothea (Ah-ah)

This isn’t an angry verse.  Taylor hopes this person might get tired to living off her associations with wealthy/famous friends and offers to be there after Dorothea (or whoever is represented by Dorothea–Karlie?) gets tired of fronting.

[Outro]

Ooh, ooh

Ooh-woo-ooh-ooh-ooh, ooh-ooh-ooh-ooh

Ooh, ooh

Ooh-woo-ooh-ooh-ooh, ooh-ooh-ooh

Dorothea (Ah-ah-ah)

Ah-ah

Ooh

Taylor Swift’s Evermore as Amalgamation: Gold Rush Analysis

19 Dec

Faster singing conveys fast-living, being in over your head, frantic, anxiety, trying to keep up.

[Intro]

Gleaming, twinkling

Eyes like sinking ships on waters

So inviting, I almost jump in

Sinking ships are ominous.  This line is foreshadowing trouble.  More than that, Taylor is tying this song to “This Love” [1989].  Now that we’ve seen the new timeline of Karlie and Jo$h, and how Karlie was essentially always technically with him, “This Love” becomes more clear to us outsiders:

Clear blue water, high tide came and brought you in, Skies grew darker, currents swept you out again, This love is good, this love is bad, This love is alive back from the dead, These hands had to let it go free, And this love came back to me, Been losing grip, On sinking ships, our kiss, my cheek, I watched you leave, Your smile, my ghost, I fell to my knees, When you’re young you just run, But you come back to what you need

All of these (cherry picked) lines convey how Karlie would be with Taylor, but only briefly.  My underlines show how Karlie would go to Taylor than leave over and over.  And Taylor longed for more time and more stability.  This song is telling the listener that Taylor almost settled for such an arrangement, but she didn’t quite jump in.

[Chorus]

Think of the 2014 VS Fashion Show, where Taylor was in the pink.  Section 1 of that show (a section that Karlie Kloss walked) was called Gilded Angels.

gild·ed /ˈɡildəd/ adjective

  1. covered thinly with gold leaf or gold paint.
    “an elegant gilded birdcage”
    • wealthy and privileged.

Wow, does the title of this VS Fashion Show section feel relevant to me.  I think the song was named after it.  And I think Taylor is showing us through her lyrics, that like the section title, the gold of Karlie, of their relationship was actually gilded.  A thin veneer.  And it’s creepy that a birdcage was right on the first definition in Google, bc it’s so Taylor.  And the wealthy and privileged example in the definition also comes into play in this song (we’ll get to that later).

But I don’t like a gold rush, gold rush

I don’t like anticipatin’ my face in a red flush

Taylor probably felt self-conscious about wearing lingerie–which we really hadn’t seen her bare so much skin up to that point.  In Miss Americana, Taylor disclosed she suffered from disordered eating during that time so the body dysmorphia would weigh on her.  And anyone in their right mind would feel out of place next to a bunch of Victoria’s Secret Angels.

I don’t like that anyone would die to feel your touch

Everybody wants you

VS Angels are sexulized. And during the fashion show the models flirt and blow kisses to seem more sexy and available to consumers

Everybody wonders what it would be like to love you

These last 3 lines might speak to Karlie having her own fan base.  She is popular and successful even without the Taylor-brand’s influence. Karlie has her own career, money, fans, and suitors. I think this might be Taylor’s first relationship where she wasn’t the obvious more publically desired partner.  And Taylor might be just a teeny bit jealous of all the attention Karlie gets as a supermodel.  

Walk past, quick brush

This line makes me think of modeling.  Walking down a runway, brushing past the model going the opposite direction.  Maybe brushing the shoulder of another model, brushing hand quickly through hair on the end of the runway, brushing an item of clothing as a flair.  Could be all the Victoria’s secret shows where Taylor was a featured singer and the Angels walked the runway around her.  Notable flirtiness between Taylor and Karlie.

I don’t like slow motion, double vision in rose blush

Double-vision?

Here are a couple examples of advertisements Karlie participated in:

Good Girl Fantastic Pink fragrance campaign. Karlie Kloss 

Watch Karlie Kloss Play a ‘Beauty Boss’ in New Estée Lauder Campaign: … Rebellious Rose, a universally-flattering pink hue, 

Discover the new ensemble campaign from L’Oreal Paris… in shades of pink for ‘Color Riche’ – the new lip-colour line…  The team of L’Oreal Paris ambassadors stun in a romantic campaign with (more than) a touch of pink…Karlie Kloss…look rosy in pink gowns… The pink-posse posed… with a pink background, around a grand piano. The campaign celebrates the new ‘Color Riche’ line of lipsticks, which the band of beauties wear to finish their blush looks.

I don’t like that falling feels like flying ’til the bone crush

This line is thick with meanings.  Taylor is referencing the beginning of the song (which references “This Love”) but also actually jumping off something high.  Falling could be falling in love, or falling off something.  At first the falling was exciting and like flying, a positive thing.  But then the falling was more like losing control and about to smash into the ground/consequences.  

Everybody wants you

But I don’t like a gold rush

[Verse 1]

What must it be like to grow up that beautiful?

With your hair falling into place like dominoes

Karlie grows up beautiful–and the hair falling into place shows Taylor’s opinion that Karlie is pretty without even trying. It’s kind of an envious thought, I think.  Hair fallin’ into place like dominoes is a very cleaver line, packed with meaning.  Dominos fall by one knocking into the next, influencing it to fall, then that one pushing the third over, until a whole line has taken the action of the first domino. Karlie’s beauty acts in the same manner.  People see her and emulate her look.  Fans are influenced to buy products when they see how good Karlie looks in them. Karlie’s looks start trends and generate sales.

I see me padding across your wooden floors

With my Eagles t-shirt hanging from the door

This verse contrasts Karlie and her easy beauty with Taylors more down-to-Earth look.  Taylor observes Karlie’s obvious beauty and charisma, but she herself is a musical gal that has to try very hard.  

[Refrain]

At dinner parties, I call you out on your contrarian shit

The “at dinner parties” line makes me think of this viral moment from Project Runway:

As the judges critiqued the completed looks, designer Brandon Maxwell told Neasloney that he couldn’t see Kloss wearing the 29-year-old’s outfit “anywhere.” [The designer responded] “Not even to dinner with the Kushners?” 

Kloss is married to venture capitalist Josh Kushner, whose brother Jared is married to Ivanka Trump. Jared currently works as a senior adviser to Donald Trump in the White House. 

Jan 17, 2020 — Last year, while speaking to British Vogue, Kloss said being part of the Kushner family was sometimes “hard.” “But I choose to focus on the values that I share with my husband, and those are the same liberal values that I was raised with and that have guided me throughout my life,” she said.

con·trar·i·an /kənˈtre(ə)rēən/ noun

  1. a person who opposes or rejects popular opinion, especially in stock exchange dealing.

Taylor is showing us that she thinks Karlie is two-faced.  Karlie will attend dinners with Trump-adjacent people, yet she says she has liberal politics.  The fact these lines are here at all shows Taylor disapproves of Karlie being with a Kushner, and also looks down on Karlie playing both sides, kinda like, “A friend to all is a friend to none.” [“Cardigan”, folklore]

And the coastal town we wandered ’round had nеver seen a love as pure as it

Mar 5, 2014 — Taylor Swift and her model pal Karlie Kloss took a dreamy vacation to Big Sur, CA, this week.

And thеn it fades into the gray of my day-old tea

This line accomplishes 2 things: Tells us this song is Taylor daydreaming about a time in her past that she thought she liked at the time, but now realizes made her feel out of control.  Secondly, it’s a very British reference (American’s like coffee)–and red herring, in my opinion, trying to tell us Taylor is currently living a more British lifestyle with her UK “boyfriend.”

‘Cause it could never be

For many reasons this time in the past that Taylor is thinking about was just a moment in time, and not sustainable.

[Chorus repeats]

[Verse 2]

What must it be like to grow up that beautiful?

With your hair falling into place like dominoes

My mind turns your life into folklore

I can’t dare to dream about you anymore

Taylor reminds the listener this is a daydream.  The line might also reference “Wildest Dreams” [1989] you know the one with the video that featured gold and a giraffe?  Both Karlie symbols.

Say you’ll remember me, Standing in a nice dress, Staring at the sunset, babe, Red lips and rosy cheeks, Say you’ll see me again, Even if it’s just in your (just pretend, just pretend), Wildest dreams

In Gold Rush Taylor says she can’t dare to dream anymore, and in “Wildest Dreams” Taylor acknowledges that the dreamy relationship was “just pretend” to the subject of the song.

[Refrain repeats]

The Outro is the same as the intro.  But the “Cause it can never be” line of the refrain immediately precedes the “gleaming, “twinkling” of the outro.  Taylor ends her daydream by thinking that past time and relationship were not real gold, it was gilded.  Then, musically, the sudden ending of the song may symbolize the sudden ending of that relationship/daydream about it.