#and the tennis court was covered up with some tent like thing!!!!!!!

[itspileofgoodthings]

I love cowboy like me so much 😭😭😭😭

[leclerrari]

AUSTIN, TEXAS: Charles Leclerc during previews ahead of the Grand Prix of the United States on October 19, 2023 (Photo by DPPI Media)

[lynsstrange]

cannot tell you the seratonin i get from hearing the first seven seconds of cowboy like me

[munariplans]

cowboy like me | felicia hardy

synopsis: inspired by taylor swift’s 'cowboy like me', for the black cat, felicia hardy.

felicia hardy x reader

word count: 3.1k words

a/n: trying to branch out into new characters in the mcu, and black cat has always been one of my favourites. hope you guys enjoy x

and the tennis court was covered up, with some tent-like thing and you asked me to dance, but i said, "dancing is a dangerous game"

in the years you have orbited your life around taking from the rich, you knew that felicia hardy was never one to be trusted. she was a con artist, a professional thief, been in the game longer than you were. you could never take her words seriously. 

now, the both of you sitting in the wedding of a millionaire you had robbed dry several times before, 

overlooking the stunning views of the manhattan skyline and the contents of the fellow wedding guests’ wallets in your pockets, you were repeating the very same sentence you always told yourself whenever felicia tried distracting you. don’t let her even try. 

“come on, let’s dance,” she whined for the umpteenth time. she had taken her prized jewels, you took your fancy watches. the one-off agreement of the pact you had made to work together just a month ago had been occurring more frequently lately, and it was sending you a bit on edge, to be honest. 

“for what, felicia?” 

she pouted, rolling over to absentmindedly trace her hands along your suit. you pulled her away. “it’s sunset, it’s the asshole’s wedding, it’s romantic.”

“yeah, but we are not lovers,” you quipped, sitting straighter to get a better look at the sunset she mentioned. new york really had the best sunsets. “and dancing is a dangerous game for us to play.”

“scared of catching feelings for me?”

you flicked your nimble fingers on her forehead, as felicia yelped. “never, black cat.”

oh, i thought, this is gonna be one of those things now, i know, i'm never gonna love again

you never should have taken her hand. you never should have accepted the dance with her. you should have known it was not going to end well. 

yet, with felicia’s body flushed against yours, her lips dangerously travelling up and down your neck, hands roaming the lithe muscles on your body, you found it difficult to resist such advances from the woman. 

when her lips met yours that night, you knew the watches you had kept in the slit of your own dress was taken, along with your heart, too. 

that was years ago. now, you knew you were never going to love anyone like you loved her, ever again. 

i’ve got some tricks up my sleeve, takes one to know one you're a cowboy like me

“feliciaaaa!” you screamed after her, chasing her through midtown as her laughter rang in your ears and the jewels and watches she had taken dancing in her priceless designer bag. 

she had conned you once again. this time, she had tried out a new method; seduction.

yet, you found yourself still smiling as you caught up to her later, tying her down while you took off with her jewels this time. it was her turn to cuss you out for being able to spot when she was tired, and where her weaknesses were. 

never wanted love, just a fancy car

the jewels rested beautifully on the curve of your collarbones as you slung your arm around the new billionaire you had conned to take you home for the night. he was grinning stupidly, you were grinning in victory, as he took you in to his ferrari, carefully revving the engine and driving so fast you thought your heart was going to stop. 

you never needed anyone else. just the company of older, rich men, their riches, and yourself was enough. you could live forever like this. 

now I'm waiting by the phone, like i'm sitting in an airport bar you had some tricks up your sleeve, takes one to know one

“just dinner at her place. dinner. nothing more,” you nervously repeated to yourself, pacing around felicia’s apartment block. flowers in hand, waiting for her call, you hated how she suddenly made you feel anxious about your actions, and how you were going to act around her. 

“come up, will you?” you heard a voice from the balcony, and shot your head up in horror. “i’ve been watching you pace back and forth for the past ten minutes.” 

felicia stood by the door as you came, in a short dress that definitely was not usually worn for a simple dinner at her place. the black accentuated her features, one of the rare few times you had caught her without her hair tied in a ponytail, clear goggles around her eyes. 

“you look…pretty,” you breathed. she laughed, almost mockingly at you. 

“thanks,” she nodded towards the flowers, “those for me?” 

“of course.” 

you handed them over, and as felicia took one whiff of them, she spotted something just within. hidden in plain sight of the stalks of roses. 

the jewels you had stolen from her that one heist. returned to its “rightful” owner. 

felicia’s heart tugged with warmth, as she looked back up at you, before pulling you in for a kiss on your cheek. 

“thieves’ honour.” 

“takes one to know one.” 

you're a cowboy like me, perched in the dark, telling all the rich folks anything they wanna hear

the black cat’s finger outstretched, she was pointing at the man trying to strike up conversation with the owner of the art gallery. you recognised him as a private investor you had swindled once before. 

“won’t work on him again,” you replied to her suggestion, turning your gaze to a woman standing by herself instead, overlooking the balcony. her hair was blonde like felicia’s, and she looked no older than you were by a few years. felicia also noticed that she was undeniably good-looking. 

“no,” she said sharply, fingers directing your chin back to face her, “you’re not doing her.”

a hint of a smirk made it’s way up to your lips. “jealous, hardy?”

“and if i say i am?”

“then i’ll know you’re lying,” you held her hand, pressing a kiss to her knuckle, before making your way over to the woman, “i don’t mean enough for you to get jealous.”

felicia bit her lip at your comment. that wasn’t true. silently, under her breath she whispered, “you are all that, and more.”

like it could be love, it could be the way forward only if they pay for it

“and to what i owe the pleasure of your company tonight?” the very same woman said into the dark, her chest still heaving with heavy breaths and the marks of your teeth left on them. the room smelled of sex and deceit, as you began picking up your clothes, her jewellery and the details to the vault of her private art collection already slipped inside.

you smirked, sneaking back a look at the naked woman staring at you with lust-hooded eyes. she really did look a little like felicia. didn’t feel like her, though. you rarely ever slept with the people you swindle now, not since you had started seeing felicia casually. you wondered if felicia had begun making a deeper impact in your life than you thought she would. 

“...and what would be the price for more…company?” the woman had gotten up then, huskily whispering in your ear, her arms encircling your waist to try to bring you back to bed. 

but you had already gotten more than you needed. you were no longer interested in her anymore. 

“i’ll text you my bank details if you want more of this…anytime…anywhere.”

you called felicia later on that night, and you swore you enjoyed yourself more in the few hours the both of you spent plotting on the art vault’s robbery, than the whole night in the company of another woman. 

you're a bandit like me eyes full of stars, hustling for the good life never thought i'd meet you here

felicia had fallen asleep in your dining room, one knee lifted up on your dining chair to support the weight of her head and arms as it lolled forward, her soft snores filling the silence of the room. blueprints of the vault were carefully laid across your large dining table, the both of you had spent the better part of the week plotting and scrawling across plans on stealing the works inside. 

you were laid back in your own chair, taking a swig of the expensive wine she had bought to thank you for giving her the opportunity to join you in the heist, and swimming beyond the maroon that was sliding down your throat, you thought of her.

felicia hardy, the black cat. the daughter of the former black cat, who she told you taught her to never settle for second-best. who worked harder than anyone you knew to get what she wanted. who was slowly taking up a space in your heart that no one else ever had. 

all that she had been through, the hardships she had endured that mirrored your own, she knew you like no other. she understood, and she never judged. she was just as hungry as you were for success. you just never thought that you could get along, much less fall for her, in your stupid, stupid quest to hustle for a better life for yourself. 

she was trouble. but in that moment, she was nothing more than felicia hardy, not the black cat, not the thief she had proclaimed herself to be. felicia hardy was in your t-shirt that she had borrowed because she had volunteered to stay over, and hair tied up in a messy bun that framed the features of her face perfectly. she didn’t have her goggles on with her, didn’t have the skin-tight bodysuit to help her in heists and her criminal activities, and yet, she managed to look even more beautiful, if possible. 

you sighed, knowing this was not going to end well. yet, when you looked back at her, a hint of a smile appeared on her face. a good dream, perhaps. 

felicia looked cold. you stood up to fetch a blanket from your room, and draped it over her when you got back, tucking the ends under her chin so it wouldn’t slip off. 

when your back was turned, her smile grew even wider in appreciation. 

it could be love, we could be the way forward and i know i'll pay for it

“why didn’t you let me go?! why the fuck did you hold me back?!” felicia had practically screamed, shaking you as the rain beat down on the both of you, minutes right after you had tore her away from her chase of the guard running with the keys to the vault. 

in return, you were even angrier that she was so stupid, so naive. “because he was running straight to the police! you wouldn’t have been able to escape all of them, all at once! and the cops there were under fisk’s payroll, you know this. you would’ve died, felicia!”

“and why do you care so much if i did?!”

her question left you stunned. at a loss for words and your mouth agape, felicia felt your arms release their grip on her own body, as you stepped back. 

the rain beat down harder, if possible. somewhere, lightning had struck a nearby building that caused her to jump. but you were unphased.

you knew why, and so did she. only, the both of you were too afraid to admit the truth, because felicia knew she would have done the same if she were in your position. 

and the skeletons in both our closets plotted hard to fuck this up

with the authorities now breathing down your necks due to the failed heist, felicia saw, and felt you slipping away like never before. 

you had disappeared from existence so many times before, it was what made your operation so successful each time, but this time, you being gone left a gaping hole in her heart that she knew none could fix. 

she was almost desperate enough to pick up the phone and beg you to come by her side. perhaps what spurred this desperation even further, was the next time that she saw you, it was at a socialite party and you were letting yet another desperate, creepy, old billionaire feeling you up and down and trying to bring you to bed with him. felicia almost had half a mind to tear his hand off, finger by finger. 

you made eye contact with her, but this time, as felicia approached, you shook your head slowly, telling her not to come any closer. that was before you walked off, leaving her feeling more isolated than she felt possible, in a room full of people. 

what felicia didn’t know, was that you had to walk off before you gave in to the compulsion of coming back to her arms and crying about how much you had missed her. 

and the old men that i've swindled really did believe i was the one

pockets full of rolexes, the trunk of your car filled with art pieces, the drawers in your wardrobe overfilling with stolen jewellery. even the zeroes being constantly added to your bank account was no longer giving you the dopamine high that the black cat could give you. 

your phone rang again. it was another one of your billionaire boys calling to ask when your next date would be; as if they still haven’t noticed you had picked them dry of any valuables they had during the date. 

presently, you looked back at the figure of the man laying in the hotel bed, the remnants of his touch still leaving an unpleasant sear on your skin. the lovesick look on his face as he snored was enough for you to gather your clothes and check out of the room as quickly as possible. 

for someone who was so powerful, the people you swindled were all so naive, you thought. little did you know, you were exactly just like them, when it came to felicia. 

and the ladies lunching have their stories about when you passed through town

don’t let her even try. don’t let her even try. don’t let her even try. you listened half-heartedly to the gossip of the wives of the group’s board members about the infamous black cat that had swindled their husbands of belongings before, not caring if you appeared disinterested. you already had what you came for. 

“i heard she’s a dangerous one, that girl.” sure is.

“probably has to be quite gorgeous, right? to get to so many men.” she’s more beautiful than anyone you could ever imagine. 

“still, doesn’t make sense why she would suddenly stop. i heard no one’s been robbed in almost two months.” oh. that one was new.

perhaps felicia had the same idea of leaving town and finding new ground to avoid you, as you had to avoid her. 

but that was all before I locked it down

“you’re really leaving?” you perched beside felicia one night, as she was scoping a new apartment to break into. 

she ignored how good it felt to hear your voice again, reaching out a hand to prevent you from perhaps getting the jump to the apartment before her. it was really to stop you from leaving again. 

“who told you that?”

“the ladies at tennis.”

“mm,” felicia smacked her lips, “so you keep up.”

you sighed, relaxing your stance and sitting down beside her instead. you removed your mask to look at her directly. she tried hard to avoid eye contact, in fear of what she would do if she was mesmerised by the sincerity in your eyes again. “i’ll go. you can stay here. new york is your home.”

“not anymore,” she said bitterly, but realising her tone and the vulnerability she was exposing, she playfully elbowed you, “not without you around.”

“felicia.”

she let down her guard, and frowned. at the solemn look on your face, felicia let her eyes drift away from the apartment for a bit, biting her lip nervously as she made the election to sit next to you. knees touching, hand still on your wrist. 

“we never would’ve worked, would we?”

“not with our lifestyles, we won’t.”

“but i’m not giving this up. not now, not ever.”

“me too.”

“so what do we do now?”

you both looked at each other, and it was the moment you knew. 

now you hang from my lips like the gardens of babylon

the feather-lightness of her kisses. her spare goggles and suit that had been next to yours in the short few weeks that she had spent in your home. the blanket you had draped around her shoulder the night she fell asleep on the dining chair. 

they now seemed impossible to admit that they were real. and so was your failed, almost-relationship with the black cat. nothing was real, the pact, the feelings, the love and concern you had for her. it amounted to nothing, because it stemmed from nothing. you and felicia had agreed upon that when you took her hand to dance in that wedding. 

you had known nothing about felicia, and she had known nothing about you either. she was your black cat, your partner in crime for a few break-ins and heists and robberies and everything in between. that was all. 

yet, the tears rolling down your cheeks that slowly dripped onto the oak floor of your apartment, the floor that you had danced with felicia on so many times before, were all too real to dismiss everything that the two of you had. 

nothing mattered, but everything did, all at once. 

with your boots beneath my bed forever is the sweetest con

you never returned the spare suit and goggles she had left behind. she never asked for them back either. you were sure she still had your own spare suit and mask at her place. 

perhaps it was the reminder of both of your presence in each other’s lives. a reality to keep you grounded, now that you were gone in another part of the planet, and felicia had nothing to live for, in new york. 

i've had some tricks up my sleeve takes one to know one, you're a cowboy like me

one day in spring, exactly five years after the wedding, you received a package in the mail. 

it had cat fur belonging to a suit you still kept somewhere in the depths of your closet. she had found you. you tore open the package. 

and inside, were the very same flowers you had gifted felicia at your first dinner at her place, dried and pressed and beautifully preserved. you had no idea she treasured them so much to do such a thing.

and hidden even deeper into the package, were the jewels you had given back to her. returned to its rightful owner with a note this time.

takes one to know one. but i’m past that life now. if you are ready to try again, i am always going to be in new york waiting for your return. 

[madwcman]

never gonna love again

pairing: remus lupin x fem! reader

summary: inspired by “cowboy like me” by taylor swift

warnings: fluff, slight angst, remus smokes a cigarette, mentions of drinking (very brief) & lyrics are in italics & bold

authors note: i finally finished this!! it’s a little long i hope you guys don’t mind :)

“and the tennis court was covered up with some tent-like thing. and you asked me to dance, but i said, ‘dancing is a dangerous game.’ oh, i thought this is gonna be one of those things. now i know, i’m never gonna love again.”

you really never saw this coming; lily evans marrying james potter. it was funny how one of your closest friends married the person she claimed to have hated back in hogwarts. you watch silently on the side as lily and james happily dance in a crowd of happy couples under bright lights.

“they look happy don’t they?” a deep voice asks, slightly startling you, you turn to look at your surprise visitor. your eyes meet the face of remus lupin. a boy (now man) you used to go to school with and a good friend of james.

“yes, yes they do.” you state matter of fact, turning your head back to the people dancing. “i’m remus.” you turn your head to look at remus again, he has his hand out, wanting to shake hands with you. “i know who you are.” it came out more rude than you intended. but you didn’t apologize. “oh” he's a little surprised by your blunt response, but gives you a smile. “well would you like to dance y/n?”

“i’m not sure about that.” you’re hesitant, you can’t really dance and you don’t know remus. you’re not sure if you want to. but the man wasn’t going to give up. “well we don’t have to dance, c'mon.” remus keeps his hand out for you to grab. you were still hesitant to take remus hand not knowing where the tall man intended to take you, but you finally decided to go. it was better than just standing on the sidelines watching people dance.

“i've got some tricks up my sleeve. takes one to know one, you're a cowboy like me”

you let remus walk you outside of the big white tent where the wedding ceremony was still taking place around your friends. it’s a grassy green area with nothing around but wildflowers. remus lets go of your hand and takes a few more steps forward. reaching into his pockets. he grabs a lighter and a cigarette packet, grabbing one and quickly lighting it.

“do you mind?” he questions, slightly raising an eyebrow. “no, not at all” you shrug your shoulders, as remus mumbles a “thanks” as he lifts the cigarette to his mouth. “so why take me out here?” you question as remus smokes. “just wanted to talk to you.” you walk toward remus and decide to sit down, he joins you; cigarette still in his mouth. you watch him silently while he smokes his cigarette. “ya know, i’ve always found you pretty while attending hogwarts.” remus turns to look at you, a smile on his face.

“yeah?” you’re a little baffled really not expecting to hear that from remus. you always thought remus was out of your league and you’ve never really had the guts to say you liked him back then. “yeah, of course how could i not?” you just shrug not knowing how to answer his question. “i’ve always found you quite pretty too.” you say silently, remus laughs at that, he has never been described as pretty from others except from james. “you’re a liar.” he claims, still laughing. “believe it or not lupin i did.” he stops laughing, and stares at you for a moment, trying to figure out if you’re lying. “really?” and you’re surprised he doesn’t believe you. “everyone had a crush on you back then.”

“as they did you.” and it was true. you both did have a dating history back in hogwarts, but you haven’t dated much now since you left school. it grows quiet between the two of you, remus looks down at you with a small smile with of course a hint of mischief in it.

“can i kiss you?” remus moves closer to you waiting for an answer. you nod your head a little fast, letting out a shaky “yes”, remus places one hand under your chin and the other on the side of your face delicately. as if you're made of glass, lifting your head up as he slightly bends down to kiss you. soft and tender, are the words to describe this kiss. you’ve kissed plenty of people in your life but none of them felt as soft and sweet as this kiss with remus. he held you and touched you so tenderly, no one has ever held you like this. it was nice, it was new for you. you move in more confident, asking remus to give you more, you move your hands up to remus dark hair gripping it.

“lupin get your grimy hands off lily’s friend and join the rest of us back in the tent!” you pull back from remus with a gasp of surprise leaving your lips. remus backs up a little from you, as you turn to look at sirius, remus just shakes his head giving sirius a thumbs up while looking down at you. as sirius walks back into the tent you turn your head to remus. and now it’s silent and you feel slightly awkward, now making yourself smaller, letting go of remus and holding your arms against yourself. not knowing what to do. remus laughs a little, sensing the awkwardness. “can i have your number?” he asks with a smile hoping you’ll say yes. “yeah, yeah you can.”

remus gets your number and makes a promise to call you before he turns and makes his way back to the tent leaving you alone to join your friends. you know remus had a history with dating people back at hogwarts.. you couldn’t judge since you did as well. you’re just nervous it’s going to end how it always does. it’s just going to end as a one time thing.

“never wanted love just a fancy car. now i'm waiting by the phone, like i'm sitting in an airport bar. you had some tricks up your sleeve takes one to know one.”

after that one interaction with remus at the wedding, he promised to call and he did, you’ve been seeing remus for a month now. and you never expected to fall in love this fast but you did. you fell hard. you love spending your days with remus. he was exciting, fun, smart and sweet. you wait for his every move and wait for every call. it’s like you have nothing better to do than to just sit and wait like you would at an airport bar.

you’re sitting on the couch reading a book while waiting for remus to call you, he said he would call sometime today. and you just can’t wait to talk to him. the phone rings and you quickly discard the book and pick up the phone. excited to talk to remus. “hello?” and it’s only a few seconds of silence until on the other end of the line you hear remus’ voice. “hi dove!” you can’t see remus but you’re sure he has a crooked smile on his face. “remus, hi!” you say brightly and a little loud, he laughs a little, “can i come over? i miss you.”

“yes!” you say it too quick and fast to your liking. you try to save it with a little cough. “er- i mean yeah.” and he laughs again, knowing you were trying to play it cool. you feel heat creep onto your cheeks, flushed and a little embarrassed. “okay i’ll come over”

“great” you say quietly and fondly. “i should be over by five, is that okay?” you shake your head but remus isn’t there to see it. “yes i can’t wait to see you.” you state, with a smile. “i can’t wait to see you dove, i’ll see you later.”

and you blush, happy remus also can’t wait to see you. and love’s spending time with you. “i’ll see you.” the phone call ends, you sigh and mentally jab at yourself, you were supposed to play it cool. instead you embarrassed yourself. you were a fool in love.

“you're a cowboy like me; perched in the dark. telling all the rich folks anything they wanna hear. like it could be love. i could be the way forward, only if they pay for it. you're a bandit like me, eyes full of stars. hustling for the good life. never thought i'd meet you here. it could be love. we could be the way forward. and i know i'll pay for it.”

it’s later in the day, almost night. you and remus are laying together in your bed, limbs tangled together. holding onto one another. it’s been a long day, and you wanted remus to stay the night. not really wanting to part from him.

it’s quiet, a comfortable quiet, which you always enjoy when you're with remus. but you have this feeling to get off your chest. you enjoy remus and his company. and you’re in love with him but you're scared. you’ve never really been in love with anyone like this.

“remus if we fall in love, i’m going to pay for it.” you state intensely. not really knowing why you’re telling him this.

remus laughs looking down at you, a little puzzled by your intense claim. “what do you mean?”

and you look up to him, he has a lazy smile and kind eyes. “it’s either i’m going to get my heart broken by you or i’m going to fall madly in love with you either way i’m going to pay for it.”

it’s silent for a moment, the moment now feeling heavy. you ruined it you thought. but his lazy smile turns bright and his cheeks turn a little red while he pulls you as close to him as he can “well i hope you pay for the later.”

“and the skeletons in both our closets plotted hard to fuck this up. and the old men that i've swindled really did believe i was the one. and the ladies lunching have their stories about when you passed through town, but that was all before i locked it down.”

remus invited you to come to sirius’ party, you were excited. the party so far was okay, nothing too crazy. you met some of remus’ friends and saw a few old ones as well. and had a few drinks here and there. not really feeling up to socializing, you stand by remus side as he talks to a few people.

“so you’re remus’ new girlfriend?” you turn and see sadie, a girl you used to go to school with; she was one of remus ex girlfriends. “yeah she is”, remus answers for you, turning to look at you and sadie.

“oh! well it probably won’t last.” she says it lamely, as if she’s bored with this topic already.

you utter a confused “what “ as remus glares at sadie, warning her. she doesn’t notice remus stare or she simply doesn’t care she laughs and turns to you with a wide open smile.

“remus never keeps a girlfriend around long.” she jokes, with a laugh that seems a little too fake. “he gets bored, don’t you rem?” you look over at remus with concern. “sure, sadie.” he says curtly, as he grabs your hand leading you somewhere else to sit and talk.

you’re trying really hard to not let sadie get into your head, but it was really hard. what had she meant by remus doesn’t keep girlfriends around long? does she mean remus doesn’t want anything that’s long term? or doesn’t like anything too serious? will he cut you off when things are too serious? you hope that’s not the case.

remus leads you outside the house to the backyard, he takes a seat on the ground and tilts his head up to you raising an eyebrow, asking you to join him. you sit down besides him.

“are you okay?” he asks while grabbing your hand holding it. you reassure him with a small “i’m fine” he looks at you for a moment and you can’t indicate what he’s thinking. “are you sure?” he asks again, you sigh not wanting to pick a fight with him about your overthinking thoughts. “remus just let it be.” your tone sounds a little agitated, and mean. you can see remus is taken back by it.

“you’re acting like a child.” he shakes his head, his arms crossing in front of his chest, his eyes narrowing at you, quickly adding, “is this about what sadie said?” you go quiet for a moment, knowing it was. sadie got into your head about your relationship with remus. the silence answered remus' question. he scoffs at you. “it is.”

“re-“ before you can explain how you feel remus interrupts you. “this is ridiculous.” he’s scolding you as if you're a child, his voice is low and a little cruel. he gets up from the ground and turns his back towards you walking back into the house leaving you outside alone.

“now you hang from my lips, like the gardens of babylon. with your boots beneath my bed forever is the sweetest con.”

it’s been a few days since your argument with remus. you haven’t seen or heard from him. after your argument with remus you just decided to leave the party, you didn’t have the guts to see remus after and you weren’t in a partying mood. these past few days you wonder if you officially messed things up with remus. he hasn’t called or texted, but you haven’t exactly called or texted him either, you’re a little scared to. you don’t want what you have with remus to end. but you want to talk to remus.

grabbing your phone and calling remus you wait with anticipation, hoping he’ll answer your call. the phone rings for a while until it stops and it’s silent for a moment.

“hello?” you sigh in relief as remus answers the call. and you’re silent trying to figure out what to say. “dove are you there?” remus comes to your rescue, ending the silence for you.

“remus, i miss you.” you finally manage to word out. you’re nervous he’s still mad at you.

“i missed you too.” he quickly follows up with you, and your nerves ease down.

“i’m sorry.” and you are, you should’ve talked to remus at the party. “i’m sorry for leaving and not talking to you, it was mean” you quickly add explaining your apology.

“you don’t have to be sorry love, i’m sorry for not hearing you out.. and for being short with you.” remus assures you. “can you come over please?” you ask softly, missing remus. “of course.” you both say goodbye to each other and end the phone call with a smile on your face.

“i've had some tricks up my sleeve, takes one to know one; you're a cowboy like me. and I'm never gonna love again.”

you fell in love with remus, it wasn’t a one time thing or another short term relationship just like your previous relationships. you’re happy where you are now with him, sitting on the couch humming to music that’s playing. as one song ends and another starts to play. remus goes to stand. “y/n dance with me?” he reaches for your hand and you instantly grab it.

“i’m not good at dancing.” you claim, nervously, looking up at remus. “that’s okay, i’ll teach you.” remus places your hands where they need to be placed and starts to sway slowly to the music.

you stay like that for a moment, dancing with remus. you look up towards him with a small, shy smile. “remus, i’m never gonna love again.” and he could barely hear it, your voice small and quiet but he heard it. “meaning?” he chuckles a little to himself holding you tighter, while dancing. “i’ve fallen hopelessly in love with you. i’m never going to love anyone like this again.” you say softly as you both continue to sway yourselves to the end of the song.

[bigsurlor]

cowboy like me by taylor swift, my interpretation and analysis

And the tennis court was covered up with some tent-like thing

Beginning with "and", it is important to note that we start our story in medias res, or in the middle of the narrative. Also that it begins in past tense, giving the audience the story of how our narrator got to the present, why they're "never gonna love again".

On expensive properties, the tennis courts are often located near or next to the gardens which makes a lovely venue, for both parties and weddings, once a marquee is placed on top. Given the "tent-like thing" covering the tennis courts and our narrator's habits of swindling rich people, both a party or wedding is the likely setting.

This opening line not only helps to set the scene of this event, but gives the listener the first insight into the character of the narrator. Of course this swindler would not know the name of this "tent-like thing", nor do they care to find out. They are there for one thing: conning old rich people.

It is also important to note that the narrator is seemingly uninterested and generally less than impressed.

And you asked me to dance, but I said, "dancing is a dangerous game"

This line paired with the last not only helps to set the scene of this event but also invokes imagery as well. Dancing typically requires a dance floor, so it is reinforced that our narrator likely is at a wedding (interesting note for later) or party.

I think dancing in this sense is to be taken both literally and metaphorically. Dancing as in becoming closer with another, the forming of a new relationship. So, this other person wants to become closer or more intimate, but our narrator knows and recognizes that doing so breaks into precarious territory, it becomes a "dangerous game". We'll come back to that.

Dancing with a partner is an activity that requires closeness, vulnerability, and an intimacy of sorts. It is moving in a way that is almost co-dependent. Every single thing you do will affect your partner in such a visceral physical and emotional way. Which makes it all the more interesting our narrator chooses to describe dancing as a dangerous game. We all know, games are a type of play or sport often between two people, a back and forth, using both skill and intelligence… which is kind of the opposite of the mindset to be in while dancing and outlook to have on it. Dancing is a partnership.

I believe this line is also an allusion to the short story, The Most Dangerous Game. Spoilers if you haven't read, but it is a story of the hunted and the hunter, one in which the hunter's barbaric game was twisted and turned against himself. The ultimate twist of fate, and the joke was inevitably on him. The "most dangerous game" occurs from the human ability to reason, it was a test of the mind. It was the protagonist's ability to ultimately stop running, to halt his prey behavior, and instead strategize, to outsmart his hunter that led to his safety. We know hunters for Taylor represent the public ("they are the hunters, we are the foxes", I Know Places) ("these hunters with cell phones", the lakes), so I would keep that in mind. For this person to dance with our narrator, it would put them both in a dangerous game, perhaps the most dangerous one.

Oh, I thought, 'this is gonna be one of those things'

To me, this is a double meaning lyric. "One of those things," being just another fling. Someone who comes and passes you by all the same, over before it really even started. But also, "one of those things," such as in reference to a bad or unfortunate event that could happen to anyone (ex: I missed my train, so I had to catch the next one. It was just one of those things, I guess.)

Now I know I'm never gonna love again

Note: alternating between past to present tense

At this point in the song, it is unclear in which way the narrator means this. Are they never going to love again out of the sheer heartbreak from meeting their match and someone who was able to deceive them in the ways they've deceived so many others, or because they will never find another and will love this one lover forever? Let's continue.

I've got some tricks up my sleeves

To have a trick up your sleeve is to have a secret plan, idea, or advantage that one keeps and can utilize when the time is right.

This line adds further characterization to the narrator. They aren't necessarily upfront or honest, they may use certain things to their own advantage. They are a swindler and bandit, after all.

This line also draws certain imagery to mind, like a magician doings tricks, pulling things from their sleeve to fool people. This imagery is important to keep in mind.

Parallels So It Goes...: "See you in the dark / All eyes on you, my magician / All eyes on us" and "All eyes on me, your illusionist / All eyes on us"

Takes one to know one

This phrase is an idiom meaning that it takes one specific type of person to be able to recognize that same type of person elsewhere. It is usually used to describe a trait so central to their personality that it sticks out very clearly to others with the same traits.

I believe this line functions as a double meaning. It gives some insight into the other person, letting us know that this person too is a con artist. They are a swindler like our narrator. But also, this line of thinking can also easily translate to a queerness "gaydar", or the queer community's ability to sense and pick up on subtle signs that another person is queer themselves.

You're a cowboy like me

This line tells the listener so much, but especially in regards to giving more insight into the characters of our narrator and their love interest. Cowboys are symbols of independence, isolation, and often lawlessness. They may always come into town, but they'll always leave it as well. They're hustlers, sometimes cheats, can be the best con artists, but ultimately, they're just trying to survive.

Cowboys have also long been a symbol for the queer community. Often preferring a "buddy" over a wife, building a closeness, homoerotic admiration, and level of intimacy much like with romantic relationships, historians do consider many cowboys to have been gay. Hollywood has even taken to this, with movies such as Brokeback Mountain (starring Jake Gyllenhaal and Heath Ledger). Make a mental note of that movie for later.

Another correlation I considered between cowboys and queerness is the lawlessness cowboys are often known for and the struggle for the legality of queerness.

Quick note: who remembers when WMagazine released their "Cowboy Karlie" photoshoot on July 2, 2018 and then eight days later Harpers Bazaar released their photoshoot of Taylor in which she's wearing the same dress from Givenchy's Fall 2018 collection?

Never wanted love, just a fancy car

Love and affection were never the ambitions or priorities of this narrator. It was success, money, all the fancy cars that drove them. Their focus has always been on hustling, which is what makes this next verse even more compelling. Look at the dichotomy of who this hard cowboy once was compared to who their love has transformed them into in this next line.

(For more reference of this dichotomy, we can view the parallels this has with King of My Heart: "Cause all the boys and their expensive cars / With their Range Rovers and Jaguars / Never took me quite where you do", "The taste of your lips is my idea of luxury", and "Say you fancy me, not fancy stuff".)

Now I'm waiting by the phone like I'm sitting in an airport bar

Our narrator using sitting in the airport bar as a simile for waiting by the phone fits so much into the characterization already previously established. Airports are a place where no one really stays or lingers too long, every person is just traveling through, stopping for a moment, but going onto their next destination much like a cowboy passing and traveling through towns.

While waiting at an airport bar, one is typically dealing with a lot of big emotions: feeling nervous about the flight ahead, having all types of thoughts swirling in your head while you anxiously await your drink. This is how our narrator feels while waiting to hear back from this person. Their hard exterior has broken down, priorities are starting to shift: they're beginning to realize they may have found love.

You had some tricks up your sleeves

Takes one to know one

You're a cowboy like me

Notice: past tense on "had". You had some tricks up your sleeves. You used to. This person is a cowboy, a bandit, a magician like our narrator (recall So It Goes...), but the tricks to take advantage of another are all past tense now that they are with their match, they are no more. Keep in mind as we move forward: our narrator has repeatedly expressed that these two are one in the same.

And now let's take a look at the "Kowboy Karlie" campaign Karlie did for Tamara Mellon in July of 2014:

Perched in the dark

Taylor's use of diction is so important and the word choice here, perched, draws such specific imagery and feelings within. Being perched on an object is to sit high above and is most often used and associated with birds.

This is yet another lyric I think has a double meaning. In a sense, it is metaphorical like an owl sitting high up and waiting for the perfect moment to swoop down to strike and kill, or looking for people to gain from or take advantage of. Yet also, its literal meaning can be taken as well. The narrator feels they are sitting high above everyone, hidden away in the dark as opposed to living in the daylight that is truthfulness and love. I could imagine it would feel such a way to be both a celebrity and closeted.

This lyric also brings to mind lines from tracks off reputation ("See you in the dark" ; "Gold cage, hostage to my feelings", So It Goes...) and folklore ("Living in a gold age, sneaking into my bird cage", Cardigan original lyrics).

telling all the rich folks anything they wanna hear, like it could be love

Like and could are the keys word here. It is like it could be love, they could love this person, it could be a possibility. Not a certainty.

This lyric aligns with our current understanding and characterization of the narrator: a swindler. It gives us more information though, and makes it likely to assume this was our narrator's intent at the party/wedding they met their true love at.

Being one line with, "perched in the dark', a metaphor for closeting, this reads as bearding and PR contracts.

I could be the way forward, only if they pay for it

They could be the rich folks way forward, what propels them, what benefits them, their answer, but only if they pay for it.

Given the money-seeking bandit we know our narrator to be, I interpret this instance of paying for it to be literally, to be physically paying in cash or some sort of monetary/status exchange. This brings to mind business exchanges/deals in regards to love: setting up relationships, potentially fake ones.

Being hidden in the dark high above, lying to rich folks about potentially being able to be someone's love and their way forward in life (because of who they are), but only if they will pay for it, paints the image yet again of a celebrity that is closeted and making contracts for both PR relationships and bearding. 

What's also interesting is how often we have been reminded that the narrator's love is just like our narrator, which poses the questions: Are they lying to old rich people as well? Faking love to them as well? It's likely, so keep that in mind.

You're a bandit like me

There is strong diction with this lyric again, it invokes quite a bit of imagery as well. The word bandit sticks out, it's one that you hold onto.

This line, like many others, is giving further characterization and yet again reiterating that these two are the same.

A bandit is a robber, an outlaw, echoing what it means to be a cowboy.

eyes full of stars

Stars often serve as symbols of both hope and destiny throughout literature. Think Shakespeare's Julius Caesar: "The fault, dear Brutus, is not in our stars." The meaning of Shakespeare's phrase, in short, is that the fault was not with fate (or in their stars) but in their actions as humans.

It is so interesting to see the ways in which our narrator has changed over the course of this song, this line being one of the main displays. This cowboy never thought they could settle down, just traveling town to town, building no true connections, only swindling, Now they're starting to feel hopeful, starting to see a future and a life they likely never could see before. They are no longer the disinterested, apathetic person we met in the opening line.

Hustling for the good life, never thought I'd meet you here

Hustling in this context means to obtain by illicit action, swindling, cheating, but also working hard and doing so by focusing only on success.

The narrator never thought they would meet their match, never thought there would or even could be someone just like them. Not only that, but there, at the exact same place, doing the exact same thing.

It could be love

No more like. With this person, it is not like it could be love. It just could be love. Despite being almost the same phrase, this one carries much different meaning. The narrator has met their match, they're dreaming of a future with them now, but they're still this cowboy, the same old con artist that we know. They were just anxiously waiting by the phone, they're still hesitant on accepting this person and letting them in, but they're beginning to recognize… this could be love… ("Is this the end of all the endings?", King of My Heart)

We could be the way forward and I know I'll pay for it

We! No you, no I, it is now we. You and I together, we could be the way forward.

Not the way forward as in before, not propelling someone else to get the means the narrator desires. No more hiding in the dark either.

Together, they could be this incredible change, this way forward. They could pave the way in the industry, help break the chains of fellow queer people, but this narrator will pay and suffer the consequences of it. They are surely to face the backlash that comes from paving a new way forward.

The key word here is still could. They could be the way forward. But will they?

And the skeletons in both our closets plotted hard to fuck this up

This lyric has a double meaning. The first being, their past sins build and compound with one another, making this relationship difficult to continue and carry on. They are both cowboys with a history of conning, after all. The second being, the evidence of their queerness with past lovers combined makes staying closeted and having this secret relationship together hard.

And the old men that I've swindled really did believe I was the one

This line is quite straightforward I believe, adding more characterization to our narrator and showing how truly skilled they are at deception. 

It also brings to mind a lyric from Don't Blame Me: "I've been breakin hearts a long time and toyin with them older guys, just playthings for me to use."

And the ladies lunching have their stories about when you passed through town

This other person is truly one in the same with our narrator, a cowboy just passing through town, causing ruckus, and leaving the ladies lunching with stories to tell of them.

but that was all before

 I locked it down

The way this line ("but that was all before") is written, it is connected to the previous lyric and simultaneously both connected and separated from the next. The swindling of old men, the stories from the ladies lunching happened, yes, "But that was all before", all before our narrator locked it down. Before they entered this relationship, before they kept it secure.

Note: Locked it down? Like "love locked down"...?

2014:

2015:

2016:

Now you hang from my lips like the Gardens of Babylon

The Hanging Gardens of Babylon are known to have been an incredible feat of engineering and considered to have been an overwhelmingly beautiful place. People traveled far and wide to witness it in its glory. They are a part of the Seven Wonders of the Ancient World, but yet no archeological evidence can be found to prove its existence.

This phrase also brings to mind the act of "hanging onto every word" a person says, which I would say is a similar process to a fan attempting to analyze the words and lyrics of the person they admire.

So, this person hangs from her lips–she speaks these beautiful words of them, love song after love song flows from her about them, they are a constant. In the same ways this lover hangs from her lips, others (perhaps those hunters, if you remember) hang onto the contents that flow from them, but despite this, they cannot find this love, may not even believe in it, for there is no evidence to prove its existence.

This parallels something Taylor said in the reputation prologue: "When this album comes out, gossip blogs will scour the lyrics for the men they can attribute to each song, as if the inspiration for music is as simple and basic as a paternity test. There will be slideshows of photos backing up each incorrect theory because it's 2017 and if you didn't see a picture of it, it couldn't have happened, right? Let me say it again, louder for those in the back… We think we know someone, but the truth is that we only know the version of them they have chosen to show us. There will be no further explanation. There will just be reputation."

With your boots beneath my bed, forever is the sweetest con

Boots being beneath the bed is yet another double meaning. The phrase 'boots under the bed' and its variants is slang to refer to a sexual relationship, though especially an adulterous one. And then there is the direct, literal meaning:

With their lover's boots beneath their bed, tucked in and fast asleep at night, out of all their trickery and deception, out of any con, their forever together is the sweetest con of them all.

How could this be? How could their forever be a con? Let's recall the prior line about the Gardens of Babylon and all the way from the beginning, The Most Dangerous Game. Think of the necessity that exists to outwit these hunters to survive once one decides to jump into the fishbowl with our narrator. And outwit them, our narrator and their love did. ("Your love is a secret I'm hoping, dreaming, dying to keep", King of My Heart)

Side note 1: Taylor released the 'forever is the sweetest con' chapter on January 28, 2021: National Daisy Day.

Side note 2: Karlie Kloss included multiple charms of cowboy boots and hats on the friendship bracelets she purchased for her Eras concert in Los Angeles on 8/9.

I've had some tricks up my sleeves

Takes one to know one

You're a cowboy like me

Yet again our narrator is reminding us of the tricks they have had, maybe potentially even used on us as the listener (as hinted in the previous line). At this point in the song, our narrator is fully resigned. They know for a fact that they have met their match, their love is indeed just like them. They have found each other in the most unlikely world and through the most unlikely events, but found each other nonetheless.

Note: Remember that mental note of the gay cowboy movie, Brokeback Mountain? Bring it to the forefront now, because in June of 2019, Karlie Kloss and Joshua Kushner had their second wedding ceremony. And how did Derek Blasberg, Karlie's long-term best friend and chosen family, choose to describe the theme? As a crossover with Brokeback Mountain.

He went on to say via Twitter:

And I'm never gonna love again

I'm never gonna love again

I'm never gonna love again

At the resolve of the song, we finally have our answer. We know how the pair met, we followed their story; we finally know why our narrator is never going to love again. Despite thinking that this would just be yet another soul-crushing fling that ended before it began, the narrator now knows that they have met their person, that they are one in the same, that they are able see a future for themselves for the first time, that they've experienced a true transformation ("I once was poison ivy but now I'm your daisy", Don't Blame Me), and because of this, they know that they will never love another person again. It was "the end of all the endings" (King of My Heart). They've already found the one, and in that, despite a lifetime of conning, together created their greatest trick of all. And together, the cowboys will continue in their tricks, but not to each other, no, instead with each other. This is no longer a road for the lone traveler, but one that it is nice to have a friend on.

I do think these last lines, though, also have a double meaning. After all, throughout the course of the song, we have followed two narratives: the story of our narrator and their love, and the one in which our narrator is conning rich business folk. I think that while the final line is a recognition that they will never love another person other than their lover, it is also a statement to these business deals and exchanges in regards to 'love': they're done with them. With forever as their sweetest con, our narrator is never going to love again, at least in the public eye, unless they decide with their love that together they will be the way forward.

Ending note: I love, support, and wish all the happiness in the world to these two cowboys, regardless of their choice. Whether they are the way forward, whether they continue in their cons, either way, I will be here and thankful that they have chosen to share with us what they have, as it is truly the century's most beautiful and captivating love story.

One last note: I LOOOVE the way Taylor uses assonance and consonance throughout the song, giving the illusion of rhyming which is much like the swindler's behavior in this story.

[whiskeyswifty]

also the mirrorball -> cowboy like me progression is so interesting in the duplicative nature of performance in the name of self preservation. is it for you or is it for me? is it both? something she couldn't quite realize until she recognized it in someone else, staring back at her with "you're not like the regulars" -> "Takes one to know one." also the circus imagery with "And they called off the circus" -> "And the tennis court was covered up with some tent-like thing." The sparkling motif as they look at her with "Drunk as they watch my shattered edges glisten" -> "Eyes full of stars" and beloved dancing motif again with "Spinning in my highest heels, love, shining just for you" -> "And you asked me to dance but I said, "Dancing is a dangerous game." Also the recognition of the performative self with "I've never been a natural. All I do is try, try, try." -> "I've got some tricks up my sleeve" and yet still, she hopes for more with "I'm still a believer but I don't know why" -> "It could be love. We could be the way forward and I know I'll pay for it." the way they both speak to the same impulse to give people what they want with "I'll show you every version of yourself tonight" -> "Telling all the rich folks anything they wanna hear." Eternally performing all in exchange for attention... love... recognition from someone else to help her feel like she exists, perhaps as a way to live forever... "I'm still trying everything to keep you looking at me" -> "Forever is the sweetest con."

[taylorswiftandx]

Taylor Swift and Sports

Note: This post is for the name of a sport, so for example "swimming" appears here but "swam" does not. For "running," I limited what appears here to lyrics that could indicate physically running rather than "time is running out" for example.

'Taylor Swift'

(no sports)

'Fearless (Taylor's Version)'

Fifteen: But in your life, you'll do things greater than dating the boy on the football team

'Speak Now (Taylor's Version)'

Sparks Fly: You're the kind of reckless that should send me running

Mean: And I can see you years from now in a bar, talking over a football game

Innocent: Wasn't it beautiful, running wild 'til you fell asleep?

Long Live: We are the kings and the queens, you traded your baseball cap for a crown

'Red (Taylor's Version)'

All Too Well: Running scared, I was there, I remember it all too well

Stay Stay Stay: That's when you came in wearing a football helmet and said, "Okay, let's talk"

Starlight: We were seventeen and crazy, running wild, wild

The Very First Night: Not trying to fall in love, but we did like children running

'1989 (Taylor's Version)'

I Wish You Would: This mad, mad love makes you come running

"Slut!": Aquamarine, moonlit swimming pool, what if all I need is you?

Is It Over Now?: I think about jumping off of very tall somethings just to see you come running

Sweeter Than Fiction: You never saw it coming, slipped when you started running

Sweeter Than Fiction: They never saw it coming, you hit the ground running

'reputation'

…Ready For It?: Stealing hearts and running off and never saying sorry

Getaway Car: Well, he was running after us, I was screaming, "Go, go, go!"

This Is Why We Can't Have Nice Things: Jump into the pool from the balcony, everyone swimming in a champagne sea

'Lover'

The Man: I'm so sick of running as fast as I can, wondering if I'd get there quicker if I was a man

Miss Americana And The Heartbreak Prince: Running through rose thorns, I saw the scoreboard and ran for my life

London Boy: You can find me in the pub, we are watching rugby with his school friends

Afterglow: Fighting with a true love is boxing with no gloves

'folklore'

The 1: I hit the ground running each night, I hit the Sunday matinee

Cardigan: Leaving like a father, running like water

'evermore'

Cowboy Like Me: And the tennis court was covered up with some tent-like thing

'Midnights'

Sweet Nothing: I found myself running home to your sweet nothings

You're Losing Me: Now you're running down the hallway

Other Songs written by Taylor

Carolina: Oh Carolina creeks running through my veins

Official Alternate Releases

(no sports)

[the-chelseahotel]

And the tennis court was covered up with some tent like thing

[365-days-of-taylor-swift]

November Day 9

Check out the masterpost to vote on more polls!

You can find the other half of this poll here.

[theoldtaylors]

AND THE TENNIS COURT WAS COVERED UP WITH SOME TENT LIKE THING AND YOU ASKED ME TO DANCE BUT I SAID DANCING IS A DANGEROUS GAME OHH I THOUGHT THIS IS GONNA BE ONE OF THOSE THINGS NOW I KNOWW IM NEVER GONNA LOVE AGAIN IVE GOT SOME TRICKS UP MY SLEEVE TAKES ONE TO KNOW ONE YOURE A COWBOY LIKE ME NEVER WANTED LOVE JUST A FANCY CAR NOW IM WAITING BY THE PHONE LIKE IM SITTING IN AN AIRPORT BAR YOU HAD SOME TRICKS UP YOUR SLEEVE TAKES ONE TO KNOW ONE YOURE A COWBOY LIKE ME PERCHED IN THE DARK TELLING ALL THE RICH FOLKS ANYTHING THEY WANNA HEAR LIKE IT COULD BE LOVE I COULD BE THE WAY FORWARD ONLY IF THEY PAY FOR IT YOURE A BANDIT LIKE ME EYES FULL OF STARS HUSTLING FOR THE GOOD LIFE NEVER THOUGHT ID MEET YOU HERE IT COULD BE LOVE WE COULD BE THE WAY FORWARD AND I KNOW ILL PAY FOR IT AND THE SKELETONS IN BOTH OUR CLOSETS PLOTTED HARD TO FUCK THIS UP AND THE OLD MEN THAT IVE SWINDLED REALLY DID BELIEVE I WAS THE ONE AND THE LADIES LUNCHING HAVE THEIR STORIES ABOUT WHEN WE PASSED THROUGH TOWN BUT THAT WAS ALL BEFORE I LOCKED IT DOWN NOW YOU HANG FROM MY LIPS LIKE THE GARDENS OF BABYLON WITH YOUR BOOTS BENEATH MY BED FOREVER IS THE SWEETEST CON IVE HAD SOME TRICKS UP MY SLEEVE TAKES ONE TO KNOW ONE YOURE A COWBOY LIKE ME AND IM NEVER GONNA LOVE AGAIN OH IM NEVER GONNA LOVE AGAIN

[folksyswift]

when i’m at the eras tour, Taylor is about to play the surprise song and she starts singing:

“And the tennis court was covered up with some tent-like thing”

[chloe-or-sam-or-sophia-or-marcus]

Long Live x Cowboy Like Me I passed the pictures around Of all the years that we stood there on the sideline Wishing for right now We are the kings and the queens You traded your baseball cap for a crown // and the tennis court was covered up with some tent-like thing and you asked me to dance but I said, "Dancing is a dangerous game" "Oh," I thought, "This is gonna be one of those things..."

[foxes-that-run]

Cowboy like me

CLM is a love story where 2 outsiders living a life as grifters meet at a wedding and fall in love unexpectedly. It's sweet, it can be viewed as a Haylor metaphor for 2 celebrities finding love when they weren't looking. Suburban Legends is very similar to this interpretation.

Lyrics

And the tennis court was covered up With some tent-like thing And you asked me to dance But I said, "Dancing is a dangerous game" Oh, I thought This is gonna be one of those things Now I know I'm never gonna love again

A marquee on a tennis court sounds like they are at a wedding. An alternative interpretation could be that Taylor is referring to when she had a Trampoline on her Tennis Court and wrote Everything Has Changed, 20 May 2012 when she and Harry got back together.

Dancing is a dangerous thing indicates they have chemistry and are trying to avoid being together. As in Delicate and So it Goes Taylor physical touch risks their relationship escalating

Taylor and Harry were both at Ed Sheeran’s wedding in a marquee, circus tent like thing in Suffolk, 7 September 2019. Taylor then went to Paris to record City of Lover 9 September, while Joe in Toronto. Harry MIA 2 - 12 September, other than wedding reports. Thanks @cntfightmydemonsthyknowhowtoswim for help with these dates

I've got some tricks up my sleeve Takes one to know one You're a cowboy like me Never wanted love Just a fancy car Now I'm waiting by the phone Like I'm sitting in an airport bar You had some tricks up your sleeve Takes one to know one

Similar to in Suburban Legends where she “Didn’t come here to make friends / we were born to be suburban legends / when you hold me it holds me together” Taylor feels she loves her muse is not reciprocated. But she is now waiting by the phone.

She identify’s the muse as Harry who has an expensive car collection, she often refers to him as driving. Taylor used Harry’s cars to differentiate him from Joe in King of my Heart.

You're a cowboy like me Perched in the dark Telling all the rich folks anything they wanna hear Like it could be love I could be the way forward Only if they pay for it

Taylor and her muse are the same, to me 'cowboy like me' is a metaphor for them having the same job.

As in many Haylor songs this has commodified their love life, here the Rich folk (executives and fanbase) pay for it

You're a bandit like me Eyes full of stars Hustling for the good life Never thought I'd meet you here It could be love We could be the way forward And I know I'll pay for it

Taylor has found love in this unlikely place of industry networking but here she knows she will pay for that love. This price is emotional and the backlash she described in Slut! She also sings about not coming here for love in Suburban Legends

And the skeletons in both our closets Plotted hard to **** this up And the old men that I've swindled Really did believe I was the one And the ladies lunching have their stories about When you passed through town But that was all before I locked it down

Skeletons are secrets, here they are sentient, able to plot to mess it up. This is perhaps people with secret dealings or relationships.

On reputation Taylor referred to her other lovers as older than Harry, the youngest. (Ready for it?) and older men as playthings (don’t blame me). Taylor is saying the older men she’s dated have never had her heart but his muse does/

I hear the ladies who lunch as fans and media, gossip about them both. In Now that we don’t talk and Is it over now? Hearing rumours of her muse dating others was a problem, however she’s now locked it down and she is not a problem. This may be that she and her muse have reached an accord on this.

Now you hang from my lips Like the Gardens of Babylon With your boots beneath my bed Forever is the sweetest con

There is no evidence Gardens of Babylon existed so historians question if it is real or myth. Similar to the You are in Love lyric “no proof, not much” that speaks to the hidden relationship.

Taylor is sleeping with her muse, forever is the sweetest con could have multiple meanings, I hear it as she will be with her muse forever, hidden from the rich folk (us).

I've had some tricks up my sleeve Takes one to know one You're a cowboy like me

Taylor and her muse are living the same life, hustling to reach fame and fortune. She sees that her lover plays the same games as her. In To be so lonely Harry also referred to agreeing when Taylor called him on a trick, his trick was to talk to her because he missed her.

Taylor also refers to tricks in Ready for it “you’ve been calling my bluff on all my usual tricks”

And I'm never gonna love again I'm never gonna love again Mm, mm, oh, oh I'm never gonna love again

Never gonna love again could have a double meaning, either she will never love again because this muse is her forever muse, or she's sworn off love forever. To me, the proceeding verses are leading up to the first, this muse is her forever muse.

[ohgaylor]

anyway, did you hear how the tennis court was covered up with some tent-like thing?

[merp-blerp]

A Gaylor/Kaylor Interpretation of "Cowboy Like Me" because it's National Day of the Cowboy

Overblown Analysis Under the Cut ↓

"And the tennis court was covered up // With some tent-like thing // And you asked me to dance // But I said, "Dancin' is a dangerous game" // Oh, I thought // This is gonna be one of those things // Now I know // I'm never gonna love again"

The narrator, who I'm just going to call Taylor (for simplicity's sake even if it might be more of a fictional/metaphorical interpretation of her and others), seems to be at a very high society party. Mentions of a tennis court make me think of a country club, a club for sports and social events that I believe are often populated by well-off people. Country club specifically makes me wonder if there are any ties to Taylor's country music roots. I think country club imagery could represent the rich industry she's in and the tennis court party is a party or gathering people in the industry are having.

Taylor's lover asks her to dance at this party, which could be dangerous if the people at the party don't agree with their type of relationship. Or maybe it's dangerous because Taylor knows she'll fall in love with this person, or she's already in love with this person and doesn't want to fuel the fire in her. It could be "one of those things", a situation that would be hard to go through or get out of.

I like how this line directly parallels the opening lines of "Wildest Dreams". In that song, Taylor believes the relationship will end poorly due to the circumstances she and her lover are in, so she plans ahead for the heartbreak so it will hurt less. "You know how scared I am of elevators // Never trust it if it rises fast // It can't last" (from "Labyrinth"). But in this song, now she's on the other side, knowing how everything went down, but I'll talk more about the last bit of the line later.

Taylor's lover asking her to dance seems to indicate that they are much less concerned about the danger of such an action. In my "But Daddy I Love Him" analysis, I state that Karlie always seemed a bit louder than Taylor and more willing to be seen as queer in some way, even if through the male gaze or in a way that still upholds her closet.

I find it interesting that you can't really tell if this is supposed to be Taylor and her lover's first-ever interaction. It seems ambiguous if they've met before or not. There are theories that Kaylor met in some way before 2013, so maybe that unclearness is reflected here.

It's also interesting that Taylor opens this song with "And". And what? You haven't said anything else. It seems like she's omitted something in the story that would've come before the "And".

"I've got some tricks up my sleeve // Takes one to know one..."

This line seems to connect to "Mastermind" or "New Romantics", as Taylor schemes to get the person she wants. Tay's used card game imagery plenty before. Often, she uses it as a way to communicate how honest someone's being, showing their cards (like in "The Prophecy" and "Cornelia Street") or hiding their cards because they aren't being transparent (like "Say Don't Go" and "Foolish One"). Taylor might not want to fall in love, but she wants the person in general, so she's got tricks up her sleeve. In "Mastermind" she's sure she wants the person physically, but their deep love for one another and committed relationship seems to have happened by mistake almost. À la "I hate accidents except when we went from friends to this" from "Paper Rings" or "We were supposed to be just friends... I was supposed to sweat you out" from "Glitch".

If she and the lover are both queer, it would take one to know one, as queer people are typically pretty good at finding each other through flagging, better than a straight person could due to a lack of knowledge. "No proof, not much // But you saw enough" (from "You Are in Love").

"You're a cowboy like me // Never wanted love // Just a fancy car // Now I'm waiting by the phone // Like I'm sitting in an airport bar"

I also mentioned in my "But Daddy I Love Him" analysis that cowboys have tons of queer history attached to them that often get erased in favor of something more digestible to general audiences, similar to Taylor, her brand, and her music. So Taylor knows that her lover is a cowboy like her, as in queer like her.

"Never wanted love // Just a fancy car" communicates to me that Taylor, as well as her lover seemingly, never wanted to fall in love because it would jeopardize their careers to be in the kind of committed queer relationship they wanted, so why welcome love with open arms if it'll hurt so bad? Plenty of Taylor's songs speak about trying to fight her feelings and ultimately failing, including this one. She's not saying she's never been in love necessarily, but that she's never wanted to be.

The fancy car could also be a light reference to "'Cause all the boys and their expensive cars... Never took me quite where you do" from "King of My Heart". She wanted the shininess of making her own name and fame through bearding with boys, like a "fancy car".

She seems surprised that she's so serious about the relationship because she didn't intend to fall in love, despite clearly wanting this person and having "tricks up my sleeve" to get them. Maybe she expected to "sweat" them out, like in "Glitch". But Taylor's now waiting by the phone just to get their call, so anxious to hear from them.

The "airport bar" is interesting. In an airport, you're supposed to get in and out, not sit around as if it's a hangout space, like a bar. Even if they have bars at the airport, I don't see a lot of people sitting around there for a while. But Taylor does use it that way, sitting at a "bar" when she shouldn't be. It's odd behavior, much like waiting by the phone. Similarly to the airport, you're supposed to go to it when it rings and then leave when the conversation is over, not sit around by it. Taylor finds her behavior odd and compares it to what would be equally odd things to do.

"You had some tricks up your sleeve // Takes one to know one // You're a cowboy like me..."

Taylor reveals that her lover is also as cunning as she is. This line reminds me of "So I kept my cards close to my foolproof vest // But you called my bluff (But you called my bluff) // And saw through all my tells (And saw through all my tells)" from "The Joker and the Queen", which itself reminds me of "But then you called, showed your hand" from "Cornelia Street". Maybe the lover called Taylor as she sat by the phone and was honest about their tricks. The lover knows Taylor's next moves, much like how Betty knows James's, and is ready to play the "dangerous game".

"Perched in the dark // Tellin' all the rich folks anything they wanna hear // Like it could be love // I could be the way forward // Only if they pay for it."

The dark is the shade of the closet. Both she and the lover rest there. I find it fun that perching can be seen as a bird thing, which could tie to "The Albatross".

One way to see it, the "rich folks" are industry people. Taylor and the lover tell these people the things they want to hear. Maybe those things could be lies about just how close they are to calm worries about their romance and the scandal it could cause. They tell them these lies as if they are protecting their love. "Like it could be love". The love Taylor didn't want to have initially.

Taylor was Big Machine's first artist. She was "the way forward" for them as a label. The way to get them ahead in the business. They could've paid for it by giving her money as an employee, but also paying for it as in to suffer for a wrong, as Taylor left Big Machine after they reaped the benefits she brought and betrayed her after, paying for it by having their rep as a label tank due to the bad press from their betrayal.

"You're a bandit like me // Eyes full of stars // Hustling for the good life, never thought I'd meet you here // It could be love // We could be the way forward // And I know I'll pay for it."

A bandit takes things. It can also be a synonym for cowboy in some instances. If Taylor and her lover were "Hustling for the good life" as bandits, they were trying to make it in their fields and "take the money" if you will. From a Kaylor standpoint, "hustle culture" was starting to pick up steam around the time they met.

Women in the industry are often questioned if they got their success through fair means, accused of "sleeping their way to the top", using money to get themselves there, or being "industry plants". Some people want to hate successful women and can't possibly see them as getting to where they are naturally. I don't think Taylor is saying she and her lover actually did those things to get where they are, but is saying she and her lover have been accused of those things. I've seen people accuse Taylor of being a spoiled rich kid who got famous thanks to her father's money, which could've been beneficial of course, but completely ignores how Taylor's image spoke to many people and continues to do so. Meanwhile, if we take this from a Kaylor perspective, Karlie has been accused of clout chasing, using Taylor.

"Eyes full of stars" means having a lot of dreamy fantasies to me. Taylor and her lover had big dreams of making it in the industries they're in. I do wonder if you could also take this line as in "seeing stars", which is when you see flashes during/after being hit in the head. Taylor has dealt with the brunt of a lot of blows from critics about dumb things like being too successful, being too nice, being a "victim-player/playing the victim", being "too skinny" or "too fat", etc. Both she and Karlie were bullied as kids and can be bullied even today for rumors and petty things. It also reminds me of "I thought I was better safe than starry-eyed" from "loml", a line that I think is about Taylor once believing she was better off safe in the closet rather than out and putting herself in danger even if the idea of being out made her happy.

She knew she'd get the lover, but never expected or wanted the love that their relationship gave her. Now she is admitting "It could be love" and that their relationship could be the way forward to happiness. But she knows that she'll pay the price for being herself, like intense bearding or more mental/emotional pain.

"And the skeletons in both our closets // Plotted hard to fuck this up // And the old men that I've swindled // Really did believe I was the one..."

The skeletons and old men are industry people again. If they are old people, I like to see Tay calling them skeletons as if to say they might as well have one foot in the grave 'cause they're not only old but cruel. They are in the lovers's closets because they know about their relationship at this point and plotted hard to tear them apart, either as a couple or tear apart their faith in trying to come out or believe in themselves, etc. The phrase "skeletons in the closet" means something bad that you hide away. So the old men are people they have left behind and would like to keep in the past, so Big Machine in this interpretation.

Taylor swindled these old men by being the way forward and then ditching them as soon as she could without keeping their good name. They really believed she was the one that would make them big, but she ended up being their downfall too, as if she'd be passive about their betrayal.

Alternatively, the old men could be some of the beards Taylor's had, as some of them were significantly older than her, believing that being attached to her would make them more famous, but she brought their image down after the "breakup" with songs that general fans see as pointing to them. I admittedly prefer the former, but thought I'd mention this idea.

"And the ladies lunchin' have their stories about // When you passed through town // Oh, but that was all before I locked it down."

The ladies lunchin' are Taylor's squad to me, discussing Kar passing "through town". I've said in several analyses now that I interpreted the "town" in TTPD songs to be Taylor's tours and the fanbase that gathers there, and I've thought about this metaphor potentially expanding to Tay's past albums too. Tay's friends have their stories about Kar going to Taylor's tours. "Lunching" to me feels similar to saying a tea party in this case, and tea parties in slang can be gatherings to gossip. So Taylor's friends have juicy stories about Karlie at tour; maybe having to do with Karlie "being loud" and not holding back her love in dark crowded arenas/stadiums. I know I've heard stories about Kar visibly flustering or blowing kisses at tours. There was also the "Karlie Kam" during the 1989 World Tour which featured lots of Taylor's friends and Karlie, so the squad has their stories. The ladies lunchin' could be us Kaylors too, honestly, as we do discuss Tay and Kar at tours or literally in towns.

"Before I locked it down" could be many things. It could be a reference to the "love lockdown/blackout" theory. It could be a reference to marriage, as marrying someone could mean making the ultimate commitment and agreeing to be together forever legally (ideally), locking it in place. It could be a reference to the COVID lockdown and Loverfest, Taylor's plan for another tour, a fandom "town gathering" if you will, forcibly canceled, which could connect to the last line's interpretation.

"Now you hang from my lips // Like the Gardens of Babylon // With your boots beneath my bed // Forever is the sweetest con."

Taylor's lover hangs from her lips like a folktale that has no technical proof, as the Gardens of Babylon have no conclusive evidence of where it was, despite historians seemingly believing they existed. There's nothing to point at to definitively say they existed, so some might not believe they did due to that, but some still believe anyway. Very much like Kaylor and being a gaylor. Sometimes there's no proof, you just know.

Boots beneath the bed could be sexual, like leaving a bra at someone's place. But it could suggest domesticity, living with a partner and having your clothes around, or not living together all the time but leaving your things at each others' houses like a second home. Kind of like leaving a typewriter at someone's apartment *wink* *wink*.

"Forever is the sweetest con" could be a call back to Taylor's fear of love and how she thought it was a con that would get her in trouble when it actually turned out to be pretty sweet for her. It could also be taken in a sad way, as she and her lover weren't able to keep things feeling next to normal forever; Taylor bearded again after taking a break during the early stages with Karlie, the love lockdown happened, and the sparkling summer rusted with no coming out. Now their love must be fully elusive and "unprovable" to the general public.

"I've had some tricks up my sleeve // Takes one to know one // You're a cowboy like me // And I'm never gonna love again // I'm never gonna love again // I'm never gonna love again."

"I've got" and "You had" becoming "I've had" could just be Taylor recounting the past, but it could also be Taylor saying she has a new coming out plan brewing since the old one fell through. She's had the plan for a while now, and it takes being queer to know about it. Takes one to know one.

The "I'm never gonna love again" could be taken in multiple ways and I think that's kind of cool. Not every gaylor is a Kaylor and some believe Taylor isn't or was never with Karlie romanticly, which is fine as long as we're all cordial with our different beliefs. If someone believes they were together, but broke up, they could see this line as Taylor declaring she'll never love again, either in a dramatic forlorn way or in the sense of just being aware she'll never feel the exact same for anyone else. But as an LSK, I believe they are still together and see these lines as akin to "And who's gonna hold you like me? // Nobody" from "TTPD". She never wants to break from Karlie so she'll never love again with someone new.

This song is like a choose-your-own-adventure story, where you can believe whatever you want about it. It could be a breakup song or a love song depending on how you see it. Much like being a fan of Taylor and participating in the fandom. You believe in whatever story you please and Taylor will never really confirm or deny anything, at least not to date. You can believe in the general storyline, you can believe in gaylor, you can believe in certain relationships she might've had, or do none of that and just enjoy the art. This song really encapsulates that spirit.