Tag Archives: SwiftGron

Question… Surprise! Taylor’s Realization Closeting Comes with Career [Part 10]

8 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. 

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

Out of time, she was on your mind

Surprise:

Mine

getaway car

coney island

The word “surprise” comes back to what’s shaping up to be the central thesis of Question…  Taylor was taken by surprise in Mine that she “fell in love…daughter.”  Taylor is in love with a girl.  In Getaway Car, Taylor “switched to the other side”–the queer side.  And in Coney Island, Taylor mentions her chronic behavior of hiding away her true feelings, and her love/lover with them.  Taylor’s closeting relegated her lover to the background, and it’s not surprising, but still disappointing to all involved (except the money-makers and the homophobes).

Realize:  

Fifteen

jump than fall

I knew you were trouble

picture to burn

back to December

Never grow up, 

I don’t think young Taylor knew it but in Fifteen she wasn’t only talking about how boys have one  thing on their minds, so girls need to be a bit more cynical.  Taylor tells how the attention from the boys felt good.  Wanting to be wanted made Taylor dream of marrying the boy, not any type of attraction to HIM.  It sounds like she didn’t actually like the boy–she liked being liked.  Later, Taylor is on the phone and an epiphany hits her–she loves her friend’s laugh.  Jump than Fall is the realization that Taylor likes this girl more than a friend.  This realization continues in I Knew You Were Trouble.  Taylor is taken to places she had never been.  It scares her, and she’s kicking herself because she knew this person would cause trouble for her.  It’s telling that Taylor mentions “shame” in this song.  That’s why she berates herself for getting involved with them in the first place–somewhere inside her is internal homophobia that feels shame about being/acting on gay.

I went back to get the OG lyrics of Picture to Burn, in order to try to tell the mindset Taylor was in at the time.  I think it’s less of a slur–like my ex-boyfriend is dumb and gaaaay eye roll.  And more of a–we had a secret same sex thing and now you’re talking $hit about me, so I’ll ‘out’ you as retaliation.  Neither is that great, but there’s no rules in love and war, so I hear. 

The tone of Back to December is regretful.  The key line to me is “when fear crept into my mind” that led to Taylor breaking up with this person.  I have to think the fear might be of having WLW feelings, or homophobia.  Finally, the last song that uses the word “realize” seems less related to Question…  But it does tie in.  Taylor feels lonely at her new apartment.  When Taylor is saying never grow up, it’s interesting she brings up being burned and scarred by love as her primary concern.  Does Taylor wish she never grew up, because when she was little she didn’t know she was gay?  She was just her, no stigma, and she wishes she could go back to that?  In the song, Taylor spirals into the anxious thought that everything she has will be gone at some point.  Taylor might fear that her sexuality will accelerate her losing everyone and everything.

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

Out of time, she was on your mind

The surprise and shock of Taylor’s realization that she is queer, has always infused anxiety into her.  Even way back in her catalog she had an inkling she felt differently, and she immediately tries to hide it.  That is part of her M.O.  Question…  might be about the Kissgate incident specifically, but I think it’s a bigger story.  Taylor is saying how throughout her life her fear of her sexuality caused her to hide, panic, scheme.  And the result was loss and loneliness. 

Taylor keeps running out of time with each lover. Here’s just 3 examples from loves with a lot of evidence:

#1: Taylor made a loving video for her fiddle player, Emily that’s baby-gay vibes.

And a short time later, Emily was suddenly out of Taylor’s band.

Liner notes say, “sorry, sorry, sorry” and Breathe speaks about it.

#2: April 2013 articles were written, Tweets were posted about Swiftgron:

They are thought to have broken up that same month,

with this final post on Dianna’s Tumblr before she deleted it:

The last time Swifgron went anyplace together (FUN concert) was Sept. 2013:

#3: Kaylor

This timeline is complex and there is no consensus of it. I suggest just listening to Reputation through Midnights for answers. As the music tells us, Taylor and Karlie were on and off, and we know Taylor is so upset about being without her muse that she can’t stop writing pages…

The last time Taylor and Karlie were pictured together

was at Taylor’s Nashville concert.

Karlie was having her bachelorette party??!

Time and time again Taylor chose her career and the closet over her lovers, and all she’s left with is memories and regrets.

Snow on the Beach-I Guess They Call it Falling

22 Nov

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

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

One night a few moons ago

I saw flecks of what could’ve been lights

But it might have just been you

Passing by unbeknownst to me

This line reminds me of Taylor’s song,

Long Story Short

Dianna’s Tumblr was:

It also reminds me of

Question…

Life is emotionally abusive

And time can’t stop me quite like you did

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

And my flight was awful, thanks for asking

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

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

Or is it bringing up the new private jet controversy?

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

Unlike the subject of Lavender Haze (Joe?):

I’m unglued, thanks to you

Kissgate Damage Control:

Very hurtful, Taylor.

Question… 

And it’s like snow at the beach

Weird but fucking beautiful

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

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

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

Flying in a dream, stars by the pocketful

You wanting me tonight feels impossible

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

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

Question…

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

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

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

So it’s plausible it could happen again.

Kelsea’s I Guess They Call it Fallin’

PEDESTAL?

How common of a word is this?

But here it is in a Taylor song.

Long Story Short

and I think that song is referencing this TS song–

Wonderland

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

Like snow on the beach

Like snow on the beach

Like snow on the beach

Like snow, oh, oh oh

This scene feels like what I once saw on a screen

I searched aurora borealis green

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

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

I’ve never seen someone lit from within

Blurring out my periphery

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

My smile is like I won a contest

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

Willow

And to hide that would be so dishonest

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

I Know Places

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

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

Peace

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

Renegade

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

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

Exile

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

Back to this song:

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

‘Til you do, ’til it’s true

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

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

Fletcher’s remix of Better Version, feat Kelsea Ballerini

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

Now it’s like snow at the beach

Weird but fucking beautiful

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

Kelsea’s Love is a Cowboy

Kelsea I Guess They Call it Fallin’

Flying in a dream, stars by the pocketful

Kelsea’s Marilyn:

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

You wanting me tonight feels impossible

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

Kelsesa’s I Guess They Call it Fallin’

Like snow on the beach

Like snow on the beach

Like snow on the beach

Like snow, oh, oh oh

I can’t speak afraid to jinx it

I don’t even dare to wish it

But your eyes are flying saucers from another planet

Kelsea’s Universe:

Now I’m All For You like Janet

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

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

Can this be a real thing? Can it?

Are we falling like snow at the beach?

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

Kelsesa’s I Guess They Call it Fallin’

Weird but fucking beautiful

Flying in a dream, stars by the pocketful

Kelsesa’s I Guess They Call it Fallin’

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

You wanting me tonight feels impossible

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

Like snow on the beach (snow on the beach)

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

Like snow on the beach (you want me)

Like snow (like snow)

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

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

Kelsesa’s I Guess They Call it Fallin’

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

(It’s coming down, it’s coming down)

Like snow on the beach

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

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

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

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

And now she’s hurt too.

The Midnights clock has a lot of hidden meanings

3 Oct

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

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

1 is her first, Self Titled, album…

4 is her fourth album, Red

8 is her eighth album, folklore

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

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

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

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

Lyrically that makes a lot of sense.

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

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

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

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

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

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

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

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

Break-up? Feeling lonely?

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

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

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

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

The 1: Analysis of Taylor Swift’s folklore (from larger post)

15 Aug

This is a more digestible portion of my album analysis:

Here, I have tried to analyze what and who each track of Folklore is about.  Which is complex because it’s not in a linear order.  Names are obscured.  Facts may be reality or story.  The narrator is unreliable.  And this whole thing is going to be from a Kaylor perspective, because that’s how the songs, and Taylor Swifts catalog as a whole makes the best sense to me.  I’ll show you what I mean.

Track 1. The 1.

Folklore opens with The 1 which I think is an introduction to what is happening throughout the album.  This song sets the tone for the remaining songs.  Taylor is telling us she is going through memories of all her past relationships (not one person specifically) and looking at them closely to see what could have been.

This sets up the album, Folklore, which is going to explore what would have happened if Taylor Swift had her dreams come true in every relationship (purportedly). She sings, “never leavin’ well enough alone” to show Folklore is not an album of her current feelings (a white lie).  Taylor says she is not depressed about a break-up, she is still just pondering about past relationships.  Setting the stage for, ‘this is all theoretical, I’m simply having a thought experiment and looking back on those past relationships.’ 

I don’t think this song features any one relationship in particular, but it’s set up to double-down on the narrative that folklore is fiction [it’s not].  

The title is not spelled out, but a number.  Very reminiscent of Highway 1, which goes through Big Sur, a famous weekend excursion with Karlie Kloss.  One line features the Diana argon movie tag line, about the roaring 20s.  Also both Diana and Karlie happened when Tay was in her 20s. And in this song she sings of digging up the grave, which was in the “Look What You Made Me Do” music video for to symbolize death of a relationship.

Also may feature Joe or other guys-what if Tay had been straight?

Basically the song is to explain why folklore is so sad, when Taylor wants us to believe she is in a happy, stable, long term relationship with that guy.  It’s a ‘what if’ & thought experiment, to throw off the preponderance of depressing break up/negative stuff.