Tag Archives: politics

Dancing with our Hands Tied- PR will Divide us [Part J]

7 Jan

Logistical Info:

Remember we’re looking at words in the lyrics of Question… to try to decipher who and what and when.

We’ve almost gone through the entire song, pulling lyrics containing the same words to get a sort of consensus or feeling about Taylor’s intention.

Now that we’re toward the end of Question… lyrics, we need to address the central part of the song: Kiss in a crowded room. And the kiss really brings to mind Dancing with our Hands Tied and maybe Kissgate.

We will analyze Dancing with our Hands Tied to see if it parallels Question….

Except this particular line within Dancing with our Hands Tied got a bit long because I really don’t know for sure and there was no solid direction to take the analysis. I will go into it in detail in this post so the guesses don’t overwhelm the analysis of the song as a whole.

And I’ll spell out my conclusions from this post in the full analysis of Dancing with our Hands Tied. But that post was getting very long and I was afraid nobody would read it. So to make things even more confusing each line in DWOHT is going to be its OWN post. But then I’ll do a main DWOHT post with just links to each different post. It’s a whole big thing.

Then we’ll get back to the end of Question

Was that explanation as confusing as trying to guess who Taylor’s songs are about?

I, I loved you in spite of

Taylor is in cages.  She must choose between authentic sapphic love and closeting for her career.

Taylor, Inc. marketed her to be every fan’s bestie. Retracting central parts of her branding to live openly would repel the homophobic fans, but more than that, any fan that had a parasocial relationship with her would become estranged.  In the middle of the night, Taylor agonizes about it-she doesn’t know how to proceed.  And whenever she’s pressured, Taylor defaults to gay-suppression out of panic.  When there is gossip that Taylor is gay (Emily video looking too friendly, fake Swiftgron article, Kissgate, Bettygate, Lavendergate, Glittergate…) instead of just being genuine and coming out, Taylor acquiesces to the PR containment.  She obfuscates, doubles-down on the bearding, and misrepresents the truth (Question…  [Part 6].

Deep fears that the world would divide us

In general, Taylor prioritizes her image over all of her lovers.  The patriarchal, heteronormative world requires Taylor to portray a specific aesthetic in order to be famous, and that excludes queerness.  So, there are two sides of Taylor:  Veneer of (straight, beautiful) perfection, palatable to a wide audience, vs. anxiety, fear, body dysmorphia, queerness (Question…  [Part 12]).  She has a choice: Closet for her career OR authentic love, not both (Question…  [Part 4]).

During Snakegate Taylor’s lover loved her for her.  Sometimes Taylor makes it all about her, but she wants her lover to stay (Question…  [Part 7]).  Taylor takes some responsibility for some of the fighting with her lover.  And says she is in hell when they fight.  

Karlie’s beard/husband and his family are contemptible and have Trump ties.  Karlie “ran with the wolves” (the Ku$hners, her neighbor and sister in-law Ivanka, by extension the Trumps) and is adjacent and complicit to republican evil (Question…  [Part 16]). 

I do think Taylor is using Hillary Clinton’s “still with her” slogan to make fun or mock Karlie’s feeble “I tried” tweet, hence the sarcastic singing voice in that Question… verse.   It could make sense for the song to allude to Karlie’s political hypocrisy since Taylor mentions “fuckin’ politics and gender roles” in the prior verse (Question…  [Part 16]).  And Taylor has described Karlie as “counterfeit” and “faithless” in other songs.  Those are both synonyms of “hypocritical” so it fits.  No matter Karlie’s actual political beliefs, Taylor does not want her brand anywhere near diabolical politics or evil people.  She and Karlie can’t ever be together publicly because Karlie’s associations will tarnish Taylor’s brand (Question…  [Part 16]).  

Taylor also suspects that Karlie might have involvement with the sale of her masters.  $cooter was Karlie’s manager at the time.  And her beard/husband had an association with the firm that helped fund the deal.  And that yacht pic is damning. Did Karlie have something to do with masters heist? 

It’s a question mark. 

“Twin of your dreams/crook who was caught” sounds conclusive, showing at some point Taylor thought she did.

I don’t know if this was ever cleared up between them. I also don’t know what time period The Great War was written about, but in it Taylor says, “And maybe it’s the past that’s talkin’/Tellin’ me to punish you for things you never did.” There’s a chance there was a misunderstanding. I think there was just because I don’t know that Taylor would still sound so heartbroken and low 3-4 albums out, if Karlie had betrayed her on the masters. Wouldn’t she lash out or be angry as she has in the past?

But that song also says something like, that was the night I almost lost you, and I’m almost certain Kaylor has broken up [again, Taylor’s current sadness told me this]. So the timeline of The Great War is up for debate. Also I’m just assuming one primary subject in that song is Kaylor, maybe it’s something/someone else–you guys know my time has been spent on these two songs. I haven’t gotten to TGW in a serious way yet…

In other words, I don’t know if we have enough evidence to make a decision about Karlie’s involvement in the Master’s Heist either way…

But the point is: Taylor is rerecording the masters, but lost her lover due mostly, to external factors.

Question… Kaylor-Politics Fear, Fire, & Smoke. Many Songs are Tied Together [Part 16]

14 Dec

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

In Question… the next verse has a change in Taylor’s tone of voice.  It sounds almost sarcastic when she sings:

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

You’re still with her.  Who is Taylor talking to?  And who is HER?  This is a main reason why I wasn’t going to play the pronoun game with this particular song.  I think Taylor wrote it in a way that couldn’t be decoded.  She didn’t call and tell me.

Is the “you’re” Taylor is talking to, Karlie?  If so, it implies Karlie is with (dating?) HER.  And I don’t know who that could be.  It doesn’t seem plausible that Karlie would “marry” Jo$h, have a baby with him, leaving Taylor in the process. All to just get a different secret girlfriend?  I mean, IF Karlie wanted a WLW affair, Taylor has made it more than clear that her door is still open to Kaylor.

Is the “you’re” Taylor speaking to Jo$h?  I don’t think it can be, because immediately preceding this line the lyric is, “Does it feel like everything is just like second best after that meteor strike?”  In the last entry we showed through other celestial lyrics that the meteor strike is this otherworldly, untouchable love.  And Jo$h was not involved other than as an antagonist, threatening to burn the house down. What would be second best to him?  Taylor is referring to Klo$$ner(?!) AS the thing that’s second best to Kaylor.

The YOU’RE must be Karlie because the meteor is definitely Kaylor.  But I really don’t think Karlie is with another woman (HER).  So even though it seems random and out of context, I do think Taylor is using Hillary Clinton’s unofficial slogan to make fun or mock Karlie’s feeble “I tried” tweet, hence the sarcastic singing voice in this verse.

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

And Taylor does mention “fuckin’ politics and gender roles” in the verse right before this one, so it could make sense for the song to allude to Karlie’s political hypocrisy.  [Sidenote: “counterfeit” and “faithless” are both synonyms of “hypocritical” and Taylor uses those in other songs, which could be talking about this very matter.]

And right, but tonight

There aren’t common lyrics in the song I’m about to reference, but I do think there is a connection. The political talk and the word “tonight” reminds me of Daylight. 

Daylight

Is it Karlie that “ran with the wolves” (the Ku$hners, her neighbor and sister in-law Ivanka, by extension the Trumps) adjacent and complicit to republican evil?  It’s also interesting that Question… could be addressing the subject matter of Daylight because it goes with our overall thesis that Taylor’s central problem is closeting.  

Daylight came out [ha!  Accidental pun] in 2019, the year Taylor turned 30 years old.  Twenty years prior to that it was 1999 and Taylor was around 9.  In Seven Taylor says, “picture me….before I learned civility, I used to scream ferociously any time I wanted.”  At 7 years old Taylor acted viscerally, shouting her truth and paying no attention to anybody else’s expectations, or to social rules.  But as she aged she learned manners/tact/compliance…  She was molded to be socially acceptable, and in this patriarchal, heteronormative world, that means being a (straight) young lady (with feminine qualities).  It corresponds to the next year of age entering into a dark night, sleeping on her queerness for the sake of etiquette.  The stuffing down her innate sexuality, denying her attraction to women, and closeting when she couldn’t repress herself.

In 2016 Taylor “became the butt of the joke” when her reputation was ruined.  She met Karlie and fell deeply in love, which helped Taylor see past the drama-induced pain.  The enthrallment also reminded Taylor of her innate queerness.  During the lover era, Taylor may have planned to come out.  Precisely because Kaylor prompted Taylor to wake up from the dark sleep of hiding her sexuality (maybe even from herself).  Taylor was so happy about being in love and seeing daylight that she wanted to share her feelings with the world.  But the master’s situation foiled that plan at the last minute.

Afterglow might be alluded to in the next line of Daylight, “I wounded the good [Karlie?] and trusted the wicked.”  Afterglow explains that Taylor thought she had reason to attack.  She pinned Karlie’s hands behind her back, and made her feel helpless, hopeless, ambuscaded.  But it turns out Taylor blew things out of proportion, and it was Taylor who burned them down. 

I don’t know what happened.  Did Taylor think Karlie’s first wedding was legitimate and an ambush to desert her?  Or is this lyric indicating Taylor felt Karlie betrayed secrets to Jo$h and or $cooter which enabled them to buy her masters at exactly the wrong time for an official coming out?  I don’t know, because I’m not sure any song is specific enough to untangle it.  What we do know is that whatever Karlie may have done, Taylor says she overreacted.  

Daylight continues, “clearing the air I breathed in the smoke”

Let’s talk about the connotation of smoke. Again, I’ll right-align the songs that contain the word since “smoke” is not in Question…

Cardigan and The Archer talk about the smoke left behind from the fiery Kaylor break-up:

Cardigan

The song speaks to things pertinent to our discussion:

1. Taylor knew she was Sapphic back at Seven even though adults assume you are just in a phase or confused as a young queer.  Especially fathers, according to Mary’s Song, where the daddies were notably absent from the fantasy wedding, which might explain the “leavin’ like a father” in Cardigan.  She compares herself to Peter Pan, who never grows up.  Taylor wants to be like that 7 year old freely getting close to the girl with the braids.

2. Karlie impacting Taylor forever (like a tattoo) is mentioned again.  Kaylor will haunt Taylor, and she will curse Karlie.  I will put the part about how Taylor regards her gayness like a curse, and says she’s haunted to mean she’s sapphic as a reminder of what we previously decided:

3. The 3rd pertinent thing in Cardigan that ties back to Question…, Daylight, Afterglow, is the smoke remaining after the fire.  In Ivy it was Taylor who pushed Karlie away and told her to run. 

These lines are from Karlie’s point of view:  

Ivy

This perspective shows Karlie suggests Kaylor take a risk and stay together.  Even with the “husband” in the picture (“drink my husband’s wine” = Jo$h’s wine).  But Taylor doesn’t wanna share, she says in Delicate.  And so Cardigan talks about how Karlie finally “ran like water” “steppin’ on the last train” because of Taylor’s stipulations (me or him).

Smoke is mentioned in The Archer, where Taylor is talking about her struggle with the closet.  She wants to keep her fans and fame, but it hurts her relationship with the girl. The song The Archer also mirrors the 3 items we talked about in Cardigan:

The Archer

1. Taylor never grew up and is still playing Peter Pan.  She wants to be regarded as the ‘good girl’.  Taylor can’t let herself go rogue, and come out of the closet for fear of losing everything.

2. Taylor views her queerness as a curse and haunting.  She paces like a ghost, unable to sleep because of the anxiety. But Karlie got under her skin and will impact her forever.  Taylor knows it’s unfair to ask Karlie to closet with her (“who could stay?”) but desperately wants to hold onto her (“help me hold onto you”). YOU is Karlie and the fans.

3. It’s Taylor who pushes Karlie to run, and take the last train.  It’s Taylor who jumps off the train and rides off alone.  She can’t stand the heat, is constantly afraid of the impending fire, and the invisible smoke hangs over her.

The heat is gay rumors and Karlie’s decision to remain with Jo$h. 

The fire is getting burned by coming out or worse, being outed.  The fire is the terror of Ku$hner-power hurting her to quell Kaylor.  The fire is Karlie’s “family” situation conflicting with Taylor’s own ideas of a fairytale life. 

The smoke is unrealized events that Taylor dreads.  The smoke is every time Taylor is gay on main and too many people notice.  The smoke is damage control by Taylor’s PR team and Taylor’s own overcorrections when things look too queer.  

Taylor suffers because she loves the gal, but also knows how “out(ed)” celebrities lose their fame and die all alone.

Daylight

Which brings us back to Daylight.  The smoke Taylor breathes in when trying to clear the air is Taylor holding onto imagined negative outcomes.  Running damage control and overcorrecting any gay situation.

The pain of picking closeting over the love of her life time and time again makes Taylor feel asphyxiated.  

Question… The Politics of Contrasts [Part 12]

10 Dec

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

f—ing politics and gender-roles

Politics:

Now this could simply mean the Ku$hners, TFG, Republicans, conservative viewpoints.

But let’s let the lyrics of other songs help us decipher the meaning. Just to be consistent.

Cardigan

Did Taylor use the word “sequin” to mean shiny?  Sequin is known to sparkle, and add ornamentation and flair.  

The sequin says, “pay attention to me” and symbolizes a light-hearted good-time gal vibe.

But I also like some fan interpretations that Taylor is ‘aging’ her subject with the phrase “sequin smile.”  This is a teen wearing metal braces (are those still a thing now that Invisalign is on the scene?).  She is describing a teen coming into their own in one of Cardigan’s many layers.

She immediately contrasts the sequin with the more serious and dark black lipstick.  

Taylor is layering meaning into these short phrases.  Taylor might be pointing out that people are complex, and can be light and fun, wearing sparkly, party sequin and have a darker more mysterious side, topping off their look with black lipstick.  She could be talking about two completely different people, one light and sparkly and one serious and deep.  Taylor could be contrasting her different eras, 1989 was light and poppy and Reputation was brooding and secretive.  I think they all work, and considering this is a folklore song, where honesty and fiction were woven together in intricate puzzles, I think she intended all meanings.

Sensual politics is a phrase that gets the same layered treatment as the previous line.  We have playful sexy ‘cat and mouse’ flirting and relationship drama that both teens and adults engage in.  Then, there is the airy feeling of attraction mixed with the heavier skirting the line of remaining politically correct or ethical [Talk about contrasts!  Using ethical and political in the same sentence.  But you know what I mean].  Love can be played like a complicated political battle.  And like the last phrase, this one too, is used as a callback to Taylor’s own eras.  Lover had a seductive, sultry side and a political message.  False God is a perfect example of this dichotomy, there is religious imagery to describe a (lesbian) sexual encounter.  But also, Cruel Summer with the moaning noises and “shape of your body” sit along side You Need to Calm Down with it’s name-drop of the GLAAD organization that advocates for the LGBTQQAA community.

It’s amazing how eloquently Taylor can pack so many meanings into just a few words!  She says “when you are young, they assume you know nothing”  to simultaneously address every different layered meaning she just set out in the contrasting phrases.  Teens are both fun and moody.  Adults think teens are too fickle, playful, and risky, when it comes to dating.  But they pull the exact same precarious mating rituals themselves.  One person can convey exuberance while feeling dreary inside.  Taylor can be a popular good-time gal with model friends in 1989 then go dark and reclaim the snake side of herself in Reputation.  Taylor is starry-eyed, romantic, and dramatic, but she’s also grounded, astute, and agreeable.  And she always knew (she was gay).

It was one drink after another, f—ing politics and gender-roles

We already discussed how Taylor drinks to alleviate her anxiety.  And being seen as queer triggers that anxiety.  “Fucking politics and gender roles,” following the procedure of letting other lyrics paint the picture of the this song’s overall meaning, might be pointing out a contrast just like in Cardigan.  Taylor is talking about feeling torn between her sexuality and desires and being politically correct, seen as a the ideal woman.  It’s another dichotomy for her.  She’s gay, anxious, and drunk, yet she is hyper-feminine, confident, and palatable to the masses.  It’s a struggle for Taylor to be authentic to who she is, but also appeal to a wide swath of people to further her career.  More than the specific event Question… brings up, it’s this contradiction that is the true subject of the song, as we’re seeing over and over in every lyrical example.

2022 Albums of the Year Countdown: Seriously Saying Something [Songs Ranked 9-1]

7 Dec

The Logistics (skip if you don’t care about math or the quantitative stuff):

I only judged good and up ranked songs this year.  I threw out OK, meh, and skip bc with streaming those will no longer get listened to.  Also, I did a percent of good and up songs per number on the album.  Because just stacking an album with garbage songs shouldn’t rank higher either.  You have to have good, great awesome songs, no matter the number of tracks.  I added the % of tracks that were good and above on the album to the score of the level (elite, A, Gr, G) for the final scores.  Highest is best.

Elite 6; awesome 5; A-Gr cusp 4.5; Great 4; Gr-G cusp 3.5; Good 3; G-N cusp 1; Neutral -1; N-M cusp -2; Meh -3; M-S cusp -4.5; Skip -6

For the two bands that put their albums out in installments (Weezer and Young the Giant, Imagine Dragon doesn’t count because I already ranked their entire 1st installment last year) I am going to judge them separately, but also as one unit.  So I’ll place each installment in their ranked position, but then I’ll also do a fifth entry for each band judging it as one album.

One last note: I went back and fourth on Brandi. She released some obvious Grammy reminder music this year. They are different versions of her 2021 album, but it’s still the same album pretty much. Other artists like the Indigo Girls have released a double album with rock on one disc and acoustic on the other. And the price point might have been a bit more expensive than just a single disc. But Brandi released her separately–to get more albums sold, acquire more streams, and remind everybody that last year’s album is Grammy nominated. But I think the acoustic version was even more expensive than my signed copy of the original album, and that plus the cheatee numbers game left a bad taste in my mouth. If it had not been one of my top-tier favorite artists of all time, I would have thrown the copycat album away and not bothered ranking it. But it’s Brandi, so I included it. And she’s amazing so of course it ranked high. But I counted it as a half number so as not to throw off the totally legit albums in the ranking. So there’s that, Brandi is making me messy. Again.
Ok, Weezer is really messing up my ranking because they aren’t releasing their fourth installment of this concept album until December 21.  I told me I would only rank my A+ favorites after October 21st.  I had to finish the countdown by the time Midnights dropped so I could focus on that.  And I like to post this prior to Christmas on the first week of December, while anybody is still paying attention to things aside from the holiday.  BUT I have ranked ¾ of Weezer’s material.  I might stop if it had been mediocre and toward the bottom since it wouldn’t make that much of a difference if they were 35th place rather than 39th, for example.  But they are nudging the top spot without 7 more songs!  So what I’m going to do is post this with them in their mathematical position, but then edit to include Winter in late December, which may change up the whole top of the list…

From Lowest to Highest:

9.

Lissie: 83.33% + 32.5 = 115.83 Final

10 of 12 total songs = 83.33%

2 Great 4; 1 Gr-G cusp 3.5; 7 Good 3

8+3.5+21 = 32.5

Sad- angsty. Bitter song! Catchy. Gr

Lonesome Wine- personal. G 

Night Moves- catchy. Sounds like Stevie Nicks. G

Flowers- self permission for emotion after a breakup. G.

Carving Canyons- deep! Descriptive. G.

I Hate This- autopsy of relationship. Regret. Breakup feels. Feeling. G 

Unlock the Chains- Inspired by Fleetwood Mac but original and not a copycat. Lyrics. Catchy. Gr.

Heart’s on Fire- Adult contemporary soft rock sound.  G.

Yellow Rose- backing sounds like Lord Huron, a little cowboy. G.

Midnight- good ending song for emotion after a breakup and for the album. Cohesive album. Tells full story. Notes. Brass. G-Gr

8.

Avril Lavigne: 75% + 41 = 116 Final

9 of 12 total songs = 75%

1 Elite awesome 6; 3 awesome 5; 2 A-Gr cusp 4.5; 2 Great 4; 1 Good 3

6+15+9+8+3 = 41

This was such an exciting album!  I really, really thought it would take album of the year, because I liked it so much, all throughout 2022.  It dropped very early, and I listened so many times and never tired of it. For treadmilling, it’s perfect. It reminds me of her first album, still edgy, but an adult. Nothing seemed forced or disengenuine and it’s so great to hear pop-punk rock again! I hope Avril stays right in this very genre and does more of this. I LOVED this album. But also, numbers don’t lie, it’s fair and square eigth.

Cannonball- Such a high energy opener! Always gets stuck in my head. Good beat. Great example of pop-punk. Elite-A.

Bite Me- Tough girl. Talking shit to ex-loser. Catchy. Gr-A.

Love Sux- bitter song. I love that she holds HIM accountable but still acknowledges her hurt. More edgy version of Avril is back and I’m happy to hear it. A.

Avalanche- more of a vulnerable song. Touches on mental illness. Always stuck in my head. A.

Deja vu- Relatable song about someone doing the same garbage over and over and the girlfriend getting tired of it. Bitter song! A.

FU- Frustration of talking to someone you can’t get through to no matter what. Realizing you can’t change someone. Gr.

All I Wanted – They sound perfect together. Just a touch of that late 90s CA pop-punk. Gr-A

Dare to Love Me- Quiet song. Strong singing. G.

Break of a Heartache- ends album on an upbeat note. Says she’s tired of hurting.  Gr.

7.

Michelle Branch: 90%+30.5 = 120.5 Final

9 of 10 total songs = 90%

1 Elite awesome 6; 1 Gr-G cusp 3.5; 7 Good 3

6+3.5+21 = 30.5

Who knew?! I liked her (overplayed) stuff in my younger years, and really, really liked her side project the Wreckers. I didn’t know where she went, but Michelle is back. And she’s speaking up. I love how she addresses real issues, yet keeps the songs themselves light and catchy.

Beating on the Outside- jarring opening line. Sex and marriage. Snippets of guitar sound good. G.

Closest thing to heaven- swirling guitar. G.

You got me where you want me- cello. Beautiful. Descriptive. G-Gr.

I’m a Man- I like how straightforward and blatant. Abortion rights. Why men are problematic. First notes get me pumped up! Elite awesome.

I’m sorry- the backing music increases intensity. Instrumental bridge. G.

Not My Lover- sounds like band Garbage. G.

When that somebody is you- quiet. Introspective. G.

You get me- adult contemporary. G

Zut! Alors- G.

6.5

Brandi Carlile:  90.91%+36 = 126.91 Final

10 of 11 total songs = 90.91%

1 A-Gr cusp 4.5; 3 Great 4; 3 Gr-G cusp 3.5; 3 Good 3

4.5+12+10.5+9 = 36

Doesn’t count?

You already saw my disclaimer at the start of every ranking. I am not here for the money grab. Same songs but acoustic. IG just gave both same time same price. Don’t like $18 for the same stuff. I need to have a talk to the Grammys about album sales. She’s not the only one, but it $ucks all the same. But yet.. that VOICE. Brandi has the chops and knows how to use them. And I appreciate that the twins are featured more prominently in the acoustics. Brandi should know that the band can rock and harmonize since she was basically the third Indigo Girl for years. But alas, this is good, just not fair to fans.

Right on Time- stripped down. Focus on harmonies. More twin involvement is good. They took out everything that made the song excellent. Touch of western on the instrumental brought it up a notch. G-Gr.

You and me on the Rock- pretty harmonies. Quiet. Nobody can compare to Brandi’s singing I would just have had Catherine sing with her bc her voice is thin by itself. G.

This time tomorrow- I don’t like when they change key or whatever for a song I’m familiar with. It always sounds off to me. Nice piano and harmony though. Instruments bring a fullness that wasn’t in the original. G-Gr.

Broken Horses- not as punchy. Not as impactful. Not THE scream-note. Doesn’t make the cut.

Letter to the Past- nice harmonies. Good that the twins are heavily featured. Like the different instruments on short interlude. More western. G-Gr 

Mama Werewolf- love the bridge – angelic. Harmony sounds good. Piano brings a seriousness to it.  She took out high notes unnecessarily, making the vocals a little worse. G

When you’re wrong- wish that the rocking versions also featured more twin harmonies. Piano is nice. Cello is star. Singing is haunting. Gr-A.

Stay gentle- swelling strings. Should have been in the original version. Gr.

Sinners Saints and Fools- dropped from elite awesome to excellent. Still great, but the other version is whoa. Lyrics more easily heard here. Gr.

Throwing good after Bad- nice harmonies. G.

Space Oddity- God. She has such a voice. She can make anything sound good. Gr.

6.

Miranda Lambert: 80% + 47.5 = 127.5 Final

12 of 15 total songs = 80%

1 Elite awesome 6; 2 awesome 5; 2 A-Gr cusp 4.5; 3 Gr-G cusp 3.5; 4 Good 3

6+10+9+10.5+12 = 47.5

I thought this album might win. I love how cheeky and feisty Miranda always is in her songs. She really brought in with this album and it was a fun, yet sincere set of cohesive songs. The cowgirl vibe and outlaw mentality add a lot and seem totally apt for the singer. Miranda always does her best to shake up the boys’ club that is the country music industry, and I appreciate her always putting herself out there. More. Like. This. Please!

Actin Up- I like a cheeky song. Also liked the state call-outs . G

Scenes- catchy. Gritty sound puts you in the gritty travel that is living on the road. G-Gr.

Carousel- emotional. G.

I’ll be lovn you – catchy. Piano. Gr-A 

If I was a cowboy- gender bender. Feisty. G-Gr 

Country money- fun. Sassy. Is that Gwen Stefani’s voice at the end? G.

Geraldine – Lambert’s take on Jolene is one of my favorite songs of the year! Elite awesome

Music City Queen- probably the best featured artist of the year. The B52s fit the vibe of the song and make their presence known without overwhelming the song. Catchy. A.

Pursuit of happiness- empowering. Hopeful. G-Gr.

Strange- catchy . She is not specific about the problems that cause these strange feelings , but in this year 2022 we can guess the COVID/quarantine &/ politics. I like how she gives suggestions for letting loose and being easy on yourself during these odd times. A.

Wandering spirit -. The begging is low- and quiet then the backing instruments and choir come in on the wandering spirit part. Sounds full and conveys cowgirl to match the cover art. Gr-A.

Waxahatchee- G.

5.

Weezer-Summer: 100% + 28.5 = 128.5 Final

7 out of 7 total tracks = 100%

1 awesome 5; 2 A-Gr cusp 4.5; 2 Great 4; 1 Gr-G cusp 3.5; 1 Good 3

5+9+8+3.5+3 = 28.5

Lawn Chair- strings sound orchestral and lovely. Adds a beat. Lyrics are jarring compared to instruments. Gr.

Records- electric guitar is great. Like the beat. G-Gr.

Blue like jazz- I like the harder rock. Instruments are edgy. Swirling backing. Rounds/harmony. Gr-A

Opposite of me- piano swirling! Do do do are catchy. Gr-A 

What’s the good of being good- a march. Best friend stole his gal and talked $hit so he’s contemplating why not to go low. G.

Cuomoville- rock is nice to hear. Hopeful, positive lyrics. Feed em to the lions sounds really cool. Love the beat. Gr.

Thank you and good night- perfect to end the show. Electric guitar is awesome. Hard rock howl is cool. End is awesome! A.

4.

Taylor Swift:  75%+57.5 = 132.5 Final

15 out of 20 (I didn’t buy the Target album, so there’s one song I don’t have) = 75%

2 awesome 5; 2 A-Gr cusp 4.5; 4 Great 4; 3 Gr-G cusp 3.5; 4 Good 3; 1 Awesome-skip cusp -0.5; G-N cusp 1; 1 Neutral -1; 1 elite-meh cusp 2; N-M cusp -2; 2 Meh -3; M-S cusp -4.5; Skip -6

10+9+16+10.5+12 = 57.5

I’m not gonna lie, I didn’t love it. The rollout for the era was very retro 1970s so I think my expectations ruined my perception. I have no idea why there was a random 70s theme, because the songs do not convey that to me–it’s a very Man of the Woods moment. If Taylor had not had some rando promo, I think I would have enjoyed the album more. Also, the tricky, cheatee way of dropping a 100 different colored albums, different pictures, having 4 make a clock, recording a million versions of one song to amp up streams doesn’t set well with me. I wish the charts and the Grammys would modify the rules and records so that fans were not exploited. Buying the green album only to find out the purple album with an extra song was rolled out a week later is $hitty. I don’t like it, but it shows the power of curating a loyal fan base. Taylor’s sales and records may be inflated, but the number and buying power of her fans is not–she has a legitimate, obsessed following.

I will say the songs grew on me over many listens. What the album did do was inspire me to research and analyze and think. So I love that! Engaging with the work is my favorite part of being a music fan, and Taylor gave me a lot of fodder this year.

That said, if I was ranking Midnights against Taylor’s own catalog, it would not fare well. Every song had some element that I didn’t like: A beat, a phrase, the lyrics, etc… I think the entire thing would have benefitted from another draft and another edit. It shows that some of these lyrics, some of the songs were drafts, or vault, or half-worked. I think Taylor hustled to finish them up to feed the audience while the legalities of the Re-records get worked out. Taylor had to keep attention and her Eras tour substantiates that this album is to keep people listening and waiting for each old album to drop. She needs the “Taylor’s Versions” to be successful to complete her plan.

At any rate, I wish I liked the songs better, but I do like trying to decode the subtext.

Sidenote, I did not calculate anything below Good in my ranking to stay consistent with the whole list. I did include my opinions on those lower songs just for funsies. They are marked XXX to show I didn’t count them.

Lavender haze- Catchy. Good message. Calling out heteronormative milestones and pressure to hit them quickly/at all. Didn’t like the little ah ah stuff at first but it really grew on me. Like the faster go viral. One note. Good heartbeat noise in parts. Gr

Maroon- The song itself is just good. But the fact Taylor inspires me to research and analyze the meaning brings it up to great. So G-Gr 

Question…- Catchy. Tells a story. I like the sexy noises. Pronoun game is on pointe. Kissgate and it’s aftermath. Brave of Taylor to be so direct. The slowed down mean-girl /tone statement. Gr.

Anti-hero- This might be the most Catchy on Midnights. Self aware. Really putting herself out there more than usual. HATE sexy baby. It just makes my brain go to pedophile. DIL is confusing. The video didn’t count toward this ranking, but it was cheeky-Taylor (my favorite Taylor) I liked the quirky humor and wink wink aspects. Adorable! Gr-A

XXX Snow on the beach- Boring. Not really a duet. Not that catchy. Janet reference is jarring. M.

You’re on Your Own Now Kid- Explains why Taylor feels so lonely and isolated. G

XXX Midnight rain- I absolutely hate the distorted voice. Tells a story. Nothing really going on with backing. No notes. OK

Vigilante Shit- A bitter song! Calling people out. Superhero imagry- consistent throughout. Moag! The production is perfect – understated Reputation. A

Bejeweled- Kind of a throway song. Lyrics kind of superficial. I like the nice! Who is she talking to? The bridge brings something interesting to the song. G.

XXX Labyrinth- The backing has some nice touches but it’s not enough to redeem the blah. It’s too dreamy and half asleep. Lyrics repeat too much. M.

Karma- To everyone who closeted her, started her bearding, and foiled her coming out. With the masters heist. Subtle moag. Very detailed. Visual.  Gr.

Sweet nothings- Sweet song. I listen to it through the lens that it’s about her mom. The only person who loves Taylor unconditionally. Very subdued but it fits well the story perfectly. Tranquility and calm. G-Gr.

XXX Mastermind- This song makes her seem sociopathic. I think it addressed how she is an active participant in bearding and furthering her career with meticulous planning. I think she meant it cheeky but to me it comes across as creepy. That said this might be my favorite production on Midnights. Love moag and videogame noises. It would be looking at awesome territory if not for the psychopathic words.S-A

The great war- The story of Kaylor! Catchy. I like the snare to go along with war. Lyrics invoke war symbolism. Gr.

Bigger than the whole sky- Jarring transition between songs. This song so beautifully encapsulates grief.  This is where dream pop really shines. Conveys agony. I think a lot of people will find solace in this song after any ending  A 

Paris- Snarky. Someone gossiping about kissgate and the 1975 guy being a hookup. Pictures = kissgate. The fictional Paris is when Kaylor boarded up the windos and went private.  Cleaver change of characters. Her fantasy world. Not the kind that’s thrown is clunky. Meant to say it’s Tree, her publicist doing PR damage control. Brainwash Karly to pick her over josh. Go to the lakes or tower in actual paris. But it’s all imaginary  The song is flat and one dimensional in my opinion (which all of this is). G.

XXX High infidelity- Compelling. Makes me want to dig into the analysis. Multiple story threads weaved together masterfully. The oooo ooos are reminiscent of the train so many songs talk about. Lots of callback. Sort of boring musically but lyrics are elite. M-elite

Glitch- Catchy. Is this about Kaylor being a deviation from bearding. Or her dalliance with Kelsea? G.

Could’ve would’ve should’ve- Finally not boring at all. Good backing. Telling a few stories covertly. Extra points for motivating me to untangle who and why. Finally some actual skillful singing in the bridge. I wish the album had more of this. I like the different sounds of the song throughout. The fast part at the end makes me FEEL. Gr-A

Dear reader- I didn’t like it at first. Found the title like the start of a 3rd graders essay. But after a couple of listens I realized Taylor wrote a letter directly to the Gaylors- which is very special. I like the echoing sound. The vulnerability is really likeable. G-Gr 

3.

Kelsea Ballerini:  86.67% + 49 = 135.67 Final

13 of 15 total songs = 86.67%

1 Elite awesome 6; 2 awesome 5; 1 Great 4; 4 Gr-G cusp 3.5; 5 Good 3

6+10+4+14+ 15 = 49

Oh my goodness! This album inspired me to analyze so much. I love the multiple layers and hidden meanings throughout every song. I think Kelsea is one to watch, and I also hope she will fully come out one day. This album is just brimming with Sapphic feelings and I would love for a successful country singer to be open AND remain famous.

I can’t help myself- fun! Inspired by Shania. The repeated words make it cute. Gr.

If you go down I’m going down to- very much could be a (Dixie) chicks song. Strings sound good with it. A.

Love is a Cowboy- good imagry- being with you is like ropin the wind. Hints of fiddle. G.

Muscle Memory- catchy. G.

I guess they call it Fallin- love the faster lyrics. G-Gr 

Weather- upbeat. Catchy though lyrics are kinda sad. G-Gr.

Universe- slow. Pretty. Love song. G. 

Walk in the park- love despite being difficult sometimes. G-Gr.

Heartfirst- following your heart. G 

You’re drunk go home- fun! Love talking shit. Love the features. Notes! Like Shania, chicks, any country that’s cheeky. Elite awesome.

Doin my best- relatable. Talks about insider info. Snaps/claps. G.

Marilyn- thoughtful sounds. Double subject. G-Gr.

What I have- appreciate what you have. Introspective. A.

2.

Weezer:

16/21= 76.19% ¾ year + 60.5 yr = 136.69 Semi-Final

16.5 + 28.5 + 15.5 = 60.5

1.

Amy Ray: 100%+37.5 = 137.5 Final

10 out of 10 total songs = 100%

2 awesome 5; 1 A-Gr cusp 4.5; 1 Great 4; 2 Gr-G cusp 3.5; 4 Good 3

10+4.5+4+7+12 = 37.5

Amy Ray has always been political. She continuously makes her work mean something, it’s not just words on a page to her. She also puts her beliefs into action with her advocacy. I have always loved the Indigo Girls duo (They are my top of the top all-time favorite music/artists/band) and have grown to love Amy’s solo efforts as well. The transition between the two musical entities is sometimes jarring, but still on-brand.

I like how this album tells a story rarely (never?) heard. Amy Ray is Southern and loves her rural roots. She is also part of the LGBTQQAA community and I think based on interviews I’ve heard, that her identity has shifted over time, and with society’s level of acceptance. Amy Ray started out just being herself, and not really acknowledging her queerness, or taking an identity, let alone projecting it out to the masses. She pinged anyway and her band became pegged “lesbian music” by the mainstream. As part of the Indigo Girls, Amy was portrayed in a stereotypical, non-flattering light on sketch shows, sometimes derided, always in the center of her close-knit fan’s hearts. She learned to embrace her differences and used that to help others. I think now she leans NB or even trans, but in the podcast I heard Amy Ray indicated that it wasn’t a visible option for her when she was younger. Now she may feel too old (her sentiment, not mine) to totally change her trajectory.

All that is to say that this album of a southern queer is an important contribution to the landscape, and as with the Indigo Girls, I hope it opens doors for other artists to embrace their queer/rural roots simultaneously.

Joy Train- Reminds me of Bonnie Raitt. Great banjo!  Vocals are intentionally discordant but it’s not that pleasing to the ear. G.

Chuck will’s widow- Strings are the star. Very folksy. G-Gr.

They won’t have me- Recycled song. String interlude great. More powerful, emotive singing. Heavier bass gives it more urgency. Gr-A

From the room- slow. Harmony. G.

Tear it down- slow. Harmony. G

A mighty thing- after slow/bleak a welcome faster, brighter instrumentation. About homophobia. A.

Subway- could be an IG song. Love string interlude. Singing is powerful & longing. Gay rights. A 

Cowboys and pirates- catchy.  tells a story. Folksy/Americana. String! Gr.

Muscadine- slow. G.

North Star- a bit more triumphant sounding. Hint of choral/gospel. Hymn-like. G-Gr.

Question… EYE Theory (Just Kidding, Really I’m Joking) [Part 9]

2 Dec

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

It’s just a question

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

P.S. 

The person with half moon eyes is anxious.

Eyes:

Probably one of the most used words in her catalog.  Extras:  tolerate it, 

Dorthea

cowboy like me

gold rush

Gorgeous

london boy

I think he knows

so it goes

Exile

coney island

Ivy

call it what you want

cruel summer

Happiness

Eyes are used in 4-5 different ways throughout Taylor’s songs: Celebrity, attraction, bearding, uncertainty, sadness.

Fame:  The eyes full of stars phrasing is describing someone with ambition to be famous and wealthy.  Taylor describes Dorthea (which may just be her younger self) this way.  She also mentions it in Cowboy Like Me when she spots someone like her.  They both want higher status, money, and the spotlight and will tell the rich people anything they want to hear in order to get there.  

Attraction:  Gorgeous and Gold Rush speaks to attraction to women.  Taylor is upset she feels such a magnetic pull towards a woman, because it’s problematic for her public image.  She almost jumps into the ocean blue eyes in Gold Rush.  Simultaneously, Taylor has to hide this strong attraction.  It will not go with her good girl persona, and will not help sales.  Thus, the bearding.

Bearding:  London Boy is satirical.  There is no logistical way for Taylor to travel to all those places in a short time.  She mentions things that would be awful, like being there while his mates watch rugby-English gals agree that nobody wants that.  Taylor says she loves a gray sky and cab ride.  No.  Those are not perks, but downsides of the UK.  So the descriptions of this English dude are in that vein.  She uses child and boy, which are not romantic.  Taylor is saying this person is under her, subservient, lessor.  It’s like a mother, not a lover.  An employee? Also, Taylor is playing the pronoun game hard in London Boy.  She contrasts “he” to “you.”  He is the dude from the UK, that she has control of and YOU is her true love interest.  Taylor tells us the rumors are true (she’s gay).  And I fancy or want YOU is preceded by darling.  Taylor never says, I love you.  She speaks to the audience and says you know I love a London Boy.  The listeners have been told that Taylor loves a London Boy and she doubles-down on that again and again in the song.  She TOLD us she loves a London Boy, but she fancies and wants YOU. 

In I Think he Knows, Taylor continues the pronoun game contrasting he and you.  She tells us she sees YOUR lyrical smile and indigo eyes and wants to drive away with YOU, to mean her same-sex love.  HE just knows about it.  She again says he’s boyish, and tells us she’s an architect drawing up (bearding) plans.  So it Goes talks about the success of the bearding which hides Taylor’s true love.  In public, Taylor and her lover are magicians and illusionists, hiding their truth in plain sight.  And when they are alone there is sex and bliss.  But all the hiding and secrets and lies make the couple breakdown.  It’s hurting their love.  But Taylor is torn:  Her back is against the wall in regards to maintaining her public image–she must beard to be seen as straight and make money.  But she can’t let go of this love–she’s a hostage to her feelings.  There is strife about this difficult choice. 

The lover doesn’t care for it.  She stares at Joe like he’s an understudy, knowing that she would fight (Bad Blood) for Taylor.  These lovers have to walk on eggshells to keep their true love a secret, and it causes strife.  A million lies and many chances, are breaking the branches this relationship so carefully balances on.  All the closeting and hiding chips away at the love.  The lover gets tired of being invisible.  She doesn’t like pretending that she’s not the center of Taylor’s world.  But Taylor continues to closet and beard, never making the lover her centerfold, never saying her name from the podium.  And that makes the sun (= Karlie) go down, little by little Karlie tires of the ruse, and it gets colder and more lonely for both, per Coney Island.

Uncertainty:  The lover is promised to another.  It might be contractual.  She might want a “normal” life instead of a queer one.  It might be a choice of more wealth than Taylor can offer.  Between the lure and commitment to the guy and the life he can provide, and the problems and complications constantly caused by bearding and closeting, this lover is a flight risk.  In Ivy, Taylor says the future of this love affair–her fate is tied to what the guy will do.  If the lover doesn’t chose him, will he burn the house down?  This man has a lot of power and money… It’s just one more barrier to the Sapphic love. In Call It What You Want Taylor tells Karlie (I hear her name in the song and can’t hear anything else) they don’t have to name what they are.  It speaks to Karlie being nervous about calling herself Sapphic.  Taylor urges her to just go with it and don’t worry about labels–she just wants this love.  Problem is, Taylor sees a shiny toy, this bad boy with a price, and she bought it.  She is telling us she paid this man to be her beard in Cruel Summer.  But she already knows it’s hurting her lover and putting cracks in her actual relationship to play pretend. Taylor is separated from her lover, and that kills her.  She wishes the lover would show up below her window.

Devil = evil 

roll the dice = take a chance

Angels = good and pure

Roll their eyes = They judge the devil for taking that chance.  It was wrong.

No rules = the relationship is no strings attached, casual, a friends with benefits situation

Breakable = fragile, delicate, if you will.

Heaven = Taylor feels pure joy at being with this person.

I love you ain’t that the worst thing you ever heard = The lover is conflicted.  She could be back at the Speak Now days that Taylor went through where the gayness is a house of cards that if toppled will messily ruin everything.  The lover can’t acknowledge it, fears it, hides it away.  This line might also be saying the lover doesn’t want to be serious with Taylor.  The lover is just having a fun fling, but really wants to live a heteronormative life with her bf/beard.  She is not ready to be in a serious, monogamous relationship with Taylor.

He looks up, grinning like the devil = someone/something is undermining the heaven in this relationship.  It might be Karlie’s bf/beard, Jo$h.  And/or the public scrutiny and judgment about WLW love.

Sadness: Happiness is the sad culmination of all the stressors breaking the love apart.  Taylor chose to continue bearding and closeting for her career.  The lover chose heteronormativity, money, the man.  And Taylor is heartbroken.

The half moon eyes in Question… are the combination of anxieties constantly tugging Kaylor (any sapphic lover) apart. There is the internal homophobia and questioning, the career pressures, political considerations, bearding complications, on and on. How many struggles can one relationship survive? Then, there is just sadness about what will never be. All the anxiety kills the partnership.

Question… Desire to Touch Women is Taylor Swift’s Real Nemeses [Part 8]

1 Dec

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

When she said it was too much

Do you wish you could still touch her?

Touch:

sparks fly

Treacherous

state of grace

I Almost Do

Marjorie

You are in Love

Red

Gorgeous

It’s Nice to have a Friend

ready for it

end game

Delicate

gold rush

don’t blame me

Death by a Thousand Cuts

champagne problems

Ivy

Touch is trepidation. 

In Sparks Fly, Taylor can’t get too close to this person, or they might feel her attraction.  She is a house of cards, trying to remain unseen so the structure doesn’t topple and bely her true feelings.  Touch is a boundary Taylor won’t allow herself to cross.  In Treacherous, Taylor is confronted with the same situation and she’s no longer sure if it’s a choice.  She gets so close to the person, yet does not touch.  It’s not real if they don’t actually touch.  This path is reckless and fraught, but Taylor finds herself liking it.  In State of Grace, Taylor is still battling these feelings.  She realizes wanting touch like this has changed who she thought she was-she’ll never be the same. 

There is a slight double meaning in I Almost Do.  Sure, Taylor is talking about rekindling a romance after a break up.  But under the surface, Taylor is now dreaming of touching this woman.  She is one step closer to crossing her boundaries.  She almost does.  We talked about how the depths signify Taylor’s fears of losing control and the unknown, in Marjory.  Touch fits with the song narrative perfectly.  For once you let go of all your fears and ghosts.  You knew what it was.  Taylor can’t deny it any longer, this desire to touch women is proof her best friend is actually romantic love and sexual attraction.  Wishing you had never found out in Red, builds on this idea.  Now that Taylor knows she’s gay, she feels more for her love interest.  It’s out of her control screeching a speeding car to a sudden stop, flying through the free fall, yet she can’t go without it.  She’s blue when this person is gone, gray when she’s all alone.  Despite Taylor’s great fear, and her negative feelings about being out of control, she can’t let go of this red, passionate love. 

Taylor needs that real love, but it makes her angry.  I’m so furious that you make me feel this way, in Gorgeous is that same pull from Red.  Taylor doesn’t like losing control, but here she is captivated by this gorgeous woman.  Taylor dares to dream of her future with a woman in It’s Nice to have a Friend.  She has trouble crossing the boundary into queerness, but in that song the female best friend dares to touch her romantically and it sends Taylor’s thoughts to a future wedding.  She is coming around to the idea that, though gay love is not traditional or fully accepted, she might be able to be happy anyway.  Ready for It…  the opener of Reputation shows a new bravado about the situation.  Taylor goes from he (the beard) to you (the gal she’s in love with) describing her future plans.  She will keep the beard as a cover for the WLW love forever, and at night all the touching that Taylor needs can take place in private.  

Taylor jealously guards her new found love with a woman in End Game, Delicate, and Gold Rush.  Now that she crossed her boundaries and touched a woman, Taylor can’t be without it.  She has fear and anxiety this person will leave her, they’ll chose someone else (a man?) over her.  And the thought of that makes Taylor miserable.  Taylor is so obsessed about keeping this new found love that she compares it to drug addiction.  Don’t Blame Me has Taylor, high on her lover’s touch, begging on her knees, and giving up grace to touch her.  Touch is forbidden and dangerous, but now touch is now a desperate need of Taylor’s.

But then there are political complications.  In Death by a Thousand Cuts Taylor describes how her and her lover’s paper thin plans were ruined by Trump.  Her lover gave up on her like a bad drug despite touching every part of Taylor.  

Taylor was working up to coming out.  She wanted to do it for her lover.  She wrote speeches…  But they ended up in the fire.  She couldn’t give an adequate reason why she just couldn’t bring herself to do it.  WLW slipped beyond her reaches as a result.  Now Taylor grieves for the living.  The tarnished (stigmatized) touch was the only thing that made Taylor feel and come in from the cold, numbing snow.  Though Taylor was unthawed by this love, and her whole being was impacted, her inaction caused the lover to leave.

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

30 Nov

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

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

Fight:

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

call it what you want

Me

Only the Young

Miss Americana and the Heartbreak Prince

paper rings

Afterglow

false god

Madwoman

my tears ricochet

Ivy

Evermore

Hoax

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

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

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

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

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

Madwoman

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

My Tears Ricochet

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

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

Reputation Re-listen: 3rd Lens

23 Jan

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

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

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

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

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

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

Taylor writes a lot about the sexual chemistry of Kaylor:

Don’t Blame Me

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

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

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

I rearranged the lyrics of So It Goes:

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

Cut me into pieces Gold cage, hostage to my feelings

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

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

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

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

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

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

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

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

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

[This screams, please pick me overJo$h]

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

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

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

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

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

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

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

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

Getaway car

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

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

*This stanza:

It was the great escape, the prison break

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

The light of freedom on my face

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

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

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

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

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

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


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

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

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

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

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

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

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

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

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

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

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

Taylor is regretful and heartbroken she left Karlie:

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

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

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

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

[Kaylor is back on]

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


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

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

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


Lover song:

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

Yet there's still some uncertainty and instability:

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

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

Taylor broke up with Karlie a second time.

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

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

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

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

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

Worst Moments of 2021

31 Dec

This list goes from the worst to the absolute #1 worst:

 

-Mercury made finals, but only 1 game was on a channel we get, the community didn’t GAF, & they lost

Especially compared to the hype and excitement of the Suns making it.

 

-variants nullified our vaccine & we were mostly back in quarantine

-Brnovich & Yee are running
 
 
Kimberly Yee publicly came out against prop 208 which taxed the highest earners on their personal income only to help AZ schools.
 
 
-missing out on activities bc of high risk of Delta variant
 
 
 
 
-Doug Ducey didn’t get recalled, ironically bc they couldn’t safely gather enough signatures in the pandemic
 
 
 
-realized NBA is rigged (covid playoff states, Giannis/shaq)
 
It’s no accident the NBA finals ended up being in two states with no Covid precautions/laws (AZ & WI).
 
 
 
 
-found out our Senator, Kyrsten Sinema sold out
 
 
 
-dad lost a hearing aid
 
-mom cancelled her vax bc she was listening to dis/mis-info
 
-missed Kathleen Madigan & Fortune Fenster & Lord Huron bc delta variant
 
 
 
-dad lost his 2nd hearing aid
 
-prop 208 was undermined by ducey’s new statute
 
 
-my parents were out & about w/high covid risk. Won’t listen.
 
-mom said she thought dad didn’t love her anymore (I hope/think it’s probably his depression)
 
-the heating pad burned Steins tummy
 
 
 
-mom saying trumpy talking-points
 
-KDouche accused me of excessively routing & holding claims too long
 
He said I would need to sit side by side with our mentor so she could tell me what I was doing wrong…  I told him (for at least the 7th time, between emails and verbally on phone calls) that even this phone call gives me anxiety.  And I asked if I could just do the work and send the claim for her to check it.  He did not listen.  He did not try to work with me.  He did not see any other way to accomplish the goal other than the one method he stated.  Kind of annoyed I was asking for accommodation for my anxiety disorder, he said she would  be side by side watching me do the claim so she could tell me what I was doing wrong in real time.  I was upset bc I do have anxiety, and have emailed him at length about that, and even talked about getting an ADA for anxiety, but he would not work with me.  After a long pause, where I was considering bringing up the ADA or alternate methods to achieve the goal, I just said I understood—mostly bc he never listens to me anyway, so why bother?
 

5/18/21:  KDouche’s recap of our 1:1

I understand that your anxiety can get really bad, however, it is best for someone to sit with you on a live claim example. This way there is no confusion and they would be able to see first-hand what’s happening and possibly propose a solution. This will also aid in your questions in regards to the Xref claims.

I do mostly Zx claims all day long, and they are my favorite.  

The auditors have looked them over many times, and the Zx claims passed as correct. 

I do not have questions about Zx claims.

There are many correct examples of Zx claims that I complete every day and claims that have passed audit.

 

 

 

 

 

 

 

I couldn’t do those random 6 that came through unpaid, for the reasons I explained verbally in the 1:1, and wrote out in an email recap of the 1:1 bc I could tell KDouche wasn’t listening to me. 

He is STILL under the impression I am doing them wrong even though I do them all the time.

 
 
-Jogre micromanaged me

 

-KDouche said “we need more”
 

I emailed you back regarding your email, but I think it got confused within the chain.  In the email, I told you I originally provided:  The claim #, pend, the auth #, how many units it was over, the problem that it’s split into a decimal, a picture of the calculator showing the days split into a decimal, and a pic of the wf tab, and wf box # I got to.  Also, it wasn’t my question—it was a directive of the wf to send it to TL.   And I asked what else I need to do.  I really need to know what else to send to clear up future confusion, as this is a persistent problem.

I asked what else was needed, because I felt like I had sent everything, and rather than admitting he didn’t read the email chain before admonishing me, he gaslighted me and said a vague:  “We need more.” And that’s all he would tell me.  By the end of the call, I was literally screaming, “What else do you need????!!!!”
 
 
-We pinched Bison’s neck in his collar & he said he always hated us so he wanted to move out
 
 
-EEOC didn’t even open my documentation & got everything wrong in the 1 paragraph they wrote!
 
As a last resort, I went through with reporting my work harassment and retaliation to the government.  I spent 3 hours on the phone telling my caseworker the specific details of what happened.  Then I spent 5 hours on a weekend, trying to make all my documentation understandable to an outsider.  It contained a lot of jargon and technical information.  I sent a whole zip file of the documentation because it was SO much evidence.  The day before the case was to be finalized, my case worker emailed asking me to call her a 2nd time.  I was only able to speak to her for 10-15 min during my lunch break.  And guess what?  I could tell 
 
SHE HAD NOT TAKEN ANY NOTES DURING OUR FIRST 3 HOUR CONVERSATION, AND SHE SAID SHE WAS UNABLE TO OPEN MY ZIP FILE, SO SHE HAD NOT READ A SINGLE WORD OF MY DOCUMENTATION.
 
I felt like it was a colossal waste of time, and hopeless.  When she finally did start my case, the one paragraph was full of incorrect information, and did not identify the correct problem.  #$%^@*
 
-dad drove recklessly and was lucky he didn’t cause an accident, and wrecked the car
 
-KDouche said I worked off the clock
 
Employee Handbook: Timekeeping Violations As a company founded on ethical behavior, we take timekeeping violations seriously. It is a violation of company policy for anyone to work off the clock, incorrectly report hours worked, or alter another employee’s time records without a legitimate reason or authorization to do so. It is also a violation to instruct, encourage, or pressure someone to engage in any of these acts. Any employee who engages in behavior that results in inaccurate timekeeping or incorrect payment is subject to discipline up to and including termination.
 
-dad weird sex-talk
 
-HR didn’t help me

-Goose has a mass in his diaphragm

Dr., 
 
I have been thinking of what to say, and sorry, if this is all over the place.  I’m concerned with the density on x-ray too.  I want everything for Goose, and want to have him (happy and comfortable) as long as possible.  I was trying to imagine what it could be to foresee what the treatment could be. . .  
 
If it was a tumor, most the time there would be some anomaly on bloodwork, is that true? And I didn’t think he was really at risk for diaphragmatic hernia at his age/activity level (I’ve heard about it in regards to very young puppies)? And if it was fluid, he would still have a “wet” sound or some respiratory symptoms?  I guess I’m not actually asking for the textbook of the various possibilities.  
 
My real question is:  Out of all the possibilities your knowledge and experience can think of–what is most likely, and are any of them completely reversible for Goose, & what timelines should I prepare for?  I don’t feel at his weight/age he’s a very good candidate for any surgery–do you think he would be? I wouldn’t want to lose him in trying to heal him w/sx, especially if it was uncertain to work, or only bought him a little more time.  Because, honestly just knowing what it is but not having a viable/affordable/long-term treatment would be more horrible than just not knowing for some reason.
 
I would only want to do u/s if it would absolutely tell us what it is, if there is definitely a treatment, and if that treatment worked for Goose long-term.  Which is to say, I know you’re not prescient, but you do have tons of experience.  Please be candid.
 
In every scenario, I’d like Goose to be as comfortable as possible.

Thank you so much,

 
 
Reply:
 
My biggest concern/worst case scenario for that area in Goose’s x-ray would be a cancerous mass.  However if surgery would not be a possibility then I agree the ultrasound would be a bit of a moot point. 
 
As long as he is comfortable, I think it would be reasonable to do some watchful waiting for him. If his respirations change, he is not eating, has vomiting, or any other signs he is not feeling well, we could repeat x-rays and address any findings at that time.
 
As long as he is happy, that is all that counts.
 
Warm regards,

I Ranked All 19 Albums in the Indigo Girls’ Catalogue

4 Feb

And I’m shocked how the list came out!

The Logistics: How I compiled the list

I listened to each album, ranking the songs. Then I listened to something entirely different to cleanse the palate, so to speak. Then I listened to the album a second time to see if the rankings were the same as the first listen (because mood and energy can impact your feeling about music). If the tracks were ranked the same, that’s where they stayed. If there were discrepancies between the first and the second listen, I listened a third time to rank them.

Finally, I counted the number of songs in each ranking category, and made a percentage over the entire album. Highest awesome percent was ranked highest, and lowest awesome percent was last. If there was an equal percent of awesome, I went to the good percent. In one case both awesome and good were tied, so I went to OK to tie break.

I decided to include every new song as 1 album.  Any Acoustic will be considered its own album.  Live tracks and acoustics that don’t make up an entire album might be listed in the ranking, but do not count towards the percentages.

Fanning Out:

Wow! What a catalogue. 19 albums in a 33 year (mainstream) career?! I often wish Indigo Girls were given more mainstream opportunities. But I’m certain that’s not what they want, as they are decidedly anti-establishment. They want fairness and equality, and cow-towing to the big-boys for centered-fame is NOT that. And lack of mainstream accolades does not mean lack of respect. Amy and Emily were instrumental in Lilith Fair–anyone who was there will tell you about the comradery the two fostered. They tour all over the country (I’m not sure about the world) and can command any audience, being the engaging professionals they are–believe me, I was at Seattle Zoo-Tunes, I know. Aside, from being musically talented and inspiring, they work for charity and hustle for many political causes. They are amazing people, not just talented artists (they’re that too, obviously). As you can tell by this ranking, and the last paragraph, I am proud to call myself a lifelong fan of the Indigo Girls, and I can’t wait to see what they do in the future!

19.

Beauty Queen Sister (2011)

(7.7% awesome, 38.5% good, 23.1% OK, 15.4% meh, 15.4% skip out of 13)

18.

poisidan and the bitter bug bonus Acoustic (2009)

(9.1% awesome, 63.6% good, 27.3% OK, meh, skip out of 11)

17.

Swamp Ophelia (1994)

(18.2% awesome, 45.5% good, 27.3% OK, meh, 9.1% skip out of 11)

16.

Live w/U of CO Orchestra (2018)

22.7% Awesome; 50% Good; 18.2% OK; 9.1% Meh; Skip out of 22

15.

Holly Happy Days (2010)

23.1% awesome; 38.5% good; 15.4% 23.1% OK; meh; skip out of 13

14.

All that We Let In (2004)

(27.3% awesome, 36.4% good, 18.2% OK, 18.2% meh, skip out of 11)

13.

Look Long (2020)

(27.3% awesome, 54.5% good, 9.1% OK, 9.1 % meh, skip out of 11)

12.

Come On Now Social

(28.6% awesome, 50% good, 21.4% OK, 7.1% meh, 7.1% skip out of 12 and 14 w/hidden tracks that count)

11.

One Lost DAy (2015)

(30.8% awesome, 38.5% good, 30.8% OK, meh, skip out of 13)

10.

Rites of Passage (1992)

(30.8% awesome, 53.8% good, 15.4% OK, 7.7% meh, skip out of 13 and 15 counting bonus tracks)

9.

Shaming of the Sun (1997)

(33% awesome, 33% good, 33% OK, meh, skip out of 12)

8.

Strange Fire (1987)

(40% awesome, 40% good, 10% OK, meh, 10% skip out of 10 w/1 bonus tracks)

7.

poisidan and the bitter bug [1st disc] (2009)

(40% awesome, 40% good, 20% OK, meh, skip out of 10)

6.

Become You (2002)

(41.7% awesome, 33.4% good, 16.7% OK, 8.3% meh, skip out of 12)

5.

Nomads Indians and Saints (1990)

(45.5% awesome, 54.5% good, OK, meh, skip out of 11 

and an interview and 2 live bonus tracks)

4.

Despite Our Differences (2006)

(46.2% awesome, 46.2% good, 23.1% OK, meh, skip out of 13 and 19 counting deluxe)

3.

1200 Curfews

48.1% Awesome; 25.9% Good; 11.1% OK; 14.8% Meh; Skip out of 27

2.

Staring Down the Brillant Dream (2010)

48.4% awesome; 38.7% good; 12.9% ok; meh; skip out of 31

1.

Self-Titled (2989) 

(50% awesome, 40% good, OK, meh, 10% skip out of 10 and 12 counting deluxe)