Tag Archives: Kelsea Ballerini

Snow on the Beach-I Guess They Call it Falling

22 Nov

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

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

One night a few moons ago

I saw flecks of what could’ve been lights

But it might have just been you

Passing by unbeknownst to me

This line reminds me of Taylor’s song,

Long Story Short

Dianna’s Tumblr was:

It also reminds me of

Question…

Life is emotionally abusive

And time can’t stop me quite like you did

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

And my flight was awful, thanks for asking

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

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

Or is it bringing up the new private jet controversy?

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

Unlike the subject of Lavender Haze (Joe?):

I’m unglued, thanks to you

Kissgate Damage Control:

Very hurtful, Taylor.

Question… 

And it’s like snow at the beach

Weird but fucking beautiful

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

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

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

Flying in a dream, stars by the pocketful

You wanting me tonight feels impossible

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

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

Question…

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

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

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

So it’s plausible it could happen again.

Kelsea’s I Guess They Call it Fallin’

PEDESTAL?

How common of a word is this?

But here it is in a Taylor song.

Long Story Short

and I think that song is referencing this TS song–

Wonderland

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

Like snow on the beach

Like snow on the beach

Like snow on the beach

Like snow, oh, oh oh

This scene feels like what I once saw on a screen

I searched aurora borealis green

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

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

I’ve never seen someone lit from within

Blurring out my periphery

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

My smile is like I won a contest

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

Willow

And to hide that would be so dishonest

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

I Know Places

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

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

Peace

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

Renegade

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

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

Exile

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

Back to this song:

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

‘Til you do, ’til it’s true

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

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

Fletcher’s remix of Better Version, feat Kelsea Ballerini

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

Now it’s like snow at the beach

Weird but fucking beautiful

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

Kelsea’s Love is a Cowboy

Kelsea I Guess They Call it Fallin’

Flying in a dream, stars by the pocketful

Kelsea’s Marilyn:

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

You wanting me tonight feels impossible

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

Kelsesa’s I Guess They Call it Fallin’

Like snow on the beach

Like snow on the beach

Like snow on the beach

Like snow, oh, oh oh

I can’t speak afraid to jinx it

I don’t even dare to wish it

But your eyes are flying saucers from another planet

Kelsea’s Universe:

Now I’m All For You like Janet

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

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

Can this be a real thing? Can it?

Are we falling like snow at the beach?

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

Kelsesa’s I Guess They Call it Fallin’

Weird but fucking beautiful

Flying in a dream, stars by the pocketful

Kelsesa’s I Guess They Call it Fallin’

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

You wanting me tonight feels impossible

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

Like snow on the beach (snow on the beach)

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

Like snow on the beach (you want me)

Like snow (like snow)

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

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

Kelsesa’s I Guess They Call it Fallin’

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

(It’s coming down, it’s coming down)

Like snow on the beach

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

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

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

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

And now she’s hurt too.

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

19 Nov

Fletcher Better Version (Remix)

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

I was there on the side of your stages

I grew up for our difference in ages

Never thought we were subject to changes, yeah

And I did my best to fix it

‘Til death ’cause then I meant it

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

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

This post will say why:

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

Pertinent Taylor lyrics:

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

“I haven’t met the new me yet”  

Your next girl is gonna get you reinvented 

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

“Fake it til you make it”

and not pretendin’

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

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

Kelsea

Kelsea’s Ex-husband

Suspected dalliance and Kelsea’s recent song-muse

To sum up birthdays and age differences:

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

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

Kelsea’s b-day is 9/12/93

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

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

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

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

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

Morgan was born in Australia and lived there until 2015-

Morgan gets signed last of these 3 in 2017-

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

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

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

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

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

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

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

Age of getting signed:

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

Kelsea was signed in 2012 at age 19.

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

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

When did Kelsea meet them:

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

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

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

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

I was there on the side of your stages

I grew up for our difference in ages

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

Enter Taylor Swift.

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

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

That same year (2015)

KELSEA BALLERINI PERFORMS WITH TAYLOR SWIFT IN NASHVILLE OVER THE WEEKEND

By Samantha Dawn Mutschler / September 29, 2015

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

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

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

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

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

Never thought we were subject to changes, yeah

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

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

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

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

Taylor

is not the only one who can write for

plausible deniability.

Glitch: Is it for Kaylor or KelSwift?

13 Nov

Let’s read the song through two lenses:  One under the assumption Taylor is talking to/about Karlie.  The second, that Taylor is addressing Kelsea Ballerini.

We were supposed to be just friends

Doesn’t it seem like Taylor and team might want to break the boy-crazy narrative by pushing friendships (with women)?  Sure, her meeting Karlie could have been organic.  But also her team could have hired a lot of models to compose “The squad” to show female friendships…

You don’t live in my part of town, but maybe I’ll see you out some weekend

We could be talking about a different NYC neighborhood (in the case of Karlie).

Or Nashville.  When Taylor was mostly on the coasts.

Depending on what kind of mood and situation-ship I’m in

And what’s in my system

These lines show that Taylor is dismissive about seeing this person or not.  She says maybe she’ll see them out.  Depending on her mood, what she’s imbibing, and who else is in her life.  This is not really Kaylor (I wrote 5 albums about loving you and longing for you) vibes.  Though I guess it could be during the card sharks, playing games point in time.

In Kelsea’s song Weather, however,  I think it talks about being the recipient of similar capricious feelings:

I think there’s been a glitch

Five seconds later, I’m fastening myself to you with a stitch

And I’m not even sorry

But here are just 5 examples (there’s too many to include that would totally waylay this post) where Taylor DOES care a lot if Karlie leaves her life:

Cornelia Street

Death by a Thousand Cuts

Illicit Affairs

The entirety of Evermore (song), the entirety of Hoax.

Also, here’s just 5 (there’s tons more) Kaylor songs with a tinge of regret (Taylor IS sorry):

Afterglow

Betty

This is me Trying

Coney Island

Question…  

You see Kaylor is NOT casual and cavalier (like this song) at.  All.  

But then there’s some songs from Kelsea that are a bit more casual:

I can’t help myself

The Little Things

Nights are so starry, blood moonlit

A very Kaylor mention of “stars” in Taylor’s discography is in Cardigan:

But Taylor mentions stars in a less romantic way in both Dorthea and Cowboy Like Me:

Kelsea’s song I Guess They Call It Fallin’ mentions both stars and the moon:

Again in Heartfirst

And again in Universe

And a fourth time in Love is a Cowboy

It seems like Kelsea Ballerini fell totally in love, but Taylor is just having a fling/hook-up.

It must be counterfeit

Is something about Kaylor intended to deceive or defraud?  

Deceive the public/media-we’re just friends. Or deceive Jo$h?

Is Kaylor an imitation of something else?  

Her mirror “relationship” with Joe?

What about Kelsea?

Is something intended to deceive or defraud?  

Does Taylor get involved with Kelsea to deceive herself?  As a distraction from pain, and with the intent to move on and feel better?  But she just can’t?

Is KelSwift an imitation of something else?  

Kaylor love.  This relationship with Kelsea is meant to ease the heartbreak and loss of Karlie, but Taylor doesn’t feel it as deeply.  She tries to imitate the love she felt with Karlie, but it just comes up short.  

I think there’s been a glitch

I was supposed to sweat you out

Taylor could be talking about when she got a crush on Karlie.  Maybe her, her parents, her team wanted Taylor to get over it.  The anxiety could apply here.  I wouldn’t think all the pain in the above definitions would be applicable to a fleeting crush, or hook-up though.

Applied to the Kaylor break-up and trying to get over Karlie by distracting herself with Kelsea, it fits better.  Taylor is painfully trying to work through the break-up.  She’s sad, anxious, having intense feelings, having to endure pain through 3-4 album cycles…  I think the lyric works better with a Kaylor ending than it does as a beginning.

In search of glorious happenings of happenstance on someone else’s playground

This line is a lot.  Let’s take it one word at a time to glean exactly what Taylor is trying to convey.

Glorious = Beauty but exponential, that evokes delighted and splendorous (I think I just made this word up, but you see what I’m getting at)  admiration.  So beauty on steroids that evokes glory in those who see it.

Kaylor friendship could be seen as a performance, with media and heteronormativity participating in the best friends narrative.  But that’s more external than the internal meaning I think this song means.

Happenings might be the, “if I see you, I’ll see you” tone of the song mentioned from the first line.  It’s a very indifferent attitude.   

Happenstance further substantiates the detached tone of Taylor in this song.  If it happens, it happens, if not-meh.

Let me make it known that I don’t really like equating women to property.  

Karlie is with Jo$h.

Kelsea was married to Morgan Evans.

Either way Taylor is playing on someone else’s playground.

All together:

Glorious = Beauty but exponential, that evokes delighted and splendorous (I think I just made this word up, but you see what I’m getting at)  admiration.  So beauty on steroids that evokes glory in those who see it.

Happenings = event or performance art.  Kaylor friendship could be seen as a performance, with media and heteronormativity participating in the best friends narrative.  But that’s more external than the internal meaning I think this song means.  Internally, Taylor could be performing love “fake it til you make it” on Kelsea trying to move on, but she just can’t force it to bet totally genuine.

Happenings might be the, “if I see you, I’ll see you” tone of the song mentioned from the first line.  It’s a very indifferent attitude.   

Happenstance further substantiates the detached tone of Taylor in this song.  If it happens, it happens, if not-meh.

Karlie is with Jo$h.  Kelsea was married to Morgan Evans.  Either way Taylor is playing on someone else’s playground.

The IN SEARCH OF is doing a lot of work here.  Taylor felt that awe for Karlie. She hungered for those fleeting secret moments with her.  But Paris and Illicit Affairs tells us it wasn’t just happenstance, Kaylor very intentionally planned their private moments.  That’s why I think Glitch is more of a KelSwift song.  Taylor is trying to recreate that Kaylor-magic-love feeling whenever she happens to see Kelsea. But Kelsea caught feelings.  Hard.  And divorced her husband, partially over this relationship with Taylor.  

But it’s been 2, 190 days of our love blackout

The system’s breaking down

I think there’s been a glitch

Five seconds later, I’m fastening myself to you with a stitch

And I’m not even sorry

Nights are so starry, blood moonlit

It must be counterfeit

I think there’s been a glitch

A brief interruption, a slight malfunction

In Bigger than the Whole Sky (purportedly about Taylor’s main love interest and the self she lost by not coming out and choosing a family with her) Taylor says it was more than just a short time.  In no way, did Taylor feel that Kaylor was just a affair/fling/flirtation.

But all of Kelsea’s songs talk about a person who is halfway in their relationship.  Very mercurial.  Fleeting.  Wishy-washy.  Hard to pin down.  Because Taylor only sees her thing with Kelsea is herself being temporarily broken.  That’s not romantic.  Taylor is saying she was broken so she got with Kelsea 

I’d go back to wanting dudes who give nothing

Is Taylor saying she would go back to these men (Sweet Nothing and Lavender Haze)?

Or is this advice Taylor is giving to the subject of the song? 

Suggesting Karlie go back to Jo$h (which Exile, Cardigan…  So many songs don’t want Karlie to pick the man). 

Or is Taylor suggesting Kelsesa forget her new epiphany that she loves women?  Since Taylor has firsthand experience of being a closeted country star.

I thought we had no chance

And that’s romance, let’s dance

Taylor wanted it to work with Karlie. Just in private, which Karlie couldn’t agree to in the long-term.

Here, I think Taylor is saying she didn’t really take KelSwift seriously.  She didn’t intend for them to be a long-term couple.  And that’s what she liked about it:  Short, fun, no strings attached.  Dancing is a dangerous thing–because Love is a Cowboy, when you’re with them you’re ropin’ the wind.

Glitch

Five seconds later, I’m fastening myself to you with a stitch

And I’m not even sorry

Nights are so starry, blood moonlit

It must be counterfeit

I think there’s been a glitch

Taylor IS on Kelsea’s self-titled album (2020) and SHE is the track 4 falling out on Subject to Change (2022)

12 Nov

I know you aren’t going to believe me.  Taylor and Kelsea at least had a dalliance, if not full-on dated.  Here is the link to my 2020 albums ranking:

I provide it because it’s date/time stamped to Dec 2020.

In it, I said I can hear Taylor Swift on several albums that year.  All for people who are known associates of hers.  All uncredited.  Here’s the blurb from that post:

OK, I Know Halsey featured on The Other Girl, track 4 of Kelsea’s self-titled album from 2020.

Ashley…is Halsey, P.S. I hadn’t known that but was looking for possible pseudonyms.

Don’t take my word for it. Listen for yourself.  A good place to compare and hear that there are 3, not 2, distinct voices is:

0.55-1.00 is Kelsea alone

1.04-1.12 is most definitely Taylor Swift according to my ears

1:26-1:30 is Halsey by herself

Kelsea Ballerini – the other girl (with Halsey) [Official Audio]

Now, I tried to compare the studio version of the song to the live CMT duet, but alas, they were lip syncing (not bashing, just stating facts) so it’s the exact same song.

The part that I heard Taylor on has lyrics:

Taylor says she’s a scarlet letter (fraught with adultery, witchy stigma vibes) in Love Story:

Original lyric said “This love is DIFFERENT, but it’s real.  Different like gay.  Because what straight, white love pairing is so off-putting to parents and society?

Then, in New Romantics Taylor introduces herself again using scarlet letter:

In this context scarlet letters is some trait that’s stigmatized by society.  And she says this group of misfits she is hanging out with in NYC has different scarlet (aka stigmatized) letters.  How about LGBTQQAA perhaps?  And she says, hers trumps all of them.  In the song she goes on to describe:

To this group love = danger.  P.S. there is nothing dangerous about a wealthy, white lady dating a wealthy white man…  To emphasize her point Taylor talks about switching sides.  That’s bisexual.  Or they “switched” from hetero to homo.  To drive home that she’s talking about gay love and being a part of the marginalized gay community, Taylor talks about the terrible, cruel rumors, which just like in Betty (another song with gay undertones) are true.  Every day these LGBT folk are battling for rights and visibility and equality but every night they’re alone with their lover, peaceful and happy.  

That’s all to say it’s very interesting that those are the lines I hear Taylor on in Kelsea’s song.  Like it goes with what Taylor has been telling us in other songs.

Back to The Other Girl video/song:  

At 1:44 Taylor says, “I, eye?!”  WTF, now eye theory 

2:08 is a repeat of Taylor singing the red dress part, but it’s a lot harder to distinguish her voice from this point on in the song, because I don’t think she sings alone.  There may or may not be a “girl” she sings by herself, but I couldn’t tell for sure…

So Taylor sang uncredited on an album with friends, big deal, you say.

HERE’S WHY THIS MATTERS:

On Kelsea’s 2020 album she talks about falling out with someone on her track 4.  And everybody assumed it was about the credited feature, Halsey.  But we have no story, no blind, no evidence of what happened between Kelsea and Halsey, if anything.  I think Kelsea is talking about Taylor!

DOIN’ MY BEST 

[Verse 1]

2020 was a weird year

Album dropped at a weird time

Ain’t the homecoming queen but better believe I cried

And therapy for one turned

Into therapy for two

When you get married that young, you got a lotta shit you gotta get through

Kelsea got divorced.

…[Verse 2]

I was friends with a pop star

I put ’em on track four, but

Wish I could take it back, I would’ve nevеr asked

If I knew we wouldn’t talk anymorе

…[Bridge]

I live in my head ’til the sun’s up

Even I can admit that it’s fucked up

And you’re pushing for perfect your whole life

And it didn’t work out

But, damn it, I tried

The bridge just might have a double meaning.  On the one hand Kelsea is talking about releasing her self-titled album that she worked really hard on, during a time promo couldn’t be done, so maybe it did worse then she hoped/anticipated.

A 2nd meaning could be that Kelsea is overthinking.  The sun (Karlie) is out, centered in Taylor’s life.  Kaylor is on-again.  Kelsea says Taylor using her (Kelsea) as a back-up gal when Kaylor is off is fucked up.  In this context the “you’re” shifts to Taylor possibly.  She’s the one with the perfect image she’s trying to maintain.  And that keeps her closeted.  And being in a closeted relationship sucks for both Karlie (Kaylor on) and Kelsea (Kaylor off).  But damn it, Kelsea tried to have a proper relationship with Taylor.

My First Thoughts on Midnights

21 Oct

This formatting is garbage, but Cool is waiting (impatiently) to eat our meat and cheese plate. I wanted to get this posted, dated, and everything before I look at any social media. I wanted my ideas and theories to be MINE.

I was making notes on the music AT work (*tears) so it needs more. I had all my comments right-aligned, but in the C&P that all went to $hit. I’ll come back and do individual song posts later and format it a bit better. So today Control F is your friend.

Here’s my general thoughts: It’s like Reputation and Lover had a baby who was more subtle. 80% is still about Karlie. The lyrics have subtext, but they are not nearly as obscured as FolkMore. Sexy babies is cringe AF. I DID see sky/stars/moon so I think Kelsea and KelSwift is still in play!

1. Lavender Haze

Toot noise like nye

Model walking beat

Meet me at midnight

Talking to NY day muse

Oo-ooh, oo-ooh, oo-ooh-

Wo-wo-wo-wo-woah

Staring at the ceiling with you

Oh, you don’t ever say too much

And you don’t really read into

My melancholia

I’ve been under scrutiny (Yeah, oh, yeah)

You handle it beautifully (Yeah, oh, yeah)

All this shit is new to me (Yeah, oh, yeah)

I feel

A lavender haze creeping up on me

So real

I’m damned if I do give a damn what people say

No deal

The 1950s shit they want for me

She says no to

All the heteronormative milestones

I just wanna stay in the lavender haze

Oo-ooh, oo-ooh-

Wo-wo-wo-wo-woah

All they keep asking me (All they keep asking me)

Is if I’m gonna be your bride

The only kind of girl they see (The only kind of girl they see)

Is a one night or a wife

The weird rumors

I find it dizzying (Yeah, oh, yeah)

Spinning in high heels 

They’re bringing up my history (Yeah, oh, yeah)

Dating/ex

But you aren’t even listening (Yeah, oh, yeah)

I feel

A lavender haze creeping up on me

So real

I’m damned if I do give a damn what people say

No deal

The 1950s shit they want for me

I just wanna stay in the lavender haze

TS doesn’t want to marry

TS doesn’t want to come out

She wants to stay in this arrangement 

(Oo-ooh, oo-ooh, oo-ooh-

Wo-wo-wo-wo-woah ×3)

The lavender haze

Talking, talking, go viral

I just need this love spiral

Get it off your chest

Get it off my desk

Talking, talking, go viral

SM

I just need this love spiral

Get it off your chest

Get it off my desk

I feel (I feel)

A lavender haze creeping up on me

So real

I’m damned if I do give a damn what people say

No deal (No deal)

The 1950s shit they want for me

I just wanna stay in the lavender haze

(Oo-ooh, oo-ooh, oo-ooh-

Wo-wo-wo-wo-woah ×2)

Get it off your chest

Get it off my desk

The lavender haze

I just wanna stay

I just wanna stay

In that lavender haze

2. Maroon

When the morning came we

Were cleaning incense off your

Vinyl shelf cause we lost track of time again

Laughing with my feet in your lap

Like you were my closest friend

How’d we end up on the floor anyway?

You say, “Your roommate’s cheap-ass screw top Rosé”, that’s how

I see you every day now

And I chose you

The one I was dancin’ with in New York

City screams your name

Karlie 

No shoes, looked up

At the sky and it was

The burgundy on my t-shirt

When you splashed the wine onto me

And how the blood rushed into my cheeks, so scarlet, it was

Spilled wine in the bathtub 

I don’t like the rose flush

Scarlet is fraught 

Adultry

The mark you saw on my collarbone

Hickey or lipstick 

The rust that grew between telephones

No contact

The lips I used to call home, so scarlet, it was maroon

Lipstick 

When the silence came we

Were shaking blind and hazy

How the hell did we lose sight of us again?

Sobbin’ with your head in your hands

Ain’t that the way shit always ends?

You were standing hollow-eyed in the hallway

Carnations you had thought were roses, that’s us

I feel you no matter what, the rubies that I gave up

When I lost you

The one I was dancin’ with in New York

Dianna? 

Karlie 

No shoes, looked up

Til your high heels break 

At the sky and it was maroon

The burgundy on my t-shirt

When you splashed the wine onto me

And how the blood rushed into my cheeks, so scarlet, it was

The mark you saw on my collarbone

The rust that grew between telephones

The lips I used to call home, so scarlet, it was maroon

Awake with your memory over me

That’s a real fucking legacy that you see (It was maroon)

Awake with your memory over me

That’s a real fucking legacy to leave

The burgundy on my t-shirt

When you splashed the wine onto me

And how the blood rushed into my cheeks, so scarlet, it was maroon

The mark you saw on my collarbone

The rust that grew between telephones

The lips I used to call home, so scarlet, it was maroon

It was maroon

It was maroon

3. Anti-Hero

I have this thing where I get older but just never wiser

I never grow up

Midnights become my afternoons

When my depression works the graveyard shift all of the people

I’ve ghosted stand there in the room

I should not be left to my own devices

Dbl meaning

Electronics 

Ideas

They come with prices and vices

I end up in crisis

She says the wrong thing 

I’ve realized all this time

I wake up screaming from dreaming

One day I’ll watch as you’re leaving

‘Cause you got tired of my scheming

Closeting? 

Hetsplaning? 

Capitalism? 

For the last time

Karlie left 

after 1 too many 

broken coming outs? 

It’s me, Hi

I’m the problem, it’s me

At tea time, everybody agrees

Spilling the tea

English tea

Ladies lunching 

I’ll stare directly at the sun, but never in the mirror

Karlie is the sun

She blames Karlie

 but should look inward

It must be exhausting, always rooting for the anti-hero

Sometimes I feel like everybody is a sexy baby

Very cringe

And I’m a monster on the hill

Too big to hang out, slowly lurching towards your favorite city

NY? 

London? 

Touring schedule? 

Pierced through the heart, but never killed

Did you hear my covert narcissism lightly disguised as altruism

Self aware

Like some kind of congressman

I wake up screaming from dreaming

One day I’ll watch as you’re leaving

And life will lose all of its meaning

For the last time

It’s me, Hi

I’m the problem, it’s me (I’m the problem, it’s me)

At tea time, everybody agrees

I’ll stare directly at the sun, but never in the mirror

It must be exhausting, always rooting for the anti-hero

I have this dream my daughter-in-law kills me 

Imaginary?

Taylor doesn’t want children? 

Karlie as DIL to Ku$hners? 

for the money

She thinks I left them in the will

Implying Karlie left for the $$$? 

The family gathers around and reads it and someone screams out

“She’s laughing up at us from hell!”

It’s me, Hi

I’m the problem, it’s me

It’s me, Hi

I’m the problem, it’s me

It’s me, Hi

Everybody agrees

Everybody agrees

It’s me, Hi

I’m the problem, it’s me (I’m the problem, it’s me)

At tea time, everybody agrees (Everybody agrees)

I’ll stare directly at the sun, but never in the mirror

It must be exhausting, always rooting for the anti-hero

4. Snow On The Beach (feat. Lana Del Rey)

[Taylor Swift:]

One night a few moons ago

Kelsea? 

I saw flecks of what could’ve been lights

Last specks of sunny Karlie?

But it might have just been you

Passing by unbeknownst to me

Life is emotionally abusive

And time can stop me quite like you did

And my flight was awful thanks for asking

The jet controversy? 

I’m unglued thanks to you

IBYTAM? 

[Taylor Swift & Lana Del Rey:]

And it’s like snow at the beach

Weird but fucking beautiful

Flying in a dream

Stars by the pocketful

Kelsea?! 

You wanting me

Tonight feels impossible

Kelsea Ballerini, Universe:

Baby, you make the impossible

Feel like it’s all logical

Lying in your arms, 

could be Jupiter or Mars

You say I hang the stars in your eyes

But you put the universe in mine 

(ooh)

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

Like snow on the beach

Like snow on the beach

Like snow on the beach

Like snow, ah-ah-ahh

This scene feels like

What I once saw on a screen

I searched aurora borealis green

I’ve never seen someone live from within

Blurring out my periphery

My smile is like I won a contest

A trophy or a champion ring? 

And to hide that would be so dishonest

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

‘Til you do, ’til it’s true

Now it’s like snow at the beach

Weird but fucking beautiful

Flying in a dream

Stars by the pocketful

You wanting me

Tonight feels impossible

But it’s coming down no sound it’s all round

Kelsea’ s song falling? 

Like snow on the beach

Like snow on the beach

Like snow on the beach

Like snow, ah-ah-ahh

I can’t speak afraid to jinx it

I don’t even dare to wish it

But your eyes are flying saucers from another planet

Universe

Kelsea? 

Now I’m all for you like Janet

Can this be a real thing? Can it?

Are we falling like

Kelsea Ballerini- Falling:

I guess they call it fallin’,

’cause you end up on the ground

You can’t live forever 

with your head up in the clouds

Think it’s written in the stars 

’til they burn out

 (burn out)

Ah, mm-hmm

Snow at the beach (Snow at the beach)

Weird but fucking beautiful

Flying in a dream (Flying in a dream)

Stars by the pocketful

You wanting me (You wanting me)

Tonight feels impossible

But it’s coming down no sound it’s all round

Like snow on the beach (Like snow on the beach)

Like snow on the beach (Like snow on the beach)

Like snow on the beach (Like snow on the beach)

Like snow, ah-ah-ahh

But it’s coming down no sound it’s all round

[Taylor Swift:]

Like snow on the beach

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

(Like snow on the beach)

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

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

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

5. You’re On Your Own, Kid

Summer went away, still the yearning stays

August? 

The sun? 

Karlie? 

I play it cool with the best of them

I wait patiently, he’s gonna notice me

It’s okay, we’re the best of friends

Her and Joe? 

Her and Karlie? 

Anyway

I hear it in your voice, you’re smokin’ with your boys

I touch my phone as if it’s your face

I didn’t choose this town, I dream of getting out

NY, LA, RI, TN, London? 

There’s just one who could make me stay

All my days

From sprinkler splashes to fireplace ashes

ID4 parties ashes to your fire

I waited ages to see you there

I searched the party of better bodies

Just to learn that you never cared

You’re on your own, kid

Don’t call me kid

Don’t call me baby 

You always have been

I see the great escape, so long Daisy Mae

Which one is daisy? 

Karlie or her old self

I picked the petals, he loves me not

The kaylor daisy

They hard broke up

Something different bloomed, writing in my room

New albums

I play my songs in the parking lot

I run away

From sprinkler splashes to fireplace ashes

I called a taxi to take me there

I searched the party of better bodies

Just to learn that my dreams aren’t rare

You’re on your own, kid

You always have been

From sprinkler splashes to fireplace ashes

I gave my blood, sweat and tears for this

I hosted parties and starved my body

Anorexia 

Like I’d be saved by a perfect kiss

The jokes weren’t funny, I took the money

Bearding? 

Career? 

My friends from home don’t know what to say

I looked around in a blood-soaked gown

And I saw something they can’t take away

‘Cause there were pages turned

With the bridges burned

Everything you lose is a step you take

So make the friendship bracelets

Bi bracelet? 

Take the moment and taste it

You got no reason to be afraid

You’re on your own, kid

Yeah, you can face this

You’re on your own, kid

You always have been

6. Midnight Rain

Rain

He wanted it comfortable, I wanted that pain

He wanted a bride, I was making my own name

Chasing that fame, he stayed the same

All of me changed like midnight

My town was a wasteland

Full of cages, full of fences

Golden cage

Pageant queens and big pretenders

But for some, it was paradise

My boy was a montage

A slow-motion, love potion

Jumping off things in the ocean

Evermore boars & ocean

I broke his heart ’cause he was nice

He was sunshine, I was midnight

Karlie is sunshine 

Rain

He wanted it comfortable, I wanted that pain

Pain = closet

He wanted a bride, I was making my own name

TS chose fame over family 

Chasing that fame, he stayed the same

All of me change like midnight

It came like a postcard

Picture perfect shiny family

Holiday peppermint candy

But for him, it’s every day

So I peered through a window

Boarded up these windows 

A deep portal, time travel

All the love we unravel

And the life I gave away

Small town? 

Not famous? 

Out? 

Wife? 

‘Cause he was sunshine, I was midnight rain

He wanted it comfortable, I wanted that pain

He wanted a bride, I was making my own name

Chasing that fame, he stayed the same

All of me changed like midnight

Rain

He wanted it comfortable, I wanted that pain

He wanted a bride, I was making my own name

Chasing that fame, he stayed the same

All of me changed like midnight

I guess sometimes we all get

Just what we wanted, just what we wanted

And he never thinks of me

Except when I’m on TV

I guess sometimes we all get

Some kind of haunted, some kind of haunted

Fearless 

And I never think of him

Except on midnights like this

(Midnights like this, midnights like this)

7. Question…?

(I Remember)

Good girl, sad boy, big city, wrong choices

Karlie’s perfume campaign 

Blue? Joe

NY/London? 

Choices is plural

Both were wrong 

We had one thing going on

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

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

Screaming color

I can’t see without you 

Real love 

Missing Karlie

But one thing after another fucking situation

So many bad kaylor circumstances 

Circumstances, miscommunications

Wedding confusion

Masters heist

And I have to say, by the way

I just made, like, some explanations

Can I ask you a question?

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

And every single one of your friends was making fun of you (You)

Betty

But 15 seconds latеr they were clapping, too?

Thеn, what did you do?

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

Did you wish you put up more of a fight? (Ohh)

When she said it was too much, do you wish you could still touch her?

It’s just a question

Half-moon eyes, bad surprise, did you realize?

Out of time, she was on your mind

With some dick-head guy that you saw that night

Looking up like the devil

Kissgate

But you were on something

It was one drink after another, fucking politics and gender-roles

Drunk

Trump

Jo$h vs. TS

And you’re not sure and I don’t know

Got swept away in the gray I just made

Day old tea

Grey area

Fog

Like to have a conversation

Can I ask you a question?

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

And every single one of your friends was making fun of you (You)

But 15 seconds later they were clapping, too?

Then, what did you do?

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

Did you wish you put up more of a fight? (Ohh)

When she said it was too much, do you wish you could still touch her?

It’s just a question

Does it feel like everything’s just like second-best after that meteor strike?

Love of her life

And what’s that, that I heard, that you’re still with her?

Karlie has a gf? 

Who is this? 

That’s nice, I’m sure that’s what’s suitable

And right, but tonight

Can I ask you a question? (Can I ask you a question?)

Did you ever have someone kiss you in a crowded room? (In a crowded room)

And every single one of your friends was making fun of you (You, making fun of you)

But 15 seconds later they were clapping, too?

Then what did you do? (Do)

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

Did you wish you put up more of a fight? (Ohh, more of a fight)

When she said it was too much, do you wish you could still touch her?

It’s just a question

8. Vigilante Sh*t

Draw the cat eye, sharp enough to kill a man

Glam makeup

You did some bad things, but I’m the worst of them

Dating TS was the worst thing 

Sometimes I wonder which one will be your last lie

A million little lies

They say looks can kill, and I might try

I don’t dress for women, I don’t dress for men

The gaylors are wrong

The hetlors are wrong 

Lately I’ve been dressing for revenge

IBYTAM

I don’t start shit, but I can tell you how it ends

Don’t get sad, get even

So on the weekends, I don’t dress for friends

Lately I’ve been dressing for revenge

Rose dress

Chain jewel dresses

She needed a cold heart proof so I give her some

She had the envelope, where’d you think she got it from?

Money? 

A letter? 

Now she kiss the house, kiss the kids, kiss the pride

Karlie married a man? 

Picture me, thick as thieves with your ex-wife

there’s a Pic of Karlie 

kissing Cara delavigne

Cara & Taylor are friends. 

$cooter’s wife? 

Madwoman

Ugh hopefully not KK/Kanye

Who else? 

And she looks so pretty

Driving in your Benz

Lately she’s been dressing for revenge

She don’t start shit, but she can tell you how it ends

Don’t get sad, get even

So on the weekends, she don’t dress for friends

Lately she’s been dressing for revenge

Ladies always rise above

Ladies know what people want

Someone sweet and kind and fun

Ladies simply had enough

Well he was doing lines

Cocaine? 

Running acting lines? 

And crossing all of mine

Boundaries 

Someone told his white collar crimes to the FBI

Kushners? 

And I don’t dress for villains

Or for innocence

I’m on the vigilante shit again

I don’t start shit, but I can tell you how it ends

Don’t get sad, get even

So on the weekends, I don’t dress for friends

Lately I’ve been dressing for revenge

9. Bejeweled

Baby, love, I think I’ve been a little too kind

Didn’t notice you walking all over my peace of mind

And the shoes I gave you as a present

Puttin’ someone first only works when you’re in their top 5

And by the way, I’m going out tonight

Best believe I’m still bejeweled when I walk in the room

I can still make the whole place shimmer

And when I meet the band, they ask, “Do you have a man?”

I can still say, “I don’t remember”

This is not good for joe

Familiarity breeds contempt, don’t put me in the basement

When I want the penthouse of your heart

Diamonds in my eyes

I polish up real, I polish up real nice

Polishing plates til they glisten

(Nice)

Baby boy, I think I’ve been too good of a girl (Too good of a girl)

Me! 

Karlie’s perfume ads

Did all the extra credit, then got graded on a curve

So Ahead of the curve 

it became a sphere 

I think it’s time to teach some lessons

I made you my world (Huh?), have you heard? (Huh?)

I can reclaim the land

The election? 

And I miss you (I miss you), but I miss sparkling (Ahh, Hey!)

Best believe I’m still bejeweled when I walk in the room

I can still make the whole place shimmer

Mirrorball

And when I meet the band, they ask, “Do you have a man?”

I can still say, “I don’t remember”

Familiarity breeds contempt, don’t put me in the basement

When I want the penthouse of your heart

Diamonds in my eyes

I polish up real, I polish up real nice

(Nice)

Sapphire tears on my face, sadness became my whole sky

But some guy said my aura’s moonstone just ’cause he was high

I been dancin’ all night, and you can try to change my mind

But you might have to wait in line

What’s a girl gonna do? A diamond’s gotta shine

Best believe I’m still bejeweled when I walk in the room

I can still make the whole place shimmer (Shimmer)

And when I meet the band, they ask, “Do you have a man?”

I can still say, “I don’t remember”

Familiarity breeds contempt, don’t put me in the basement

When I want the penthouse of your heart

Diamonds in my eyes

I polish up real (Nice), I polish up real nice

I been dancin’ all night, and you can try to change my mind

But you might have to wait in line

What’s a girl gonna do? What’s a girl gonna do?

I polish up nice

Best believe I’m still bejeweled when I walk in the room

I can still make the whole place shimmer

10. Labyrinth

It only hurts this much right now

Was what I was thinking the whole time

Breathe in, breathe through, breathe deep, breathe out

I’ll be getting over you my whole life

You know how scared I am of elevators, never trusted it

If it rises fast, it can’t last

Oh, oh, I’m falling in love

Oh, no, I’m falling in love again

Oh, I’m falling in love

I thought the plane was going down

Heard you turn it right around

It only feels this right, right now

Lost in the labyrinth of my mind

Break up, break free, break through, break down

Kelsea just got divorced

Therapy break through 

Break through walls? 

Cry

You would break your back to make me break a smile

You know how much I hate that everybody just expects me to bounce back

Just like that

Ppl say just get over Karlie already

Oh, oh, I’m falling in love

Oh, no, I’m falling in love again

Oh, I’m falling in love

I thought the plane was going down

Heard you turn it right around

Oh, oh, I’m falling in love

Kelsea Ballerini is falling 

in her song too

Oh, no, I’m falling in love again

Oh, I’m falling in love

I thought the plane was going down

Heard you turn it right around

Oh, oh, I’m falling in love (falling in love)

Oh, no, I’m falling in love again (falling in love again)

Oh, I’m falling in love (falling in love)

I thought the plane was going down

Heard you turn it right around

Oh, oh, I’m falling in love (falling in love)

Oh, no, I’m falling in love again (falling in love again)

Oh, I’m falling in love (falling in love)

I thought the plane was going down

Heard you turn it right around

You know how much I hate it

You know how much I hate it

You know how much I hate it

11. Karma

You talkin’ shit for the hell of it

Talking shit with your friends 

Addicted to betrayal, but you’re relevant

Masters heist? 

Karlie talking to $cooter

You’re terrified to look down

‘Cause if you dare, you’ll see the glare

Of everyone you burned just to get there

Sunshine, fire, ashes

It’s coming back around

And I keep my side of the street clean

You wouldn’t know what I mean

‘Cause karma is my boyfriend, karma is a god

$cott Borchetta/$cooter Braun 

and her management.  

They made her beard 

when she was young, 

so Taylor emphasizes 

she doesn’t have a bf-just karma.

Karma is the breeze in my hair on the weekend

Karma’s a relaxing thought

But for you, it’s not, sweet like honey

Karma is a cat, purring in my lap ’cause it loves me

Flexing like a goddamn acrobat

Highwire

Me and karma vibe like that

Spider boy, king of thieves

That Pic of joe

JG

The short film 

actor is Broadway Spiderman 

Weave your little webs of opacity

Not straightforward 

Blocking light

My pennies made your crown

TS gets barely for doing the work 

Someone benefits off her back 

Her beard gets a career? 

Her label makes the lion’s share? 

Trick me once, trick me twice

Don’t you know that cash ain’t the only price

Costs Money

Also an emotional cost

It’s coming back around

And I keep my side of the street clean

You wouldn’t know what I mean

‘Cause karma is my boyfriend, karma is a god

Karma is the breeze in my hair on the weekend

Karma’s a relaxing thought

But for you, it’s not, sweet like honey

Karma is a cat, purring in my lap ’cause it loves me

Flexing like a goddamn acrobat

Me and karma vibe like that

Ask me what I’ve learned from all those years

Ask me what I earned from all those tears

Bearding for professional reasons 

Being single 

bc she’s in a fake relationship 

Ask me why so many, when I’m still here (I’m still here)

‘Cause karma is the thunder, rattling your ground

Karma’s on your scent like a bounty hunter

Ku$ner crimes

Karma’s gonna track you down

Step by step, from town to town

Ku$hner clan went from NY to FL

Sweet like justice, karma is a queen

Karma takes all my friends to the summit

Karma is the guy on the screen

Comin’ straight home to me (Wo!)

‘Cause karma is my boyfriend, karma is a god

Karma is the breeze in my hair on the weekend (Weekend)

Karma’s a relaxing thought

But for you, it’s not, sweet like honey

Karma is a cat, purring in my lap ’cause it loves me

Flexing like a goddamn acrobat

Me and karma vibe like that

Karma is my boyfriend, karma is a god

Karma’s a relaxing thought

12. Sweet Nothing

I spy with my little tired eye

Eye theory! 🤣

Tiny as a firefly, a pebble that we picked up last July

In Ireland where Joe’s film was

Down deep inside your pocket

We almost forgot it

Does it ever miss sometimes?

Ooh-ooh-ooh-ooh, ooh

They said the end is comin’

Everyone’s up to something

I found myself running home to your sweet nothings

Dbl meaning 

Make out 

No expectations 

I’ll take their pushin’, shovin’

You’re in the kitchen humming

All that you ever wanted from me was sweet nothing

Talking about Joe or fans? 

On the way home

I wrote a poem

You say what a mind

Fans say it? 

Someone in the business? 

Joe? 

Kelsea? 

This happens all the time

Ooh-ooh-ooh-ooh, ooh

‘Cause they said the end is comin’

Everyone’s up to something

I found myself running home to your sweet nothings

I’ll take their pushin’, shovin’

You’re in the kitchen humming

All that you ever wanted from me was nothing

Finally a person that 

doesn’t want a piece of TS

Industry disruptors and soul deconstructors

And smooth-talking hucksters out-glad-handing each other

And the voices that implore, you should be doing more

Be an activist? 

Come out? 

Get married? 

To you I can’t admit, that I’m just too soft for all of it

Ooh-ooh-ooh-ooh, ooh

They said the end is comin’

Everyone’s up to something

I found myself running home to your sweet nothings

I’ll take their pushin’, shovin’

You’re in the kitchen humming

All that you ever wanted from me was sweet nothing

(Ooh-ooh-ooh-ooh, ooh)

They said the end is comin’ (They said the end is comin’)

Everyone’s up to something (Everyone’s up to something)

I found myself running home to your sweet nothings

(Ooh-ooh-ooh-ooh, ooh)

I’ll take their pushin’, shovin’ (I’ll take their pushin’, shovin’)

You’re in the kitchen humming (You’re in the kitchen humming)

All that you ever wanted from me was sweet nothing

13. Mastermind

Once upon a time, the planets and the fates

And all the stars aligned

You and I ended up in the same room

At the same time

And the touch of a hand lit the fuse

Of a chain reaction of countermoves

To assess the equation of you

Checkmate, I couldn’t lose

VS chessboard theme

What if I told you none of it was accidental?

And the first night that you saw me, nothing was gonna stop me

I laid the groundwork and then, just like clockwork

The dominoes cascading in the line

Hair falling like dominoes 

What if I told you I’m the mastermind?

And now you’re mine

TS Arranged bearing? 

It was all by design

‘Cause I’m a mastermind

You see, all the wisest women had to do it this way

‘Cause we were born to be the pawn in every lover’s game

Card sharks playing games

If you fail to plan, you plan to fail

Strategy sets the scene for the tale

I’m the wind and I’m free, flowing sails

Boats from Evermore

In the liquor of our cocktails

What if I told you none of it was accidental

And the first night that you saw me, I knew I wanted your body?

I laid the groundwork and then, just like clockwork

The dominoes cascading in the line

What if I told you I’m a mastermind?

And now you’re mine

It was all my design

‘Cause I’m a mastermind

No one wanted to play with me as a little kid

So I’ve been scheming like a criminal ever since

To make them love me and make it seem effortless

Fans? 

Lovers? 

Beards? 

Is this the first time I feel the need to confess?

And I swear, I’m only cryptic and Machiavellian ’cause I care

So I told you none of it was accidental

And the first night that you saw me, nothing was gonna stop me

I laid the groundwork and then, saw a wild smirk

Smile turned into a smirk

This person was on to her

On your face, you knew the entire time

You knew that I’m a mastermind

And now you’re mine

Yeah, all you did was smile

‘Cause I’m a mastermind

Bonus Tracks:

14. Hits Different

I washed my hands of us

At the club

Kissgate

You made a mess of me

I pictured you with other girls

In love

Then threw up on the street

Like waiting for a bus

Thought I saw you at the bus stop-I didn’t though

That never shows

You just start walking on

They say that if it’s right, you know

Each bar plays our song

That dive bar

Nothing has ever felt so wrong

Oh my, love is a lie

Joe is a beard

Shit my friends say to get me by

It hits different

It hits different this time

Catastrophic blues

Depression from the break-up

Moving on was always easy

For me to do

This is her true love

It hits different, it hits

Different ’cause it’s you

I used to switch out these Kens

Ex-boyfriends

beards

I’d just ghost

Rip the band aid off and skip town

Like an assholе outlaw

Freedom felt like summer thеn

Sunny, August

Karlie

On the coast

Big Sur?

Now the sun burns my heart and

The sand hurts my feelings

And I never don’t cry at the bar

Yeah, my sadness is contagious

I slur your name til someone puts

Me in a car

I stopped receiving invitations

Oh my, love is a lie

Shit my friends say to get me by

…I find the artifacts

Cried over a hat

Cursed the space that I needed

I trace the evidence

Make it make some sense

Why the wound is still bleeding

You were the one that I loved

Don’t need another metaphor it’s

Simple enough

A wrinkle in time like the crease

By your eyes

This is why they shouldn’t kill off

The main guy

Dreams of your hair and your

Stare and sense of belief

In the good in the world, you once

Believed in me

And I felt you and I held you

For a while

Bet I could still melt your world

Argumentative, antithetical

Dream girl

Karlie

I heard your key turn in the door

Down the hallway

Is that your key in the door?

Is it okay?

Is it you?

Or have they come to

Take me away?

Oh my, love is a lie

Shit my friends say to get me by

Cause it’s you

Catastrophic blues

Moving on was always easy

For me to do

It hits different, it hits

Different ’cause it’s you

15. You’re On Your Own, Kid (Strings Remix)

16. Sweet Nothing (Piano Remix)

Midnights 3AM Edition:

“The Great War,” 

The Great War lyrics

English

A A

The Great War

Play “The Great War”on Amazon Music Unlimited (ad)

[Verse 1]

My knuckles were bruised like violets

Suckerpunching walls, cursed you as I sleep talked

Bad blood? 

Cursing beard? 

Spineless in my tomb of silence

Too scared to come out

In the closet 

Tore your banners down, took the battle underground

And maybe it was ego swinging

Baby, it was her

Flashes of the battle come back to me in a blur

The battles picked me

[Chorus]

All that blood shed, crimson and clover

Uhum, sweet dream was over

My hand was the one you reached for

All throughout the Great War

Always remember

Uhum, tears on the ladder

I vow not to cry anymore

If we survive the Great War

[Verse 2]

You drew up some good faith treaties

Work out so nice if we could be friends 

Karlie

Bearding? 

Grammy gate? 

I drew curtains close, drank my poison all alone

Boarded up windows 

You said I have to trust more freely

But diesel is desire, you were playing with fire

Cheating 

And maybe it’s the past that’s talking

Screaming from a crypt

Telling me to punish you for things you never did

Afterglow 

Fake wedding? 

Punish Karlie for not coming out? 

So I justified it

[Chorus]

All that blood shed, crimson and clover

Uhum, the bombs were close

My hand was the one you reached for

All throughout the Great War

Always remember

Uhum, the burning embers

Fire to your ashes

I vow not to cry anymore

Vow is a wedding term

If we survive the Great War

Uhum, uhum

[Bridge]

It turned into something bigger

Somewhere in the haze got a sense I’ve been betrayed

DWOHT

Your finger up my hair, pent trigger

Hairpins? 

Sold you down on that icy crown, you looked up at me with honor and truth

Wasted honor

Broken and blue, so I called off the truce

Blue = depressed

TS broke contract

That was the momemnt I knew I lost you

I really thought I lost you

We can’t plant a memory garden

The garden gate

Say a solen prayer, place a poppy in my hair

There’s no morning glory, it was war, it wasn’t fair

And we will never go back

[Chorus]

To that blood shed, crimson and clover

Uhum, the worst was over

My hand was the one you reached for

All throughout the Great War

Always remember

Uhum, we burn for better

I vow I will always be yours

‘Cause we survived the Great War

Uhum, uhum

I will always be yours

‘Cause we survived the Great War

Uhum

I vow I will always be yours

“Bigger Than The Whole Sky,” 

Bigger Than The Whole Sky lyrics

English

A A

Bigger Than The Whole Sky

Play “Bigger Than The Wh…”on Amazon Music Unlimited (ad)

[Verse 1]

No words appear before me in the aftermath

Salt streams out my eyes and into my ears

Crying on the pillow

Every single thing I touch becomes sick with sadness

‘Cause it’s all over now, all out to sea

Evermore

The sea that you put Between you and me

[Chorus]

Goodbye, goodbye, goodbye

You were bigger than the whole sky

You were more than just a short time

And I’ve got a lot to pine about

I’ve got a lot to live without

I’m never gonna meet

What could’ve been, would’ve been

What should’ve been you

What could’ve been, would’ve been you

[Verse 2]

Did some bird flap its wings over in Asia?

Did some force take you because I didn’t pray?

Every single thing to come has turned into ashes

Hoax

‘Cause it’s all over, it’s not meant to be

So I’ll say words I don’t believe

[Chorus]

Goodbye, goodbye, goodbye

You were bigger than the whole sky

Lover sky imagery

You were more than just a short time

And I’ve got a lot to pine about

I’ve got a lot to live without

I’m never gonna meet

What could’ve been, would’ve been

What should’ve been you

[Bridge]

What could’ve been, would’ve been you

What could’ve been, would’ve been

What should’ve been you

What could’ve been, would’ve been you

[Chorus]

Goodbye, goodbye, goodbye

You were bigger than the whole sky

You were more than just a short time

And I’ve got a lot to pine about

I’ve got a lot to live without

I’m never gonna meet

What could’ve been, would’ve been

What should’ve been you

“Paris,” 

Paris lyrics

English

A A

Paris

Play “Paris”on Amazon Music Unlimited (ad)

[Verse 1]

Your ex friend’s sister

Met someone at a club and he kissed her

Turns out it was that guy you hooked up with ages ago

Some wannabe C lister

And all the outfits were terrible

2003, unbearable

Did you see the photos?

No, I didn’t, but thanks, though

[Pre-Chorus]

I’m so in love that I might stop breathing

Drew a map on your bedroom ceiling

No, I didn’t see the news

‘Cause we were somewhere else

Stumbled down pretend alleyways, cheap wine

Make believe it’s champagne

[Chorus]

I was taken by the view

Like we were in Paris

Like we were somewhere else

Like we were in Paris, oh

We were somewhere else

[Verse 2]

Privacy sign on the door

And on my page and on the whole world

Romance is not dead if you keep it just yours

Levitated thought, all the messes made

Sip wine by my side in the shade

And not the kind that’s thrown

I mean, the kind under where a tree has grown

[Pre-Chorus]

I’m so in love that I might stop breathing

Drew a map on your bedroom ceiling

No, I didn’t see the news

‘Cause we were somewhere else

Stumbled down pretend alleyways, cheap wine

Make believe it’s champagne

[Chorus]

I was taken by the view

Like we were in Paris, oh

Like we were somewhere else

Like we were in Paris, oh

We were somewhere else

[Bridge]

I wanna brainwash you

Into loving me forever

I wanna transport you

To somewhere the culture’s clever

Confess my truth

Come out?

In swooping sloping cursive letters

Let the only flashing lights

Be the tower at midnight

[Pre-Chorus]

In my mind

We drew a map on your bedroom ceiling

No, I didn’t see the news

‘Cause we were somewhere else

In an alleyway, drinking champagne

[Chorus]

‘Cause we were in Paris

Yeah, we were somewhere else

My love, we were in Paris

Yeah, we were somewhere else

High Infidelity,” 

High Infidelity lyrics

English

A A

High Infidelity

Play “High Infidelity”on Amazon Music Unlimited (ad)

Scribing, don’t edit !

[Verse 1]

Lock broken, slur spoken

Wound open, game token

I didn’t know you were keeping count

Who’s counting

Rain soaking

Blind hoping

You said I was freeloading

I didn’t know you were keeping Count

[Chorus]

High infidelity

Put on your records and regret me

I bent the truth too far tonight

Hetsplaning?

bearding?

I was dancing around, dancing around to it

mirrorball

High infidelity

Put on your headphones and burn my city

Your Picket fence is sharp as knives

I was dancing around, dancing around it

Do you really want to know where I was April 29th?

Do I really have to chart the constellations In his eyes ?

STARS IN EYES

Storm coming, good husband

Bad omen

Dragged my feet right down the aisle

Dragged is reluctance

At the house lonely

Good money

I’d pay if you’d just know me

Karlie left TS for more money?

Seemed like the right thing at the time

You know there’s many different ways

That you can kill the one you love

The slowest way is never loving them enough

Do you really want to know where I was April 29th?

Do I really have to tell you how he brought me back to life ?

[Chorus]

High infidelity

Put on your records and regret me

I bent the truth too far tonight

I was dancing around, dancing around it

High infidelity

Put on your headphones and burn my city

Your picket fence is sharp as knives

Karlie’s heternomative life is hurting Taylor

“Glitch,” 

Glitch lyrics

English

A A

Glitch

Play “Glitch”on Amazon Music Unlimited (ad)

[Verse 1]

We were supposed to be just friends

Joe and her bearding

Karlie 1989 PR

Kelsea

Someone else

You don’t live in that part of town but maybe I’ll see you out some weekend

Depending on what kind of mood and situationship I’m in

Kelsea Ballerini-Weather:

I’m so tired of your weather

Stormy when we’re together

Yeah, we used to be sunny and 75

We were dancing, baby, rain or shine

Had my dress in your dresser

Now somehow, I need a sweater

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

Are we really lovers if you’re changing your mind

Like the weather, weather, weather?

And what’s in my system

[Chorus]

I think there’s been a glitch, I

Five seconds later, I’m fastenin’ myself to you with a stitch, I

And I’m not even sorry, nights are so starry, 

Stars! Kelsea

blood moon lit

MOON!

It must be counterfeit

I think there’s been a glitch, uh

Uh-huh, uh

[Verse 2]

I was supposed to sweat you out

In search of glorious happenings of happenstance on someone else’s playground

Karlie is Jo$h’s GF

But it’s been two-thousand one-hundred and ninety days of our love blackout (Our love is blacking out)

The system’s breaking down (The system’s breaking down)

6 years

[Chorus]

I think there’s been a glitch, I

Five seconds later, I’m fastenin’ myself to you with a stitch, I

And I’m not even sorry, nights are so starry, blood moon lit

The moon! Kelsea

It must be counterfeit

I think there’s been a glitch, uh

Uh-huh, uh

[Bridge]

A brief interruption, a slight malfunction

On and off relationship

I’d go back to wanting due to givin’ nothing

Beards? 

I thought we had no chance

And that’s romance, let’s dance

[Chorus]

Glitch, I

Five seconds later, I’m fastenin’ myself to you with a stitch, I

And I’m not even sorry, nights are so starry, blood moon lit

It must be counterfeit (It must be counterfeit)

I think there’s been a glitch, uh

Uh-huh, uh

“Would’ve, “Could’ve, Should’ve.’

Would’ve, Could’ve, Should’ve lyrics

English

A A

Would’ve, Could’ve, Should’ve

If you would’ve blinked then I would’ve looked away at the first glance

If you tasted poison you could’ve spit me out at the first chance

And if I was some paint, did it splatter on a promising grown man?

And if I was a child did it matter if you got to wash your hands

[Chorus]

Ooh, ooh, ooh

All I used to do was pray

Would’ve could’ve should’ve

If you never looked my way

I would’ve stayed on my knees

And redemption never would have danced with the devil

19

And now that I’m grown, I’m scared of ghosts

Memories feel like weapons, and now that I know

I wish you left me wondering

If you never touched me, I would’ve gone along with the righteous

If I never blushed, then they could have never whispered about this

Rose blush

I don’t like a red flush

And if you never saved me from boredom, I could have gone on as I was

But oh you made me feel importnat, then you tried to erase us

[Chorus]

Ooh, ooh, ooh

All I used to do was pray

Would’ve could’ve should’ve

If you never looked my way

I would’ve stayed on my knees

And redemption never would have danced with the devil

19

And now that I’m grown, I’m scared of ghosts

Memories feel like weapons, and now that I know

I wish you left me wondering

God rest my soul

I miss who I used to be

Stained glass windows

I regret you all the time

I can’t let this go, I fight with you in my sleep

The wound won’t close

I keep on waiting for a sign

I regret you all the time

If clarity is in death, then why won’t this die?

Years of tearing our banners, you and I

Living for the thrill of hitting you where it hurts

Give me me back my girlhood, it was my first

I never would have danced with the devil

Grinnin’ like the devil

I did something bad

I’m scared of ghosts

Dear Reader-

Kelsea Ballerini just might have had TWO subjects in mind: Marilyn Monroe (and Taylor Swift)

20 Oct

See my other disclaimers.

MARILYN

Yes, yes this song is most definitely about Marilyn Monroe.  Obviously.  But also I noticed some things and think the song’s subtext could be slyly talking about Taylor Swift in addition to the main muse of the song.

There’s a lot of foundational knowledge required to see the connection that I’m talking about. So I am going to attempt to run you through the abridged version of Gaylor/Kaylor 101. There will be multiple songs discussed within this song, but I promise it’s all necessary information so you can hear what I hear.

As a side note:  Marilyn and Taylor are actually related:

I’m putting Kelsea’s Marilyn lyrics in pink highlight

[Verse 1]

Must be nice to be so nice and beautiful

The internet is sprinkled with stories of Taylor Swift’s kindness to both friends and fans:

[I’m putting articles in green, so you know it’s not me writing]

Proving once again that a Taylor Swift best-friendship is the best thing a person can have, Taylor Swift did another TRULY lovely thing for one of her mates, planning a very special surprise for her best friend Abigail. 

If you aren’t totally read up on the history of Taylor Swift’s friendships, here’s what you need to know about Abigail. She’s one of Taylor’s closest friends, that she’s known since high school. She’s referenced in ‘Fifteen’. Taylor even took her to the Grammys. These two are true BFFs. 

So, on Abigail’s 25th birthday, Taylor obviously had to do something pretty special. Which she did. Another important fact about Abigail, apparently, is that she her favourite band is Dashboard Confessional. 

Can you guess where this is going? Taylor then casually asked if there was anyone named Chris Carrabba at the party (that’s the lead singer of Dashboard Confessional, FYI). 

And, because T-Swifty is the greatest, she had indeed arranged for Chris Carrabba to be there. Abigail got to sing along with one of her favourite artists of all time. Plus, Hayley Williams was there, which everyone knows makes even the coolest party 20 times cooler. 

And as for the second part of the line, it’s obvious Taylor Swift checks all the boxes for [patriarchal] beauty standards (even science says so):

Hang the stars in the eyes of everybody

Oh my God, if Taylor mentions stars, stars in eyes, the moon, or anything like that I am going to flip!  This post was nowhere ready to post, but I struggled to get it done before Midnights is officially released just for this theory: I think we’ve moved from the sun (and head up in the clouds during Kaylor/Lover) to other sky imagery.  If these key words are in Midnights I will be insufferable!

Got your name up in lights and in every home

It’s a common phrase, but also Taylor Swift wrote a song using just. those. words.  And it was similar to this song of Kelsea’s–that I thought to be about Briteny Spears (Lucky) and her super-fame, and how she didn’t feel “lucky” all the time.  

As you can imagine, Taylor was at a very different stage in her life and career when first writing “Red.” She was dating men in Hollywood. She was climbing the charts. And while she was most definitely a household name, is it possible that this wasn’t the life she always dreamed of?  “The Lucky One” appears on “Red (Taylor’s Version),” and there are a lot of questions on who it was written about. Was “The Lucky One” meant to portray Taylor’s life? 

In “The Lucky One,” Taylor tells the story of a young starlet who moves to LA to make her dreams come true. However, upon becoming accustomed to the glamorous Hollywood lifestyle, she realizes that it isn’t all that it’s cracked up to be. While so many people yearn to be famous, this star does not feel like she is “the lucky one.” The first verse of the tune introduces the young starlet who is “chasing fame and fortune.” The lyrics state: “And the camera flashes, make it look like a dream / You had it figured out since you were in school / Everybody loves pretty, everybody loves cool / So overnight you look like a sixties queen.”

Then, the chorus follows: “And they’ll tell you now, you’re the lucky one / Yeah, they’ll tell you now, you’re the lucky one / But can you tell me now, you’re the lucky one,” Taylor asks.

In the second verse, Taylor unpacks the downsides of this star’s life. “Now it’s big black cars, and Riviera views / And your lover in the foyer doesn’t even know you / And your secrets end up splashed on the news front page.” The verse continues to note how unhappy she is with her life. Later lines read: “Another name goes up in lights / You wonder if you’ll make it out alive.”

By the third verse, we learn that the star vanished from the public eye. “It was a few years later, I showed up here,” Taylor sings, followed by “and they still tell the legend of how you disappeared.” Taylor croons that she didn’t originally understand why the star would give up her life of fame. “But I understand it now,” she says at the end of the song, hinting at the fact that she personally can relate. [The Lakes]

The star Taylor is referring to in “The Lucky One” is rumored to be former pop singer Kim Wilde, according to the Swiftipedia Fandom page. Fans speculated that Kim was the subject after noticing that the main hook melody in “The Lucky One” is sampled from Kim’s song “Four Letter Word.” Furthermore, Taylor wrote the lyric “Chose the rose garden over Madison Square” in the song. This may possibly reference how Kim abandoned her career to become a landscape gardener. Regardless of who the song is about, Taylor’s message is clear: Constantly being in the limelight isn’t always what dreams are made of. Taylor understands why this star left Hollywood for a more reclusive life. Previously, the “Cardigan” crooner has been targeted for the way she looks, the men she was dating, how many men she was dating, and more. She shares some of her story and the criticisms she’s received in the Netflix original documentary Miss Americana.

Marilyn Monroe, Britney Spears, and Taylor Swift all knew fame on an astronomical level.  Yet all 3 had their struggles, and struggles with fame, and secrets.  

Taken more like the sentiment of the phrase, name up in lights, here are some statistics showing how popular Taylor Swift is.  She is the fourth highest of all time for music sales (Madonna was, I think, 100 million above the rest, in her own category, which is why Taylor appears 3rd in this picture):

And for a more modern measure of success and popularity, here are the streaming numbers.  Taylor is the 6th most streamed artist of all time whenever this page was posted:

Looking at social media followers, Taylor has hundreds of millions of those too: 

So I think we can agree both Marilyn and Taylor are in every home and have their names up in lights.

But were you still alone at the party?

There is a song about how Taylor was alone at her own birthday party, The Moment I Knew, that contains lyrics like:

Plus, I don’t have every awards ceremony, every after-party in a list or anything like that, but there’s been a lot of times Taylor shows up with just her entourage, not a plus one.  Her recent folklore Grammy, for example, she had her co-workers there, but not a significant other.  It was a momentous occasion and she was alone.

[Pre-Chorus]

Everybody wanted to see you

Everyone wanted to see Marilyn, we know this.  She is still an icon.  But check out Taylor’s ticket sales–everyone wants to see her too:

Lips red, eyes blue

This one is an obvious commonality between Marilyn and Taylor.

And everybody wanted to be you, yeah

Obviously Marilyn.  But also:  People in the industry want to know success like Taylor.  Singers and models like her style.  Fans emulate her every move.

[Chorus]

Was it worth it to seem so perfect?

A big reason I think this song is also alluding to Taylor Swift, is her very calculated brand image.  Taylor has orchestrated her down to Earth vibes, friendliness, who she is seen with in the media, how she speaks, what she wears, how fans and parents and capitalists perceive her–she is in total control of her brand.  Things have gone off the rails a couple times (snakegate) but not for Taylor’s lack of trying to keep up the perfect persona.

I think Kelsea, being in the business herself, can empathize with the Marilyn’s and Taylors of the world–whose identity and brand get braided together until nobody including the artist herself, knows which strand is which.

Here’s a very recent quote from Taylor about being more brand than individual:

Blonde and curves didn’t keep you from your skeletons

We don’t really think of Taylor Swift as “curvy” in modern times.  Compared to Marilyn’s era, there is slightly more diversity in celebrities, and many of them have curvy figures.  But according to both of their measurements (I do not know where these come from, or how accurate they are) both gals are an hourglass shape.  

This line talks about how the subject is beautiful and portrays her life/image/brand as perfect.  Yet, the artist’s real life is not like that.  And the difference between the brand and the reality leaves an empty lonely feeling.  Both Taylor and Marilyn are the standard of beauty, yet there is a sadness about both of them.  

The skeletons part of this line is particularly geared toward Taylor.  She has secrets and uses her lyrics to tell her truth–but with plausible deniability.  On the surface the lyrics talk of boyfriends, but the subtext tells how Taylor dates women.  It’s like she writes personal experiences, but codes them and explains it away in promotional interviews.

The word, “skeletons” is in Cowboy Like Me, which we already talked about as a song possibly about bearding:

We didn’t talk about the line:

[because this could get confusing referencing Taylor’s lyrics in the middle of Kelsea’s song, I have highlighted TS lyrics in purple]

But that was all before I locked it down

It’s an interesting line that could be alluding to Pont des Arts in Paris, better known as the love lock bridge.

4/6/15:

Taylor’s song, I Think He Knows also talks about locking it down:

I think he knows his footprints

On the sidewalk

The sidewalk reminded me of stuff I saw on Tumblr about some pavement etchings.  I grabbed some images and explanations from 

So thanks to 9x1ft, and visit the Tumblr for a trove of Kaylor information!

Lead to where I can’t stop

Go there every night

This is Karlie’s NY place, and that garden gate:

I think he knows his hands around

A cold glass

Make me wanna know that body

Like it’s mine

I don’t have any hardcore evidence for these lines, but applying them to Karlie here’s my thoughts:  A glass could have curves.  She might be comparing a glass (possibly from that dive bar) to her partner’s body.  Curves = female.  And “know that body like it’s mine” could mean they have similar bodies because they’re both women–rather than ownership.

He got that boyish look that I like in a man

Taylor, in curating her public relationships with boyish looking guys may have a two-prong approach:  She is trying to find a boy that is marketable to as wide of an audience as possible.  He has to be safe, have a pretty, photographable face, and fit with her clean-cut image.  The second factor could be covering up her actual private relationship with women.  Finding a dude who closely resembles her girlfriend gives her plausible deniability for her lyrics.  

A lot of the teen idols (Elvis Presley, James Dean, David Cassidy, Davy Jones, Donnie Osmond, Leif Garrett, Justin Timberlake, Jonathan Taylor Thomas, Leonardo Dicaprio, Hansen, Justin Beiber, Zac Effron…) have boyish, baby faces.  They are white pre-teen to early twenties and are perceived as all-American, and wholesome and safe.  These boys can be marketed to pre-teen girls, a market with a lot of disposable income–they don’t yet have bills, but their parents are still buying them things.  In marketing to pre-teen girls, you also have to market to parents that can afford to buy their children a lot of extraneous things (vs necessities) suburban parents.

And doesn’t it just make sense that pre-teen girls who are WLW (or will soon discover that they are) would be attracted to boys with baby faces?  Those boys are feminized.  So these crushes still fit heteronormative expectations, but are actually attractive to young lesbians and bi-girls specifically because of their feminine features

.  

I am an architect, I’m drawing up the plans

This line speaks to the above.  Taylor is curating a perfect relationship to cover for her actual relationship.  This is Cowboy Like Me in motion. This is not a statement of spontaneously feeling sparks or falling in love.  Taylor says she’s methodically putting together plans for this relationship in the song.

It’s like I’m seventeen, nobody understands

No one understands

Homophobic response to a child coming out:

Yuck.  and Gross.  

This is from Focus on the Family.  It’s coded as supportive, but it’s really gaslighting a gay person and trying to convince them they’re wrong about their sexuality.  Here’s an article about how Focus on the Family is a homophobic group:

I think Taylor is alluding to this homophobic type of response with that line.  Maybe she came out and people told her she’s too young to know.

…I think he knows

He better lock it down

Or I won’t stick around

‘Cause good ones never wait

He got that boyish look that I like in a man

I am an architect, I’m drawing up the plans

… Lyrical smile, indigo eyes, hand on my thigh

We can follow the sparks, I’ll drive

Lyrical smile, indigo eyes, hand on my thigh

We can follow the sparks, I’ll drive

So where we gonna go?

They went to Big Sur-just the two of them (and whoever took the photos).

And in her Vogue 73 questions Taylor says:

I whisper in the dark

Where we gonna go?

I think he knows

He got my heartbeat

Skipping down 16th Avenue

Got that, oh! I mean

Wanna see what’s under that attitude

Like, I want you, bless my soul

“Bless your soul” is a phrase that can be literal and meaningful or sarcastic.

Literal :  John gives $20 to a homeless man. The man says “Bless your soul.” (Genuine, gratitude)

 SARCASTIC:  Kim hates Kylie. Kylie tries to look pretty but Kim knows she’s prettier. Kim says “Aw, bless your soul for trying!”

(Sarcasm and an insult. Kim is proclaiming she is prettier.)

And I ain’t gotta tell him/I think he knows/I think he knows/I want you, bless my/I want you, bless my/I want you, bless my/I want you, bless my soul/I want you, bless my/I want you, bless my/I want you, bless my soul/I ain’t gotta tell him

I think he knows

See what I mean about plausible deniability? This could be Taylor sincerely saying she wants HIM. But also it could be the sarcastic usage of the phrase–like obviously I don’t want HIM like that.

This is Karlie’s arm putting her lock under THE NUMBER 13:

Hers is the one with the K heart. But tilt your head left and read it–there’s a T there. Koincidence?

And in Taylor’s lover promo, there is a heart it says Paris, City of love, there is a lock and key with “lover” there’s a rose, the butterfly like the wings and mural, and daisies. Which I just learned got their name from the center looking like… The sun. Like sunshiny Karlie.

Ok, after that quick, dirty lesson of how Taylor is likely WLW and Kaylor definitely was romantic and sexual, back to Kelsea’s Marilyn song:

Was it lonely, show pony?

I thought this was going to a western rodeo term, but urban dictionary gave these explanations:

This one easily matches Kelsea’s song about 2 performers.  But I thought this one was something:

Now, I’m sure if this is some homophobic response implying that gay people that are deemed “too flamboyant” are obnoxious show offs just for being themselves.  OR if this is a common term taken at face value. Does Kelsea know about the term relating to queerness? IDK. But it’s sus in this particular song for all the reasons I outlined.

I found this one appropriate for the subjects of this song because both are known for who they dated:  Movie stars, The Kennedys, Taylor’s “ex boyfriends.”  This could speak to superficial arm candy, PR arrangements, bearding…

Did you miss Norma Jeane?

Or did you always wanna be Marilyn?

Marilyn

Kelsea asks if Marilyn misses the real, authentic, non-famous, version of herself.  She also asks if she liked that person either, if she was always dissatisfied with who she was–plain or glam.

It pertains to Taylor because as she said in her song explanation, she doesn’t feel human anymore.  Taylor is more of a brand than a person.

[Verse 2]

Once you got through the doors, was it glamorous?

Or did you think you’d feel morе fulfilled? (Mm)

‘Cause I can see how it seemed

Through an L.A. silvеr screen

But I can also see how it’d drive me to pills

This is self explanatory, and hopefully the pills pertain only to Marilyn and not Taylor, but IDK.

[Chorus]

So was it worth it to seem so perfect?

Blonde and curves didn’t keep you from your skeletons

And everybody wanted to know you/In every room

Was the way that everyone loved you/A feeling you outgrew?

‘Cause everybody wanted to be you/But did you? (Mm-mm, hmm)

[Chorus]

Did you miss Norma Jeane? The woman underneath/Or did you always wanna be Marilyn?/Oh, ooh-ooh, Marilyn

[Outro: Marilyn Monroe]

Uhm, do I feel happy in life? Uhm

Uh, let’s see

Present tense could be for Kelsea and Taylor.

Kelsea Ballerini is Taylor’s 2nd Choice

10 Oct

Nobody can be a Karlie. But being a backup plan is tenuous and unfulfilling.

Alone, these might be considered “reaches” but compiled all together, it’s a LOT of coincidences.

I CAN’T HELP MYSELF

[Chorus] When the sun starts falling, the girls start calling

Taylor called Karlie the sun.  Compared her to sunshine.  Used gold to denote her in songs.  Here, Kelsea says the sun starts falling, which can mean more than the obvious day to night.  A layered meaning could mean Karlie is falling out of Taylor’s life.  The sun set on Kaylor. Karlie is not considered gold anymore, but more of a veneer.  It speaks to a rift and breakup between Taylor and Karlie.  

And I think in this context, girls start calling, is just a covert way of disguising a love song into a friends partying song.  Girls plural could have easily been girl.  I think Kelsea is saying when Karlie, the sun, falls away from Taylor, that girl (Taylor) starts calling her.

The wine comes off of the shelf

Again, Taylor doesn’t own wine, but if you were alluding to her, or talking about hanging out with her, that might be the beverage you’d mention.  Taylor has mentioned wine in at least 11 lyrics (not to mention champagne):

Then the drums start to kick in and all my inhibitions

Kelsea could just be using this line to show action.  She might be bringing her going out on the town back to a subject she knows well–music.

But I looked up “drum” in Taylor’s lyrics and the two songs that contained the word were interesting:  Better than Revenge and Hoax.  In the first, Taylor is talking about a girl who “stole” a boy she liked P.S. boys cannot be stolen, they are people with their own free will and should be the recipient of anger if they choose to cheat/leave.  Anyway, Taylor says, “She had to know my pain was beating on me like a drum.” 

So stay with me.  To analyze Kelsea’s use of “drum” in this song, we need to look at Hoax, but to give context to all the pain of that song, we need to look at a happier time in Taylor’s discography, King of My Heart:  Which has a lot of clues and references to Karlie and the Kaylor relationship.

King of My Heart

I’m perfectly fine, I live on my own/I made up my mind, I’m better off bein’ alone

Taylor lives alone, and is comfortable being single.

We met a few weeks ago/Now you try on callin’ me, baby, like tryin’ on clothes

This line is hinting that the “you” in this song is a model.

The line also indicates this model is tryin’ on calling Taylor baby.  It’s a new relationship, and possibly a new sexuality too (WLW) and Karlie is feeling it out.

Salute to me, I’m your American Queen

And you move to me like I’m a Motown beat

There is this Motown dance party.

But more than that check out my last post about the music video that Karlie was in. In it she watches Motown and dances suggestively. It looks almost masturbatory, honestly. Taylor is saying in this line Karlie moves to her like that (sex).

Jesus, that’s explicit.

And we rule the kingdom inside my room

Taylor and Karlie can only be a couple when they’re hidden and protected.  They have to be together only in Taylor’s room, away from prying eyes.

‘Cause all the boys and their expensive cars/With their Range Rovers and their Jaguars/Never took me quite where you do

No matter the expensive, fancy things that the boys bring with them, no matter the ease of a relationship with a man–they could never compare to what Taylor has with Karlie.  

And all at once, you are the one I have been waiting for/King of my heart, body and soul, ooh whoa/And all at once, you’re all I want, I’ll never let you go/King of my heart, body and soul, ooh whoa/And all at once, I’ve been waiting, waiting/Ooh whoa, ooh whoa/And all at once, you are the one, I have been waiting, waiting/Body and soul, ooh whoa/And all at once

This is a pretty sexy interlude with all the ooh whoas and repetition of body and soul.  Taylor is saying she likes when Karlie sexes her up, but also it’s a romantic soul connection, not just a fu(k-fling.

Late in the night, the city’s asleep/Your love is a secret I’m hoping, dreaming, dying to keep

Taylor again, emphasizes that this love is secret and she has anxiety about keeping the relationship AND the secret of the relationship.

Change my priorities/The taste of your lips is my idea of luxury

Again, referencing the fact the boys have money and cars and stuff, but Taylor would forgo all those physical items for Karlie’s physical touch.

…Is this the end of all the endings?/My broken bones are mending

It’s not the last time Taylor will mention bones when she talks about the pain of this relationship:

With all these nights we’re spending/Up on the roof with a school girl crush

Drinking beer out of plastic cups

Say you fancy me, not fancy stuff

Taylor told us she cares more about love with Karlie than items boys can give her, and that lifestyle she could lead with men.  Now she asks Karlie to say the same:

Back to Hoax:

The second song containing the word “drum” is Hoax, possibly the most painful song in Taylor’s catalog, in my opinion. 

My only one/my kingdom come undone/my broken drum/you have beaten my heart

is a bleak, sad line.  Taylor says Karlie is the only one she ever really loved.  And Karlie going with Jo$h (picking the expensive things over love with Taylor in the private ) has burned down the kingdom inside Taylor’s room she spoke about in King of my Heart.  

Taylor could be likening her heart to a drum since they both beat.  She’s telling the subject of the song they have broken her heart.  Beaten has a few meanings:  It could be talking about a heart pumping, but in the past tense.  It could indicate winning a competition (Jo$h won the trophy or champion ring, Karlie).  It could be a physical beating (let’s hope not, but we have several knife and sword fights in Taylor’s catalog).  

So back to Kelsea, she says:

Then the drums start to kick in and all my inhibitions

So.  The drums are a signal Taylor is heartbroken and Karlie is out of her life.  When Karlie is out, that’s Kelsea’s chance to be in.  Broken drum is when Kaylor is off-again, but when that happens Taylor calls up Kelsea.  The drum hurts Taylor, but the drum brings Taylor to Kelsea. It’s a reason why Kelsea might be reluctant to go out.  This relationship is somewhat one-sided, fickle, fleeting, uneven.  But…

Are gone by a quarter to twelve

This plays into my theory about the stars and moon possibly being in Taylor’s Midnights album.  The clock.  Taylor’s clock of albums has different colors for each number.

You can easily see Red (Dianna) went from the latter part of Speak Now to the early part of the Reputation era.  Then the numbers turn gold for sunshine Karlie.  And the gold numbers match up with the albums that reference Karlie (Reputation, Lover, folklore, and Evermore).  

But look at 9 (quarter to 12).  Halfway through it goes from gold to aqua/green/blue.  Is this the time Kelsea is referring to in the song?  The sun goes down at 9 (Karlie goes away) then Taylor calls Kelsea up and that’s Kelsea’s cue to throw out her inhibitions and worries and go have fun with Taylor?  Are these green/blues for Kelsea?  Or signifying Taylor is blue/depressed/closeted/single so rebounding (with Kelsea)?

Yeah, I try to be an angel, then the whole thing goes to hell

Lord, help me, I just, I can’t help myself/(She can’t help it, thе girl can’t help it)/(She can’t help it, thе girl can’t help it)

Kelsea knows it’s not a good idea to get with someone who is back and fourth, still not over her ex, and that may take their relationship as seriously–but she can’t help it.

[Verse 2] And I could go for a walk and maybe eat a salad

Kelsea is comparing herself to Karlie, because Taylor is still not over Karlie.  Kelsea (from the midwestern/southern state of TN) said what she eats in a day and fast food was high on the list:

Karlie said what she eats in a day, and her menu was drastically different than Kelsea’s.  

Models can’t eat very much.  Their very income depends on keeping their body lean (underweight) so they notoriously eat very little.  If Kelsea is trying to be like Karlie, the former Victoria’s Secret Angel, she might try to exercise and limit calories.

I could pick up my guitar and write another ballad

Kelsea could write another song like one of these that wish Taylor were more focused on her. Or a love song of their good times. It’s something she probably finds cathartic, and it’s something she has in common with Taylor.

I could even meditate to live with less distraction

All that pick me up at eight, I’m tryna kick the habit, but

Basically, this song talks about how when Taylor is not with Karlie, she goes to Kelsea.  And Kelsea naturally compares herself to the gal that Taylor is pining over because Kelsea wants something more than to be a backup plan.  Yet, even though Kelsea knows her relationship with Taylor is problematic and unfulfilling she is trying to be like Karlie herself (eat salads meditate) so Taylor will regard her in the same way and stay.  Kelsea’s head knows it’s trouble, but her heart can’t say no and leave it alone.

[Pre-Chorus] Oh-oh, here I go again/Oh-oh, I can’t say no

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.

Kelsea Ballerini Promises Not to Out Someone (Taylor Swift?) Because it Would Out Her Too

25 Sep

Disclaimer:

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” (can we retire that word?!) as the more mean-girl Gaylors and the homophobes accuse of 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.  

IF YOU GO DOWN (I’M GOIN’ DOWN TOO)

I’ve known you since Brad and Angelina

Brad and Angelina got together on the set of Mr. and Mrs. Smith, in 2005.  They collected children, and then got engaged in April of 2012.  The wedding took place in August 2014.  Angelina filed for divorce August 2016.  So that puts the timeline anywhere between 2005 and 2016, with the actual marriage between 2014-2016.  Kelsie and Taylor met in 2015.

Taylor’s Tweet:

Taylor invites Kelsea to her friend, Abigail’s birthday party:

…If I got an aisle with a mess I gotta clean up

A double entendre–clean up a mess on aisle 7, and also walking down an aisle to marry, cleaning up that mistake with divorce.

Kelsie learning about herself and realizing she had been forced into a straight marriage?  She had to use a lot of introspection and therapy to realize she was in a comp-het situation, and un-learn her heteronormative training.  And when she was finished with that she realized the man had to go.

I know you’ll be showin’ up with bleach, hmm

This reminds me of Taylor’s song, No Body No Crime:

Taylor was going to clean up a mess of a different marriage that ended in that song.

This line could also be a reference to hair bleach.

The Met Gala of Getaway Car fame.

Depending on the narrative you believe, this is the night Taylor left Calvin Harris for Tom Hiddleston.  It has also been said Taylor met Joe Alwyn at the 2016 Met Gala.  If you’re a Kaylor, you know it’s the night Taylor ditched 2 beards (Calvin and Tom), arranged a long term beard (Joe), and ran away from Jo$h Ku$hner (Karlie’s long term BF/beard) with Karlie.  A lot was happening that night!  Been in each of those scenarios Taylor, with her bleachella hair, was leaving a relationship.  And Kelsea is talking about leaving her marriage.

All those names that we don’t ever speak of

Kelsie and Taylor both have had their share of feuds and exes:

Got a couple nights that have slipped my mind/Proof and photographs have been deleted

I found this headline by Googling their names:

https://country925.iheart.com/alternate/amp/2018-05-09-kelsea-ballerini-and-taylor-swift-in-towels/

I included the link so you can see I didn’t do any fancy cutting and pasting–the image that used to be on that provocatively headline was removed… Just like Kelsea said in the song…

If you ever needed an alibi/’Cause dirt on you is dirt on me/And we both know our hands ain’t clean/If it all blows up and we end up on the news

Here’s another headline with a deleted picture that I came across:

Taylor’s song, Delicate is about the nervousness of getting closer to someone when you’re first seeing each other.  There’s an added layer of precariousness in the song because this date is between two gals.  There’s an anxiety about going for this relationship, but also a lot of sexual chemistry.  It’s pretty steamy, really:

Kelsie doing a cover of that particular song is very loud to me.

If you go down, I’m going down too/It’s a good thing we’re each other’s kinda crazy/Ain’t no judgment or keepin’ score

Kelsie might be referencing Taylor’s song, hoax, where Taylor references her painful breakup with Karlie:

In, False God Taylor told us she’s New York City:

And Karlie Kloss was the West Village:

So part of me back in New York is saying Taylor had her heart in NY, but had to leave because she can’t bear to be reminded of Karlie everywhere she goes.  The keeping score bitter line in Taylor’s heartbreak song is what Kelsea brings up in this song–she won’t do that to Taylor like Karlie did.

If you rob a bank, I’m your getaway Mercedes

God knows that’s what friends are for/’Cause dirt on you is dirt on me/And we both know our hands ain’t clean/If it all blows up and we end up on the news/If you go down, I’m going down too/If you go down, I’m going down too, yeah/I keep all your secrets by the dozen

These lines have to be about closeting and outing.  If these two had a fling or shared their secrets that gives each one of them ammunition and leverage over the other.  One cannot out the other without outing themselves. 

I think rather than a threat, this is meant to calm Taylor.  She does not want to be outed and is always fearful that she will get recognized by everyone as WLW before she’s ready, so Kelsea is saying, don’t worry, I can’t out you because I would be outing myself.  And since they’re both singers they both understand what they would be losing by being outed. It’s a sort of consolation that the gayness of it all will remain secret.

You know where my skeletons sleep

Kelsie may be talking about Taylor’s song, Cowboy Like Me here:

In the song Taylor is saying she does stuff purely for money.  Bandits, tricks up my sleeve, takes one to know one all indicate she has met someone just like her–pretending to like rich people or date men so rich people approve in order to get the money/fame.

Forever is the sweetest con is a line that I think speaks to lavender marriage.

Hypothetically, if you ever kill your husband

Kelsie is using this as an exaggeration of something terrible that she would still keep a secret.  It does double-duty here being a call-back to Taylor’s No Body No Crime:

And also could be speaking about “killing” the bearding contract.  Killing the idea of being married to a man.  Killing the charade.  And if Taylor decides to ditch Joe and other beards, Kelsea says she will still never tell that Taylor is WLW or that they had/have? a thing.

Hand on the Bible, I’d be lyin’ through my teeth/’Cause dirt on you is dirt on me/And we both know our hands ain’t clean/If it all blows up and we end up on the news/If you go down, I’m going down too/Our bodies are buried and they’re in the same ditch/So even if I wanted to, I can’t snitch/30 to life would go quicker with you, yeah/So, if you go down, I’m going down too/If you go down, I’m going down too/If you go down, I’m going down too

This song to me, is an acknowledgement that Kelsea knows a secret about Taylor, and has that same secret.  I don’t know if they were just honest with each other, or had a fling, or are dating, but this song is LOUDLY about closeting and being outed.