Tag Archives: writing

Taylor Swift’s Gay Moments: 3AM ~ Paris- FanFic [I-C] 

30 May


…I’m so in love that I might stop breathing/Drew a map on your bedroom ceiling/No, I didn’t see the news/‘Cause we were somewhere else/Stumbled down pretend alleyways/Cheap wine, make believe it’s champagne/I was taken by the view/Like we were in Paris/Like we were somewhere else/Privacy sign on the door/And on my page and on the whole world/Romance is not dead if you keep it just yours/Levitate above all the messes made/Sip quiet by my side in the shade/And not the kind that’s thrown/I mean, the kind under where a tree has grown…/…I wanna transport you/To somewhere the culture’s clever/Confess my truth/In swooping, sloping, cursive letters/Let the only flashing lights be the tower at midnight/In my mind

Taylor Swift’s Gay Moments: Midnights ~ Karma

11 May


…’Cause karma is my boyfriend…/…Sweet like honey, karma is a cat/Purring in my lap ’cause it loves me/Flexing like a goddamn acrobat/Me and karma vibe like that…/…Sweet like justice, karma is a queen

Karma is my boyfriend:

sweet like honey:

Karma is a cat:

Purring in my lap:


Flexing like a goddamn acrobat:

Me and karma vibe like that:

sweet like justice:

karma is a queen [Pat?]:

Taylor Swift’s Gay Moments: Midnights ~ Maroon

5 May


…Laughing with my feet in your lap/Like you were my closest friend/”How’d we end up on the floor anyway?” You say/”Your roommate’s cheap-ass screw-top rosé, that’s how”…/…And how the blood rushed into my cheeks, so scarlet, it was…/…The lips I used to call home, so scarlet, it was maroon…/…Sobbin’ with your head in your hands


Laughing with my feet in your lap

“Your roommate’s cheap-ass screw-top rosé, that’s how”

And how the blood rushed into my cheeks, so scarlet

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

How male and female authors describe lips:

How female authors describe lips:

Sobbin’ with your head in your hands

3rd column 4th column

+ = for the guys | + = for the gals

Taylor Swift’s Gay Moments: evermore (album) ~ evermore (track)

22 Apr


I replay my footsteps on each stepping stone/Trying to find the one where I went wrong/Writing letters/Addressed to the fire/And I was catching my breath/Staring out an open window/Catching my death/And I couldn’t be sure/I had a feeling so peculiar/That this pain would be for/Evermore/Hey December/Guess I’m feeling unmoored/Can’t remember/What I used to fight for/I rewind the tape but all it does is pause/On the very moment all was lost/Sending signals/To be double crossed/And I was catching my breath/Barefoot in the wildest winter/Catching my death/And I couldn’t be sure/I had a feeling so peculiar/That this pain would be for/Evermore/(Evermore)/Can’t not think of all the cost/And the things that will be lost/Oh, can we just get a pause?/To be certain we’ll be tall again/Whether weather be the frost/Or the violence of the dog days/I’m on waves, out being tossed/Is there a line that I could just go cross?/And when I was shipwrecked (can’t think of all the cost)/I thought of you (all the things that will be lost now)/In the cracks of light (can we just get a pause?)/I dreamed of you (to be certain we’ll be tall again)/(If you think of all the costs)/It was real enough (whether weather be the frost)/To get me through (or the violence of the dog days)/(Out on waves being tossed)/But I swear (is there a line that we could just go cross?)/You were there/And I was catching my breath/Floors of a cabin creaking under my step/And I couldn’t be sure/I had a feeling so peculiar/This pain wouldn’t be for/Evermore

I admit when I delve into poetry, especially European, prior to 1900s, formal poems, my eyes and brain go:

But what Taylor wants (listeners to understand her references and subtext) Taylor gets. So I persisted.

The connection to poety:

So Katherine Bradley + Edith Cooper = Michael Field, poetry author.

“Lovers evermore” ties this duo’s poem to Taylor’s song/album/life.

To make things even more hazy (see what I did there?) in their personal letters Bradley and Cooper called each other “Michael” and “Field” later “Henry” as nicknames, and maybe to obscure their love.

OK, buckle up, here’s another complex explanation for how the poem Taylor Swift is referencing came to be:

Got all that? [It took me a bit of time to get it]:

Sappho wrote poems/songs.

They were not discovered in their entirety, maybe not preserved, maybe lost, maybe unfinished, maybe burned by relatives wanting to hide certain unpalatable truths. I don’t know and this was not the central focus of my research.

This Wharton guy took it upon himself to write translations of each fragment of Sappho’s work. This made them more accessible to modern, English-speaking readers.

Michael Field’s (remember the collaborators and lovers, Bradley and Cooper) used the transcribed fragments as inspiration for their own poems. There was a piece of Sappho’s writing as the jumping off point for their original poetry, which sometimes kept to the intention of the original poet, and sometimes intentionally deviated from it.

The final product is a book of poetry, Long Ago, published under the name Michael Fields, containing the “It was deep April” poem.

It is this poem that Taylor, in the tradition of the aforementioned poets, used as inspiration for her evermore song.


So basically, Taylor was inspired by Sappho.

Bare with me, I promise this directly relates to Taylor’s songs. Let’s talk about how Sappho literally invented the word/concept of “bittersweet” to describe WLW love:

Sappho uses “bittersweet” to summarize homosexual love, and Long Ago has that very phrase twice.

Michael Field knew what they were doing. They had learned the origin of the word/concept of bittersweet and intentionally referenced it to signal queer subject matter.

within the album/catalog:

Me! | I Think He Knows | London Boy | You Need to Calm Down | Paper Rings


Soon You’ll Get Better | The Archer | Death by a Thousand Cuts | Cornelia Street

within the line:

Rose Garden filled with thorns

Snuck through the garden gate every night that summer just to seal my fate

I love you ain’t that the worst thing you’ve ever heard

within the song:

gold rush


Eyes like sinking ships
On waters so inviting
I almost jump in

But I don’t like a gold rush, gold rush
I don’t like anticipating my face in a red flush
I don’t like that anyone would die to feel your touch
Everybody wants you
Everybody wonders what it would be like to love you
Walk past, quick brush
I don’t like slow motion double vision in rose blush
I don’t like that falling feels like flying ’til the bone crush


Taylor Swift’s Gay Moments: evermore ~ Marjorie

21 Apr


Long limbs and frozen swims/You’d always go past where our feet could touch

And I complained the whole way there/The car ride back and up the stairs

I should’ve asked you questions/I should’ve asked you how to be/Asked you to write it down for me/Should’ve kept every grocery store receipt

‘Cause every scrap of you would be taken from me

So now, back to the subtext of Taylor Swift’s Marjorie:

it relates to how Taylor could be afraid to come out of the closet. Or she’s fearful of taking Kaylor to the next level by having a child with Karlie.

Taylor could be wanting proof of a lot of things, here.

I wonder if she feels like Karlie is erasing their relationship and Taylor feels gaslighted. Taylor wants to prove that Kaylor was real and mutual since Karlie is insinuating it’s always just been Jo$h. Kaylor was secret so it’s easily treated as if it never happened at all.

And finally, Taylor mentions scraps. And there is a direct link between scraps, the fashion industry, to Karlie.

Taylor Swift’s Gay Moments: folklore ~ Betty

2 Apr


Betty, I won’t make assumptions/About why you switched your homeroom but/I think it’s ’cause of me/Betty, one time I was riding on my skateboard/When I passed your house/It’s like I couldn’t breathe…/…Betty, I know where it all went wrong/Your favorite song was playing/From the far side of the gym/I was nowhere to be found/I hate the crowds, you know that/Plus, I saw you dance with him/You heard the rumors from Inez/You can’t believe a word she says/Most times, but this time it was true/The worst thing that I ever did/Was what I did to you/But if I just showed up at your party/Would you have me?/Would you want me?/Would you tell me to go fuck myself?/Or lead me to the garden?/In the garden would you trust me/If I told you it was just a summer thing?/I’m only seventeen, I don’t know anything/But I know I miss you/I was walking home on broken cobblestones/Just thinking of you when she pulled up like/A figment of my worst intentions/She said “James, get in, let’s drive“/Those days turned into nights/Slept next to her, but/I dreamt of you all summer long/Betty, I’m here on your doorstep/And I planned it out for weeks now/But it’s finally sinkin’ in/Betty, right now is the last time/I can dream about what happens when/You see my face again/The only thing I wanna do/Is make it up to you/So I showed up at your party/Yeah, I showed up at your party/Will you have me?/Will you love me?/Will you kiss me on the porch/In front of all your stupid friends?/If you kiss me, will it be just like I dreamed it?/Will it patch your broken wings?/I’m only 17, I don’t know anything/But I know I miss you/Standing in your cardigan/Kissin’ in my car again/Stopped at a streetlight/You know I miss you

Sometimes, lesbian poets who were not out tried hiding their poems of intense love for women as romantic friendships or sisterly bonds. This sometimes forces historians (and us) to “queer” the poetry and call it lesbian poetry.

Other times, lesbian poets attempted to veil a sapphic inspiration under the guise of writing from a male’s perspective.

This will be long. If you’re interested in specific, females writing under pseudonyms, that are somehow associated with queerness read on. If not, you’ve got the gist already.

[This makes me think of Lavender Haze, bearding arrangements, needing a man to legitimize talent and succeed in business. Think Dorthea = Taylor’s reluctance to marry a man. Karlie wanting a comfortable family life and ending up with a Ku$hner.]

Trigger warning: Poaching

[read her entire Wiki, she was in the Air force, CIA, and instrumental in 2nd wave feminism (among many other things.]

This is why I think writing from a male perspective is inherently queer (whether the writer identifies that way or not). It’s kind of a queer tradition to deviate from gender norms and heterosexist traditions. As you can see a lot of queers (used as umbrella for lesbian, bisexual, NB, unlabeled, fluid in this instance) use male pseudonyms for various reasons. Two of those reasons: Obscure same sex attraction in the book or remove oneself from the narrative within the book. And the other is to embody the opposite gender in the text without tipping off the audience. Taylor might have written James “from a male perspective” within the song Betty for these very reasons.

Taylor Swift’s Gay Moments: Lover ~ London Boy

13 Mar

I split the songs up on the Lover album as well so we can delve into each one a bit more.

London Boy

But something happened, I heard him laughing/I saw the dimples first and then I heard the accent…/…He likes my American smile/Like a child when our eyes meet, darling, I fancy you…/…So I guess all the rumors are true/You know I love a London boy/Boy, I fancy you (ooh)…/…Show me a gray sky, a rainy cab ride/Babe, don’t threaten me with a good time…/…Stick with me, I’m your queen…/…Just wanna be with you (ooh)/Wanna be with you/I fancy you (yeah), fancy you

The Wiki defines satire:




Author of Gulliver’s Travels, Jonathan Swift (the following not to be confused with Taylor Swift):


Here is a (non-exhaustive–more of a smattering, if you will) list of satirical media questioning/criticizing norms on gender and LGBTQ:


As an aside, because the previous paragraphs may not paint him in the best light:

The Great Gatsby:

The Importance of Being Earnest:

Taylor Swift’s Gay Moments: Lover ~ I Think He Knows (Mapping the Song-Part 1)

9 Mar

Here’s another Lover track that is more easily understood by separating the perspectives/subjects in the song. I’ll show you the parts I mean, then do multi posts on the gay content inside each of those parts.

Here’s another song that might be easier to untangle in parts:

I Think He Knows

I color coded the parts of the song that go along with each person:

Fuck!  This was effortful to write!  

So in the song Jo$h is addressed as being suspicious of the nature of Taylor and Karlie’s relationship (friends look at each other like that). Taylor tells of her bearding situation with Joe that helps her career. And she also tells of her affair with Karlie. And Karlie tells us Jo$h is obsessed with her, and she doesn’t have to tell him about Kaylor, because she thinks he knows.

About Jo$h:

I think he knows 

[this is a different thought, though Taylor skipped the punctuation to remain elusive]

his footprints/On the sidewalk…

…I think he knows 

[this one too.  Taylor says she thinks Jo$h knows about Kaylor.]

his hands around/A cold glass…

[Then Taylor describes how Jo$h is drinking and noticing the flirting of Kaylor.  Also speaks to when Jo$h is just drinking, waiting for Karlie to come back to him when Karlie is over at Taylor’s]

…He got my heartbeat

[P.S. I don’t believe in “owning” your lover or spouse, talk to Taylor about that… Anyway, Karlie is in Taylor’s heart.  But Jo$h “has” Karlie, so Taylor cannot be in a full Kaylor serious relationship.  Thus Josh owns Taylor’s heartbeat since he has contractually obligated (either bearding contract or marriage contract) Karlie to be with him]

Got that

[I think this “Got that oh! I mean” is significant. Taylor interrupts herself or is startled by something. It could be that Taylor is talking about Kaylor in loving terms, then Jo$h shows up and she has to quickly switch topics to keep the secret. Worse, the interruption could be showing how Jo$h’s sudden physical presence interrupts Kaylor love-moments.] 

oh! I mean

Wanna see what’s under that attitude…

…And I ain’t gotta tell him [Josh]/I think he knows/I think he knows/I think he knows/Like, I [Taylor] want you [Karlie], bless my soul…/……I think he knows/I want you, bless my…

[This could be repetition by Taylor just to make a catchy song, but I like to think about it as Karlie chiming in and agreeing, by repeating it also.]

And I [Karlie] ain’t gotta tell him [Josh]…/…I think he [Josh] knows/I [Karlie] want you [Taylor], bless my soul…/…

Taylor singing about Kaylor:

Lead to where I can’t stop/Go there every night/Make me wanna know that body/Like it’s mine…/……I want you, bless my soul/Lyrical smile, indigo eyes, hand on my thigh/We can follow the sparks, I’ll drive…/…So where we gonna go?/I whisper in the dark/Where we gonna go?

Like, I [Taylor] want you [Karlie], bless my soul [asking for divine protection]

About Joe/Beard:

He got that boyish look that I like in a man/I am an architect, I’m drawing up the plans…/…Skipping down 16th Avenue [Nashville’s music row]


[This verse switches to Karlie’s POV] 

I think he [Jo$h] knows/When we [Kaylor] get all alone/I’ll [Karlie] make myself at [Taylor’s] home

And he’ll [Jo$h] want me [Karlie] to stay

[at Jo$hlie’s house instead of visiting Taylor]

I think he knows/He better lock it down [marry her or sign a contract?]/Or I won’t stick around/’Cause good ones never wait…

He got that boyish look that I like in a man/I am an architect, I’m drawing up the plans

[Karlie is ALSO orchestrating her relationship (whatever it is: sugar-daddy, lavender, poly-bearding, sperm-donor) with Jo$h. Though I tried really, really hard to find a 16th Ave connection for Karlie and never did find one.]

…He’s [Jo$h is] so obsessed with me [Karlie], 

I [Karlie] want you [Taylor], bless my soul/I ain’t gotta tell him [Jo$h]/I think he knows

Commentary to herself (Taylor):

It’s like I’m seventeen, nobody understands/No one understands…/…

[Taylor chimes back in]

and boy I understand/Boy I understand [being obsessed with Karlie]

Taylor Swift’s Gay Moments: Reputation ~ Links to each song’s post

3 Mar

The songs on Reputation are packed with meaning, and there are many rabbit holes to go down. As such, this post would be too long if I included each song as I did with Debut, Fearless, Speak Now, Red, and 1989. Pretty much every track on Reputation has queer content. There could probably be an argument made for LWYMMD and TIWWCHNT, especially the video and live performances, but neither really have lyrics conducive to this particular analysis. All the rest of the songs are included. Here are the links to each gay Reputation moment:

…Ready For it?

Golden age of Hollywood and bearding

Heterosexual marriage with frequent same sex interactions outside of the marriage

I didn’t include End Game because having features muddies the water about who contributed what. It’s probably Taylor being gay on main again, but I can’t rule out that Ed or Future added to the lyrics.

I Did Something Bad

Navigating LGBTQ Rumors

Media + Closeting

Don’t Blame Me

Internalized homophobia

LGBT have higher incidence of drug abuse and addiction



So It Goes…

Femme invisibility


To be her or be with her?

Gendered terms for beautiful


Getaway Car

No Strings Attached/Friends with Benefits but someone falls in love

King Of My Heart

The American Dream privileges (White, cis, middle to upper-class) Male Heterosexuals

https://kit10phish.wordpress.com/2023/02/27/taylor-swifts-gay-moments-reputation-3/(opens in a new tab)

Dancing With Our Hands Tied

Deep dive

https://kit10phish.wordpress.com/2023/03/04/taylor-swifts-gay-moments-reputation-dancing-with-our-hands-tied/(opens in a new tab)


The pronoun game

Pining and yearning

https://kit10phish.wordpress.com/2023/03/01/taylor-swifts-gay-moments-reputation-2/(opens in a new tab)

Call it What you Want

I didn’t do a whole thing on this one, because Karlie’s whole-a$$ name is repeated throughout the song–that’s pretty obviously sapphic.

But also, it’s about personal labels and internalized homophobia and anxiety.

New Year’s Day

Decision to come out in public or keep it on the down-low

https://kit10phish.wordpress.com/2023/02/28/taylor-swifts-gay-moments-reputation-new-years-day/(opens in a new tab)

Taylor Swift’s Gay Moments: Reputation ~ Gorgeous

26 Feb

The songs on Reputation are packed with meaning, and there are many rabbit holes to go down. As such, this post would be too long if I included each song as I did with Debut, Fearless, Speak Now, Red, and 1989. I’ll release these song by song.


And I got a boyfriend, he’s older than us/He’s in the club doing, I don’t know what

You’re so cool, it makes me hate you so much (I hate you so much)/…You’ve ruined my life, by not being mine/You’re so gorgeous/I can’t say anything to your face/’Cause look at your face/And I’m so furious/At you for making me feel this way/But, what can I say?/You’re gorgeous…/…You should take it as a compliment/That I’m talking to everyone here but you (but you, but you)/And you should think about the consequence/Of you touching my hand in the darkened room (dark room, dark room)/If you’ve got a girlfriend, I’m jealous of her/But if you’re single that’s honestly worse/’Cause you’re so gorgeous it actually hurts/(Honey, it hurts)/Ocean blue eyes looking in mine/I feel like I might sink and drown and die…/…You make me so happy, it turns back to sad, yeah/There’s nothing I hate more than what I can’t have/You are so gorgeous it makes me so mad