#kaylor analysis

[agreyrose]

So in “Down Bad” the muse is an otherworldly being who picked Taylor up, showed her things she never seen before, changed her life forever, and then dropped her right back off because, again, they weren’t from this world and it wouldn’t be acceptable for them to be together in this world because people can’t/won’t understand it. But Taylor feels like if they were elsewhere, then it would be okay and she could be with this person. Hence why we get:

And as I pointed out in my other post, this is a running theme in her music. There’s so many examples of it it’s insane. Even off some of her earliest albums:

She’s always running away with her muse, out of sight because they taught her “a secret language” she “can’t speak with anyone else.” No one else around her understands her except the muse. So Taylor’s solution is always to run.

[kaylorstree]

🎃👻💀 IMPORTANT INFORMATION 💀👻🎃

[yourlocalbadgerscales]

Idk, it’s just something about Taylor singing “I wanna transport you somewhere the culture’s clever, confess my truth in swooping, sloping, cursive letters” in Paris…

… and then writing this in TTPD summation:

“Lovers spend years denying”… in swooping, sloping, cursive letters ✨

[lavendergaaayze]

from the first time i heard Down Bad i always loved the stranded lines

because of its antithesis to New Romantics

with New Romantics being a guide to living an authentic life in the limelight via bearding

we team up then switch sides like a record changer

it always had a smug feeling to it. i think taylor really felt clever being able to fool the general public. but then we get Down Bad and it seemed like a more mature but melancholy sequel to New Romantics.

i related to it so much because after my own queer journey, i constantly wonder how i put up with so much inauthenticity in my life. i wonder how i could have let so many people push me into heteronormativity when my true self was always there telling me they want to come out. there’s so many signs in retrospect.

Down Bad shows growth in one’s own queer journey. it feels good to get away with stolen moments of true love until you realize that it isn’t something to have to hide.

[badgalazzie]

she’s so loud… like a rainbow with all of the colors 🌈

[merp-blerp]

A Gaylor/Kaylor Interpretation of "But Daddy I Love Him", Despite It Being Obvious, 'Cause Happy Pride

Overblown Analysis Under the Cut ↓

"I forget how the West was won // I forget if this was ever fun // I just learned these people only raise you // To cage you"

The opening line is a reference to a film called How the West Was Won (1962). I'm not well-versed in this film, but I know that older American Western films and the American cowboy aesthetic in general often represent male masculinity, and by extension, male heterosexuality, romanticized into picture-esque imagery of wealthy, cis, white, straight manly men ruling the West through violence. All this despite the fact that historically, many cowboys (not just boys/men, of course, so cow-folk maybe, if that's even a term) were broke queer people, often people of color, trying to survive. Similarly to Taylor, these individuals have had their queer history erased all for the sake of marketability and giving a general audience a more traditionally palatable and relatable portrayal of reality to consume. (For more on this topic, Kaz Rowe has two great videos on queer cowboy history and the queerness of cowboy movies, if that interests you.)

With "how the West was won" not being capitalized like a film title, it seems clear that while she's referencing the movie, she's not directly talking about How the West Was Won (1962). I think this line might hark back to "Cowboy Like Me", a song about Taylor (and her lover) swindling the public into assuming they're straight and the industry "rich folks" into thinking they'll abide by their rules forever. If she continues to beard and swindle she'll win the hearts of the general public more and more, or the hetero "west", but she forgets what the benefits of doing that at the unknowing cost of her happiness were. From my perspective, if Taylor forgets how the West was won, she's saying she forgets what the long-term value of hiding her queerness with straight narratives and beardings had in her mind once upon a time. She forgets if she ever found the beardings/stunts fun in her youth because she has now learned that "these people", likely industry people who have had hands in her career, only closeted her for their own money benefits, not truly caring about her at all.

"Sarahs and Hannahs in their Sunday best // Clutchin' their pearls, sighing, "What a mess" // I just learned these people try and save you // 'Cause they hate you."

I think many songs or moments in TTPD are Taylor envisioning/anticipating what could happen if she were to come out. Obviously, the main source of bigotry against queer people is warped religious beliefs, so the "Sarahs and Hannahs in their Sunday best" are homophobes in this reading, but considering Taylor's fanbase and the feminine names chosen, they could very specifically be swifties who are overprotective of Taylor. Swifties who do deplorable things in the name of protecting Taylor's honor, such as doxxing gaylors online because they disagree with them and see suggesting Taylor's queerness as immoral. These types of swifties will often call the act of speculation on Taylor's queerness "gross" and lean on the reasoning for that being that speculation is invasive, even though Taylor herself has never commented against speculation of her queerness in any way when she very well could if it bothered her. Therefore they have no actual clue if that's how Taylor sees it, it's just their homophobic opinion that the suggestion of queerness is gross and they project the opinion onto Taylor as if anti-speculation should be universal when it's not nearly that simple. They see the act of the Taylor sexuality discourse existing as a mess.

If Taylor is queer, seeing that a number of her fans find queerness disgusting would produce incredibly negative feelings, whether it's anger or sadness. While I don't think every anti-speculation swiftie has these particular feelings towards it (it's complicated and could have a post of it's own), some hetlors hate speculation because they know that it could be correct. If Taylor were out as queer she'd become a "queer thing" they couldn't enjoy the same way anymore; she wouldn't be their mirrorball anymore, and that's terrifying because for many that's Taylor's appeal. If she's queer she's no longer this bestie, big sister, twin from your dreams type of artist to hetlors, she's this "other" that belongs to "others". This subsection of fans try to defend her because they, consciously or not, hate the idea that an assumed "straight" woman could actually be queer and unlike them. And therefore they indirectly hate her. The real her. They'd rather have the brand Taylor Swift because they can relate to it more, so they don't want to see her. "You needed me, but you needed drugs more" (from "COSOSOM"). They try to "save" her from being seen/out 'cause they hate her.

"Too high a horse // For a simple girl // To rise above it // They slammed the door // On my whole world // The one thing I wanted."

Both the "Sarahs and Hannahs" and "Elders" exhibit a sense of superiority Taylor feels like she can't rise above by being simple. Many anti-speculation people see their opinion as the politically correct thing to do. Therefore it's superior to speculation in their eyes, despite the fact that speculation can be a critical step to finding other queers and even can be used as a form of coming out—letting people speculate. They're on "too high a horse". The attempted Lover coming out was very simple, with Taylor flagging rainbows without an obvious showing of potential contempt she had for the industry that closeted her, unlike TTPD, which exhibits much anger towards it. But the simplicity was partly why the coming out attempt didn't work. Taylor's general fandom still viewed her flagging as nothing because she didn't say anything and harassed gaylors while the SBs foiled the biggest part of her plan that would've freed her. In "I Hate It Here", Taylor mentions that she only "rise(es) above" her closeting in her fantasies for now. Instead of getting to come out, her closet door was slammed shut. Her identity, her whole world, was still in the shade of the closet.

"Now I'm runnin' with my dress unbuttoned // Scrеamin', 'But, Daddy, I love him' // I'm havin' his baby // No, I'm not, but you should see your faces"

The title of the song is pretty unanimously agreed to be a reference to The Little Mermaid (1989), which of course came out the same year Taylor was born. Arial yells this at her father when he discovers her hidden interest in the human Prince Eric before destroying her collection of human artifacts.

It's worth remembering that Arial in the film says that she is 16 years old, the same age Taylor was when her first album was released. Arial is still at an age where she would still be under her father's thumb, as she's a child, even if she doesn't feel like one. Meanwhile, Taylor is now in her 30s. She should not need her father's permission to have an interest in someone. The whole scene Taylor paints with these lyrics seems comical, Taylor running after and begging her father as her clothes come undone, maybe because she was caught in the act of making love to this "him", or she's going erratic and ripping her clothes off. Then she screams that she's having her apparent lover's baby. The story becomes more and more soap opera levels of dramatic till Taylor pulls the wool from over the listeners's eyes and reveals that it was all a lie once the facade becomes too crazy to believe unless you're gullible. It's easy to see just the "No I'm not" as a direct response to simply "I'm havin' his baby", but I think it's a response to the whole first half of the chorus. She's not a teen girl begging to be allowed to date, she's an adult.

"You should see your faces" directed at the listeners could be Taylor teasing about the shock on their faces at her wild story or the fact that it's a lie, but it could also be Taylor mocking the look of enjoyment the listener gets from her fake story, which represents her real life beard narratives. The dress unbuttoned story getting crazier and crazier seems to mirror how the real-life bearding narratives get more and more fantastical, at least in my opinion. With the current "Tayvis", Taylor is selling a high school fantasy of the popular cheerleader-type girl getting with the football boy, even though Taylor has never truly been the popular cheerleader-type in reality; she was a bullied nerd during her actual schooling days and has always portrayed herself as separate from the "cheer captain", instead being "on the bleachers" in "YBWM". Then there's the Joe vs. [Rat-dacted] narrative, where Taylor was reportedly head over heels for Joe for 6 or so years, with him not caring that she was famous and seeing her for her, till they suddenly "broke up" and the narrative changed to him stifling her. Then it changed again to her actually being deeply in love with [Rat-dacted] the whole time instead, with Joe simply being an elongated rebound type of relationship. And it gets even more confusing when you try to attach the original [Beard-DJ-dacted] → Tom Hiddleston → Joe Alwyn narratives into the mix. It's all just unraveling into less and less sense. Yet the Sarahs and Hannahs probably don't question a thing because the narrative is still straight, so what's there to ponder?

TTPD's first ever easter egg was "red herring", which is a tool meant to mislead the audience in storytelling, but an attentive audience member might be able to see past it, especially in time/hindsight. The dress unbuttoned story is a red herring to distract from the real story Taylor illustrates in the next half of the chorus, especially when the song is titled after the lie portion of the song. And by extension, in her whole career, all of Taylor's beards, many of the he/him pronouns in songs, lyrics like "your buzzcut and my hair bleach" in "Dress", and songs like "London Boy" and "So High School" are thinly veiled red herrings that keep up the surface appearance of straightness to distract yet invite the listener to dig deeper into the true queer stories in her music once noticed.

"I'm tellin' him to floor it through thе fences // No, I'm not coming to my senses // I know he's crazy, but he's the one I want."

Taylor now tells the listener what she's actually doing. She's telling her lover to run away, presumably along with her, especially with the song's end depicting the lovers returning to "town", but more on the ending later. The lover is still masked by he/him pronouns, but the story is still the truth. (While I do think the "he/him" in this song is in actuality a "she/her", it is interesting to view the first half of the chorus using "he/him" as a part of the red herring Taylor is telling.) In the lie, Taylor begs for her father's permission to love, but in reality, and in a lot of her music throughout her career, Taylor disobeys any disapproving peers and flees with her lover. They could either be fleeing out of the closet, or fleeing away from disapprovers. "Floor it through thе fences" reminds me of "And you know that I'd swing with you for the fences" from "Peace". The phrase "swing for the fences" means "to make a big effort to do something that is very impressive or important, but is difficult to achieve, especially if there is a risk of failure" according to Cambridge Dictionary. Both coming out and being in a glass closet can pose many risks. So Taylor telling her lover to floor it or rush through the fences could mean to run away quickly or have the double meaning of taking a big risk, like coming out or flagging when they should be closeted, along with herself doing the same.

The recurring storyline of running away and/or disregarding naysayers has appeared in songs like "Love Story", "Run", "Call It What You Want", "Speak Now", "MAATHP", "Down Bad", the unreleased "Better Off" from as far back as 2005, and so much more. Going against the grain is her reality. In her music she was never "Scrеamin', 'But, Daddy, I love him'", or just pleading to be accepted, but always running away, dreaming of an environment where she could be accepted, and refusing to come to her senses and just letting the cookie crumble passively. But her beards don't reflect the stories in her songs beyond the surface-level red herrings. The first half of the chorus is the flimsy public narrative, and the second half is the reality.

Taylor's lover is described by her as "crazy". Asylums are a recurring theme throughout this album. Historically and culturally people who were put into asylums were often dubbed "crazy" and mistreated rather than receiving the help they might've needed if they were truly in need at all, as some people who were put into asylums weren't even ill, just perceived as such, similar to queer people who are seen by homophobes as ill when queerness is natural. In this album, asylums represent the industry that raised Taylor and treated her like she was crazy. In the song "TTPD", both she and the lover call themselves crazy, so she and the lover are both in the asylum or industry.

From a specifically Kaylor perspective, Karlie Kloss, particularly in the years before meeting Taylor, has always seemed "louder" than Taylor. And not quite as disciplined in keeping her straight narrative(s) up properly (i.e. Kar recently posting an anniversary pic about being with Josh for 10 years when it's supposed to be 12 years by now. But who has she allegedly been with for 10 years as far as the public's known for sure...?). Through my interpretation of Tay's music, it seems like Kar is Taylor's driving force to potentially come out, as her albums up to 1989 seemed more keen on staying caged and being okay with it, but albums after that have felt like attempts to at least claw on the closet door. Being in a committed relationship with someone willing to be loud might risk Taylor's safety in the cage, so being with someone as "crazy" as Kar is a risk, but she's the one she wants.

"Dutiful daughter, all my plans were laid // Tendrils tucked into a woven braid // Growin' up precocious sometimes means // Not growin' up at all."

Taylor mentions growing up precocious in at least 3 different songs on TTPD, this, "The Bolter" and "I Hate It Here". It's definitely something we're supposed to pay attention to. In "You're Losing Me" Taylor mentions being a pathological people pleaser, which lines up with her talk of trying to be the perfect "good girl" who didn't force herself onto people since childhood in Miss Americana. Often, AFAB people who behave this way are told that they're being very mature by being quiet, whether it's quiet in general or quiet on world issues instead of speaking up. As someone who also grew up precocious, it was always easy to get told you were doing a good job by just sitting pretty and never expressing anything. But these traits might begin to backfire the older you get as you suddenly realize that you never got to be a child, but you also weren't really an adult when you were called "mature for your age", so you might end up regressing in a way or just confused on how to actually be an adult properly.

If you're like me, you believe Miss Americana was originally meant to be a coming-out documentary, or a documentary meant to explain Taylor's journey with her sexuality, released after coming out, before those plans were foiled. Her early developmental years are likely a part of why she isn't out yet. She wants to come out in a very specific way that's more than "just saying it". Especially since theirs a lot at stake with her coming out the bigger she gets, the more employees she has to make sure get paid, and the more she has to protect her family. She can't be a "simple girl" and "rise above it" at the same time because the situation is way more delicate now than it was during the Lover era.

In Miss Americana and "The Archer", Taylor mentions feeling like she is stuck at the age she got famous, 16. If we see the lie of the first chorus representing her flimsy bearding narratives, then she could mean that she never grew up into being openly queer. Since she began writing songs, Taylor has always written her songs with the knowledge that one day they could be publicly heard. Even unreleased songs that are very queer-coded like "Welcome Distraction" still have he/him pronouns, just like the ones she writes to this day. Songs that don't have romantic he/him pronouns or are about a girl have always had plausible deniability, such as "Angelina" or "Question...?". Even if it's just a bit of that plausible deniability, heteronormativity makes it really easy to hide when you do it as well as Taylor does.

The mention of braids calls back to "Seven", a song in-part about childhood. Tendrils can be a part of a plant, which reminds me of "Please picture me in the weeds // Before I learned civility", which could be interpreted as Taylor being more wildly queer in some way when she was young before learning how to act straighter for her own good. Tendrils can also be stray pieces of hair, or metaphorically queerness, that was hidden in a straight, rigid braid. I also think this has to do with "Peter", a song I believe to be about Taylor apologizing to her inner queer child for taking so long to come out; when Taylor began hiding her queerness in her music, I'm sure she thought it would just be till the world was ready to hear her truth some years down the line. And if the song "Change" is anything to go off of, she might've been optimistic that that was soon. "I thought it was just goodbye for now // You said you were gonna grow up // Then you were gonna come find me". But here we are over 20 years after she began writing songs and she's still writing in the same closeted way, for now. The southern drawl (if that's the phrase I'm looking for), or her choice to use words cut short like "Runnin'", "'bout", and "ain't" during this song's most tense moments make this feel like her younger, pre-pop self-speaking up finally.

(As a bit of an extra tidbit, these lines really remind me of lyrics from "Welcome Distraction" that I think are meant to be, "A life and a plan and I wasn't gonna stray // Swore I’d never let a man in my way", but I get different results when I look up the lyrics due to its unreleased status. Younger and current Taylor possibly singing similar lines really expands on the never-growing-up aspect of this reading.)

"He was chaos, he was revelry // Bedroom eyes like a remedy // Soon enough, the elders had convened // Down at the city hall // 'Stay away from her' // The saboteurs // Protested too much // Lord knows the words // We never heard // Just screeching tires and true love."

The "he" being in actuality a "she" is the reading that makes the most sense for this song overall. With all the religious imagery in the song, religious elders would not object in this particular way so hard against a guy and a girl wanting to be together. It makes the most sense when Taylor's lover is thought of as another woman. If the lover is a woman, she would definitely represent chaos for Taylor, not necessarily because of her personality but through the way Taylor wants her and the trouble that want could cause. The lover was not a part of the plans laid. But the lover is also the celebratory feeling of being in love, and the celebratory feeling of pride you get from being queer once you've found someone who you can be yourself around and be proud of yourself with. Revelry.

If we think of the "elders" being the SBs specifically, than them meeting each other at the "city hall" could be them coming together to steal Taylor's masters, which recked her plans to come out the same day the news broke out.

Since I'm personally a late-stage Kaylor, I see the saboteurs saying "stay away from her" as the perpetrators and believers in the Kaylor feud, spreading the never-confirmed rumor that Karlie betrayed Taylor as if it's fact and being overprotective of Taylor by demanding Karlie stay away from Taylor since she's a "trader".

Alternatively, the saboteurs could be telling Taylor to stay away from Karlie, as even though there have been other rumored relationships with women Taylor has had, Karlie has always been the strongest suspect and the most well-known since Taylor was never really able to keep the straight facade up as well as usual around Karlie (i.e. Kissgate). I doubt this reading of the line a bit more purely because the lover has been constantly dubbed "him" through the song and it'd be odd to switch up here, but I thought it was worth mentioning. I'll move on with the former interpretation for this reading.

"Protested too much" is a reference to Hamlet by William Shakespeare. In the context of the play, Queen Gertrude says this as a reaction to Hamlet's play trying to weasel guilt out of her and mainly her new husband for marrying so soon after the original King's murder. When the queen in the play says she'll never remarry after her husband dies, Gertrude tells Hamlet, "The lady doth protest too much, methinks", meaning she thinks the queen in the play is putting on a front that shouldn't be believed. If Taylor believes the saboteurs are "protest(ing) too much" it could mean that she believes that they aren't being honest about their stance against the lover. That their hatred for them and calls for them to go away would falter if time were to prove their stance wrong. In "Chloe or Sam or Sophia or Marcus", Taylor says "If you wanna tear my world apart // Just say you've always wondered", which I take as Taylor knowing that when she comes out, despite the strong rejection of her planting seeds to her truth right now, people will say that they had always suspected that she was queer once they feel socially safe to do so post coming out. If the lover in this song is Karlie, then it's not hard to imagine the saboteurs suddenly backtracking their hate in order to praise Kaylor and Karlie after Kaylor becomes publicly cordial again.

With "Lord knows the words // We never heard/ // Just screeching tires and true love" Taylor and her lover ignore the saboteurs's hatred and carry on with their love. Or they ignore the hypocritical words of "praise" for their relationship that'll come when they come out. I'm more inclined to believe the former due to the mention of "screeching tires", a car reference. I mentioned in my "Champagne Problems" analysis that vehicles often represent the closet/running away from the public for Taylor, so if she and the lover are enjoying "screeching tires and true love", they're making the best of their closet as they run away from the rest of the world for the time being, like how they do in "Paris".

"I'll tell you something right now // I'd rather burn my whole life down // Than listen to one more second of all this bitchin' and moanin'. // I'll tell you something 'bout my good name // It's mine alone to disgrace // I don't cater to all these vipers dressed in empath's clothing"

I believe Taylor is gearing up to come out, reveal at least aspects of her reality, and expose the harm the industry has done to her and maybe even others. This line syncs up perfectly with the "Burning Lover House" theory, with Taylor eliminating all the red herrings of her past albums and telling her truth. If Taylor's career and good name goes down the toilet due to her being herself, it'll be her doing and she wants to be in that much control of herself. The "vipers dressed in empath's clothing" are the fans who harass and harm people like Karlie all in the name of defending and "empathizing" with Taylor, even though Taylor has never okayed that behavior and has spoken against it. The vipers pretend to empathize with the situations they think Taylor's been in and her music, but their behavior shows they don't truly see eye-to-eye with her and what she stands for. She's done catering to them.

"God save the most judgmental creeps // Who say they want what's best for me // Sanctimoniously performing soliloquies I'll never see // Thinkin' it can change the beat // Of my heart when he touches me // And counteract the chemistry // And undo the destiny // You ain't gotta pray for me // Me and my wild boy and all of this wild joy // If all you want is gray for me // Then it's just white noise, and it's just my choice."

Taylor calls out the "judgmental creeps" who hurt people in the name of her. Her asking God to save the "judgmental creeps" could be sarcasm, but I also know Taylor's a Christian (and maybe catholic. I know she grew up catholic), and as a queer Christian, I know that I tend to fully see homophobia as practically an illness, like how homophobes view queerness as an illness, and hope homophobes find it in their heart to overcome those ailments. I wouldn't be surprised if Taylor felt the same way.

The creeps "Sanctimoniously performing soliloquies" that Taylor will "never see". Doing something sanctimoniously is doing something in a performative way, calling back to the saboteurs protesting too much, being hateful only because it's so normalized in the community, and who are likely going to do a 180 once their hate is no longer in style for the times. If Taylor will never see these soliloquies then she could be saying that she'll never give them the time of day, the "words we never heard" from earlier. A soliloquy is a speech that's said when alone without listeners (they're also famously associated with Hamlet so that ties back to "protested too much"), so these creeps are essentially arguing with the wall, as Taylor turns a blind eye to them no matter how much the soliloquies are made to empathize with her or impress her because they do none of those things.

The creeps think their hateful soliloquies will change Taylor's truth. They think if they pretend Karlie doesn't or never existed in Taylor's life in any way and harass Karlie, then it'll change the reality that they secretly or unconsciously know is true, but it won't. The saboteurs and Taylor's closet-ers can't change who she is and what she has with her lover. If the Sarahs and Hannahs only want the straight, beard-narcotic-giving, grey Taylor Swift™, then their pearl-clutching just becomes white noise to Taylor, and it's her choice to be in screaming color, dazzling in the daylight.

"There's a lot of people in town that I // Bestow upon my fakest smiles // Scandal does funny things to pride, but brings lovers closer."

In my "I Look In People's Windows" analysis, I viewed the "town" as a metaphor for her tour locations and fanbase. Since she's of course performing on tour, Taylor's happiness could definitely be faked if she had to make it. She can do it with a broken heart and her fans wouldn't even notice. The amount of people inside the stadiums when she tours is massive, so it really is a lot. And if her beard is at the stadium, or "in town", she can give them all the fake winks and nods she needs to keep up appearances as the time to come out approaches. "Scandal does funny things to pride" has a double meaning. Scandal can take a shot at your ego or sense of pride. But queer scandal can also make you want/have to hide your urge to be openly queer and proud, as older queer celebs like Rock Hudson had to completely deny their queerness if rumors got out of control for their own safety. Still, scandal, or hardships, can bring lovers closer as they persevere through it.

"We came back when the heat died down // Went to my parents and they came around // All the wine moms are still holdin' out, but fuck 'em, it's over."

I like to see this and the incoming chorus as Taylor predicting the wake of the coming out. She'll burn it down, things in "town" or the fandom will be chaos, and then she and Karlie will return/publicly reunite in the afterglow of it all once the fandom's shock wanes. The narrative of this song is that Taylor and her lover ran away, disobeying Taylor's father figure rather than begging him, but when they return her family accepts everything. Taylor is still seen as at most a "PG-13" artist, accessible to children, so their parents, the wine moms, could still be upset once the heat dies down, wanting Taylor to be a sanitized image for their kids to look up to and still pearl clutching at her queerness. But fuck 'em, the pain of the closet is far behind her and her lover now. It's over.

"Now I'm dancin' in my dress in the sun and // Even my daddy just loves him // I'm his lady // And, oh my God, you should see your faces."

The lie is now gone, as Taylor gets to be joyous with her lover in the daylight, out of the shade, with her Dad accepting. She's possibly surprised by that, with the use of "even". She still mocks the creeps's outrage and shock.

"Time, doesn't it give some perspective? // And, no, you can't come to the wedding // I know it's crazy, but he's the one I want."

As mentioned before, the vipers suddenly backtracked their hate, as time proved their actions wrong, but no matter how much they might kiss up now, Taylor for the rest of the song continues to mock them with the post-chorus and outro. Especially with "Tayvis", her fans have been invited to vicariously and happily experience her "relationships" through her, despite her constant singing of private relationships and disapprovers. But the majority of her fans are not invited to her real relationship, the one she truly keeps private. No, they can't come to the wedding.

I like how "he's crazy" changes to "it's crazy". Taylor knows that the post-coming-out situation will be crazy, especially if she plans to expose an awful, buried side of the industry in some mass coming out with others as some theorize. But she wants her lover and the things that come with the freedom.

Thanks for reading!

[ladyamanda123]

Chloe or Sam or Sophia or Marcus - My Analysis

Your hologram stumbled into my apartment

Hands in the hair of somebody in darkness named Chloe or Sam or Sophia or Marcus

And I just watched it happen

This line SCREAMS Kaylor! Karlie lived with her. She had a Karlie room in her apartment. I can absolutely picture a scenario where before they are “together” Karlie is bringing people home to Taylor’s apartment and Taylor is lying in bed just dying inside listening to it happen. It calls back to Hits Different with “I hear your key turn in the door” and Cornelia Street with “But then you called, showed your hand” line where there has clearly been an argument. That argument could have been Taylor losing it about Karlie bringing people home and then Karlie calling Taylor and confessing her feelings for her and the rest is Kaylor history!

As the decade would play us for fools

And you saw my bones out with somebody new

Who seemed like he would've bullied you in school

And you just watched it happen

Its quite literally been 10 years since the start of Kaylor. They officially met in 2013 and this album drops on 2024. Now Karlie is stuck watching Taylor beard with 🏈….the perfect representation of the dickwad football bro that would bully kids in school.

If you want to break my cold, cold heart

Just say, 'I loved you the way that you were'

If you want to tear my world apart

Just say you've always wondered

Years of bearding, distance, lies, etc HAS to have taken a massive toll. If they’ve been together this whole time there’s no way to that hasn’t been hard AF. If they split and then eventually came back together this will have still been all hard AF. Either way, whatever you think the reality might be, this decade has sucked! The idea of them looking back and who they were before this all blew up and saying….what could our life had been like if we hadn’t made these decisions. If we had been brave. If we had had control. If we had done this different. The hindsight must sting something horrible!

You said some things that I can't unabsorb

You turned me into an idea of sorts

If so much of this was out of their control but they decided to try and make it work, the buildup of being together someday….the fact Covid probably played a huge roll in delaying it….over time that distance will absolutely lead to this concept…. “You turned me into an idea of sorts”. Anyone who has been in any sort of long distance or forbidden relationship knows exactly what this is saying. When we don’t have the object of our desire and it builds up over time in our heads to be something it’s not. The pressure that puts on the relationship and the person to meet those unreasonably high expectations that have been swirling in your head all that time. If you’re not careful, if you don’t pivot those expectations, that shit can be insanely toxic to the relationship.

You needed me but you needed drugs more

And I couldn't watch it happen

I think this is a red herring line to make us think Matty, but I also think this could be a line from Karlie’s perspective and the drugs needed is Taylor and her fame and her mastermind plans. It could explain some of the anger at the fans she’s showing now. You wouldn’t accept us. You wouldn’t accept me. I chose you over the person I love and over myself. I played this part for you and now I’m wondering what if I had chosen the other path. What if I had picked her and picked us and picked myself over the drug of being who you wanted me to be for you. This brings to mind the line in Miss Americana where she talks about the addiction to the applause. It also ties in to the 🎃 anon message…. “You’re a selfish asshole….but you’re finally choosing her”

I changed into goddesses, villains and fools

Changed plans and lovers and outfits and rules

All to outrun my desertion of you

And you just watched it

More of the same theme….I made myself into this thing that everyone wanted…the fans, the labels, the media, my dad, etc. All in an effort to justify pushing us back in the closet and you just had to take it and now I think I chose wrong. I should have picked us over them.

If you want to break my cold, cold heart

Just say, 'I loved you the way that you were'

If you want to tear my world apart

Just say you've always wondered

If the glint in my eye traced the depths of your sigh

Down that passage in time

Back to the moment I crashed into you

Like so many wrecks do

Too impaired by my youth

To know what to do

Again, hindsight…looking back and realizing you made a choice and that choice had major consequences on your life and on the life of the person you love and you can’t go backwards and that breaks your heart now.

So if I sell my apartment

And you have some kids with an internet starlet

Will that make your memory fade from this scarlet maroon

like it never happened

We aren’t those roommates from Cornelia Street and Maroon anymore. Everything has changed now. You’re stuck in this marriage/life and that apartment life we shared is gone now…did our choices back that lead us to a place where your feelings have changed? Have you forgotten who we were? Have you moved on? Is that version of us gone now because we’ve come to far from it?

Could it be enough to just float in your orbit

Down Bad reference…also could be asking if it could be enough to glass closet like before. Can we do the friend thing our whole lives and be okay with that? Or do we need to actually “come out” and be openly together for real?

Can we watch our phantoms like watching wild horses

“Dancing phantoms on the terrace” Very clear reference to Kissgate. Can we go back to that? Being “friends” and having the world openly speculate etc etc. I feel like this song is them finally coming back together and going “Okay, this is another cross roads for us. We fucked up last time. How do we fix this? Do we break up and let each other go? Do we go back to how it was…together but technically still closeted? Or do we do what we should/could have done back then and just be who we are and be together openly? Can we rewrite this ending? The prophesy ties in here too as well as the Manuscript. Looking back and wishing you had made different choices and examining if it’s possible to get your life back on track.

Cooler in theory but not if you force it

To be, it just didn't happen

The idea of us that we have been clinging to for 10 years, the expectations, the mastermind plans…are we holding on still to just a dream or an idea that no longer exists? It’s been 10 years and it hasn’t happened like we planned. So now what? Again this screams of a cross roads. They’re looking at each other saying we can’t keep doing this. We need to make a new decision or we will destroy ourselves.

So if you want to break my cold, cold heart

Say you loved me

And if you want to tear my world apart

Say you'll always wonder

Cause I wonder

Will I always

Will I always wonder?

The song ends with the desperate and vulnerable question. In Lover Taylor was exploring those vulnerable early questions in a relationship…..can I go where you go? Can we always be this close? Can this relationship go the distance? Are you my person?

Now they’ve arrived at the vulnerable possible end questions. Stop. You’re losing me. Is this the part where you break my heart? Are you going to tell me I fucked it up to bad and you’re leaving? Are you about to confirm what I fear? That I chose the wrong road and now I’ve lost you?

Ending on the question that way shows the decision wasn’t made yet at this point. The song leaves us in that desperate silence between the question and the answer.

This also calls back for me to Mine. When she runs out and braces herself for the goodbye. That’s what history has shown her. That’s what she expects in these moments. But this person is different. This person called and showed their hand. This person took you by surprise and said I’m not leaving you alone. Are they still that person? Or have you finally fucked it up enough that even they are about to leave you?

I think given the shit that’s dropping now, the TTPD lyrics, the massive cracks in the facade, we can figure out what choice was made…..”You finally chose her” ❤️

Hopefully, now at the end of this part, they can have their do over (Come one come all) and regain what was lost. Hopefully they can change The Prophecy moving forward.

[daisyswift3]

I Think There's Been a Glitch

GUYS I just realized sth crazy while watching this tiktok….I think the reason Taylor has red hair in so many mvs is bc it’s a play on the term RED HERRING. Red HAIR(RING). TTPD itself was a red herring and ends w the manuscript which is basically just the all too well short film (from RED TV) which she has red hair in. The glitches. Error 321. Bad BLOOD mv where she has red hair. THE RED BLOOD MOON. CHAOS 🫚 ANON = GINGER = RED HEAD = GLITCH. Glitching back to the 1989 era??…..

IT'S A CLOCK, IT CAN HELP YOU TELL TIME. She literally told us her entire plan all the way back in 2022. If the midnights vinyls make a clock that counts down to midnight then we’ve officially reached the “blood moon glitch” stage. I'm assuming 1, 2, 3 error/TPD (if you reverse the website glitch) was the moonstone vinyl so now we're at 4, 5, 6 the blood moon vinyl. The Jan 4 🫚 message tells us that we should be counting from 1-10 and not backward. And this means the final act ends in October AKA Halloween AKA pumpkin anon. "Frivolous, tenfold, 3 desires And until the clock strikes midnight Light the ground with fires." Seeing how each vinyl is a quarter of the clock and TTPD (the glitch/red blood moon/red herring) was released in April, I think it's safe to assume each quarter represents 1/4 of a year or 3 months. Which means 2025 or New Year's Day would be Midnight. So perhaps a kaylor reunion in Oct and an official coming out around Dec-Jan. This aligns w another interesting anon message we received abt New Year's Day being when an atomic bomb would go off (volcano anon?). "The real drama, the heartbreaking beauty of it all, unfolds not in a grand finale, but in the quiet unraveling. The magician's greatest illusion is the one you choose not to see." Shits abt to get crazy

[bettyshoweduptotheparty]

1989 - The story of two muses

Back to my first and forever love – Lyric analysis!

1989 is very close to my heart, and I have always found it noticeable that this album has quite a contrast between love songs about a very up and down/anxiety filled relationship on one hand, and the very raw and heartfelt romance as portrayed in ��This Love’ and YAIL on the other.

And the 5 new vault songs we have on Taylor’s version now have added quite a bit of detail to the picture that emerges and I’m more convinced than ever that there are two distinct relationships/muses being described and I fancied doing a deep dive into how each one is described in the music and how the themes connect to other songs. (And it may even explain the beach theme 😉)

Ok, so, I have actually sorted every song from 1989 that is about a romantic relationship, including the 5 new vault tracks, into this scheme (even though I found some really hard!)

Muse 1 – “The heartbreaker” This relationship is described as very up and down, very anxiety-driven, something you can’t walk away from like an addiction, “against your better knowledge but can’t help myself” kind of way. Taylor has described this person as ‘the one that might one day interrupt your wedding, because you’re never truly over’.  Break up: ‘you left me’.

Muse 2 – “The one that came back” While this relationship is by no means described as perfect, it has a very different tone to it. It’s very much based in secure feelings, ‘us against the world’, any difficulty faced is worth it. Break up: ‘had to let it go’. And the person came back when it counted.

(Sorry about the pictures, I couldn't fit a table in any other way)

I am really impressed with how much just five new songs have furthered the story of these two relationships and I (personally) love how much this is filling in the blanks and makes everything make so much more sense. 'You can hear it in the silence' vs 'Now your silence has me screaming' almost killed me, honestly. She really found the love that needs no words. 🥰 And the direct contrast of the metaphors, one relationship as an addiction with very high highs and very low lows, and the other as the calm waves on the shore that continually come in and out with the tide, is just so masterfully done, I love it. And I think given the beach theme of the 1989 TV covers, we can guess which of the muses is being honoured in this re-branding.

Lyrical connections to later albums

Perhaps not surprisingly, these two muses and their lyrical themes show up again in Taylor’s music in later albums. The connection I’ve already seen a lot of people make is the playing cards reference from Say Don’t Go (‘I’m trying to see the cards that you won’t show’) linking to Cornelia Street (‘back when we were card sharks, playing games’). And I love how this tells the story of someone whose previous relationship impacts how they react in a new relationship. Because the person in Say Don’t Go really did lead her on and played her and then left, whereas the Cornelia Street muse didn’t but Taylor thought as much based on her previous experience (‘I THOUGHT you were leading me on…but then you called, showed your hand…’).

Another parallel to Lover songs is the ‘light in the dark’ theme that starts in This Love with “lantern burning/ flickered in my mind for only you”, which feels very similar to “chandelier still flickering here” from Death by A Thousand Cuts. This relationship/lover is the light that perseveres in the dark, even if it’s just flickering, it never goes out. It lights up the darkness (‘glowing in the dark’), whereas the other relationship is a “shot in the darkest dark”. We obviously get a whole lot more songs in later albums that reference love as light in the darkness, most prominently in Daylight, the Lover album closer. But more subtly, I also think that “Takin’ your time in the tangerine neon light” from Slut, and “hang your head low in the glow of the vending machine” from Cruel Summer follow that same pattern. Something that illuminates the darkness. And just btw, Slut and Cruel Summer give me a very similar vibe in terms of different takes on the same situation…anyone else get that? But one last, maybe more subjective, connection is the line “I’ll pay the price, you won’t”. Which everyone immediately took as a comment on double standards between men and women, but I think it could also be interpreted to mean ‘I’ll happily pay the price and take the hit, so you don’t have to’, if you interpret the song to be about dating a man in public to keep a female partner out of the public eye.  With that in mind, the line becomes very reminiscent of ‘I can never give you peace’ from folklore, both expressing that Taylor wants to shield her lover from the media scrutiny that comes with dating her.  

Suburban Legends alone has so many links to later songs that I had to give it its own paragraph. The chorus ‘I didn’t come here to make friends’ is so ‘I don’t want you like a best friend’ coded, and ‘We were born to be suburban legends’ gives me big reputation/big conversation vibes. Other people have already pointed out that ‘flushed with the currency of cool’ draws links to Gold Rush and Gorgeous (‘You’re so cool it makes me hate you so much’) and ‘so magnetic it’s almost obnoxious’ is very similar to ‘magnetic force of a man’ from Lover. All painting the picture of a person who is so cool and alluring that they feel almost unattainable. The whole premise of the song being that the narrator didn’t come to make friends, but instead is on a mission to get what they want, feels very Mastermind to me. The background music over the outro confirms that, as it’s the same production as Mastermind (I call it ‘game show music’ 😊) and the lyrics saying that the muse now doesn’t knock anymore, suggests to me that maybe the masterplan has worked. Lastly, the conclusion of the song being ‘my life is ruined/I always knew it’ is a different way of saying I’ll happily ruin myself for you, as in ‘for you I’d ruin myself a million little times’ from Illicit Affairs.

We don’t get nearly as many references to the first muse’s themes in later music, but ‘fell from the pedestal, right down the rabbit hole” from Long Story Short is a nice drawback to the wonderland theme. Bottom line though, ‘It was the wrong guy…’.

And there we have it, the story of the two muses of 1989. If anybody here is even remotely as excited by lyrical analysis as I am, this one is for you, and feel free to have a friendly chat in the comments if I’ve missed anything!

[butdaddyiloveh3r]

Guilty as sin queer analysis 🪶🤍

[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.

[kaylorstree]

TTPD Gaylor Lyric Analysis

Because there are so many songs, I’m only analysing the gayest ones.

SORRY FOR TAKING SO LONG TO POST THIS!!!!!!

But Daddy I Love Him

Possibly Taylor’s gayest song EVER.

‘These people only raise you to cage you’

A lot of this is about her team, handlers and parents wanting her to stay closeted.

‘These people try to save you because they hate you’

This references judgemental religious people, to whom if she ever came out would want to save her, and pray for her, out of faux concern.

‘Sarahs and Hannahs in their Sunday best’

Again, religious Bible names, but also could reference American conservatives.

‘Told my parents and they came around’

This has to be about being gay. I really doubt her parents wouldn’t have a HUGE problem or be able to influence her that much in terms of problematic men, since she has dated many previously, such as John Mayer and Jake Gylenhall.

‘Tell him to floor it through the fences’

This references Getaway Car, but I also think it references the YNTCD fences, and the other fence meme.

‘I’d rather burn my whole life down’ Dating a man would never ‘burn down’ her entire life.

Down Bad

‘Crying at the gym’

Taylor and Karlie went to the gym all the time. There is so much photographic evidence of this.

Side note (which I think I have previously posted about): I’ve always found it odd how they would be so dressed up for the gym, particularly Taylor. It makes me think they were having lunch or hanging out in secret, for some privacy from the paparazzi maybe?

‘Like I just lost my twin’

Do I really need to elaborate this line?

‘Fuck it if I can’t have him’

I genuinely see no way Taylor couldn’t date any man she really wanted. The only way she REALLY couldn’t have someone would have to be a HUGE reason.

‘Did you take all my old clothes, just to leave me here naked and alone?’

A man wouldn’t take a woman’s clothes, Also, Taylor and Karlie shared a load of clothes back in the day.

Guilty As Sin?

The religious undertones continue, along with the references to heaven and angels.

‘Written mine on my upper thigh, only in my mind’

‘What if the way you hold me, is the thing that’s holy’

‘Without touching his skin, how can I be guilty as sin’

Surely it isn’t a sin by any standards to THINK about having sex with a man? But a woman, YES.

‘I keep my longest locked, in lower case inside a vault’.

This was suggest she has repressed longings she needs to hide, but also suggests ‘loml’ and ‘iwannagetyouback’ are important to listen to and decipher.

Fresh Out The Slammer

‘Fresh out the slammer, I’m running back home to you’

This suggests being imprisoned or trapped. To consider a 6 year relationship as being a prison would be offensive to Joe, but would make sense if this was just another fake relationship she’s trapped in until she can finally be with the person she has been waiting for.

Clara Bow

‘You look like Stevie Nicks, in ‘75, the hair and lips’

At first I didn’t understand why this reference jumped out at me- I then realised that there was this tweet comparing Karlie to Steve Nicks’ ex, Linsday Buckingham.

‘You look like Clara Bow in this life, remarkable’

She sings about women and their features throughout this song.

‘Half moonshine, full eclipse’

Karlie is always referred to the sunshine, hiding the sun would be an eclipse.

Peter

‘In closets like cedar, preserved from when we were just kids’

‘You said you were gonna grow up, then you were gonna come find me’

This suggests waiting for someone when they can finally be together.

‘As the men masqueraded, I hope you’d return’

Men masquerading suggests acting or pretending, just as her beards have been until she can be in a real relationship with the person she actually wants to be with.

iwannagetyouback

‘Wait til you fix your face’

Only a girl would need to fix their face. This also aligns with The 1975 song ‘Girls’, the one that was playing when Taylor and Karlie famously kissed.

‘Curse you out, or pull you into the closet’

I mean, again, when does someone ever literally pull some into a closet? Only figuratively.

Chloe Or Sam Or Sophia Or Marcus

The premise of the song is talking about someone bisexual. It’s impossible to decipher it any other way.

So, she’s outing and implicating one of her previous boyfriends which would be EXTREMELY problematic.

On the other hand, if she was singing about a bisexual woman, that would make sense. There is less stigma surrounding bisexual women compared to men, by some extent.

The Prophecy

‘Don’t want money, just someone who really loves me’

Again, this doesn’t make sense to attribute to a man. Why would she lose money by being in a relationship? Only if it was incredibly controversial, like a queer one.

Also, ‘The Prophecy’ suggests that this is the way things have to be, have been and will be. However, if she changes this it will not be expected for others in the future.

‘I got cursed like Eve got bitten’

‘Was it punishment?’

This alludes once again to sin and religious imagery, but also about how being LGBT can feel like a curse or something unwanted.

‘Looked to the sky’

This suggests God is responsible for the prophecy itself.

‘Pat around when I get home’ alludes to crime and accusations. Perhaps growing up her family were maybe onto her concerning where she’s been and who she’s been with.

Who’s Afraid Of Little Old Me?

‘You don’t get to tell me about sad’

‘You wouldn’t last a year in the asylum where they raised me’

As discussed online, Taylor didn’t grow up with any particular trauma or a bad childhood by any stretch of the imagination. However, the concept of her being closeted on a global scale, to constantly having to lie in order to keep her livelihood is pretty traumatic in my opinion.

A lot of people wouldn’t be able to survive that.

Please tell me what your interpretations are! 🌼🌈

[yourlocalbadgerscales]

“If she's got blue eyes, I will surmise that you'll probably date her (no) You dream of my mouth before it called you a lying traitor You search in every model's bed for something greater”

It’s okay Taylor, you can just say it, I won’t tell anybody. Come on, just say “this song is written from Karlie’s POV”.

[pinkorchidsinspring]

Liverpool Night 3 Surprise Song ✨Breakdown✨:

A lyrical breakdown of course…

Let’s get started on the sheer importance of this combination of songs- CAUSE WHY IS NO ONE TALKING ABOUT THIS

Carolina + no body, no crime

Carolina as in KARLI-e??

Anyway, she had that smirk on her face and called this the “murder Mash-up”?!!! Murder of what darling? Possibly Taylor Swift™️? I digress, lyric time:

Lonesome I'll always stay / Carolina knows / Why for years I roam / Free as these birds, light as whispers

Translated to: Karlie knows why Taylor roams from man to man and is so “lonesome” in the public eye. After all she’s just as free as any musician right…?

And you didn't see me here / No, they never did see me here

Translated to: the fans didn’t see her there with Karlie, no they never really saw her with karlie. Most of them never saw the intent behind Taylor’s eyes when she looked at Karlie, and vice versa. :(

And she's in my dreams / Into the mist, into the clouds

Oh, Carolina knows / Why for years they've said /That I was guilty as sin / And sleep in a liar's bed /But the sleep comes fast

Translation: Karlie knows why the fans have said for years that she’s gay and sleeps in another liars bed (aka Karlie’s), however she lives peacefully when she’s alone with her lover, and simultaneously lies to the public weekly about her real lover.

No body, no crime as in if there’s no evidence than it never happened??

Much like how she emphasized “infidelity” when she sings

Her husband’s actin’ different and it smells like infidelity.

How very telling of whether or not the same muse in the first song (Karlie) has a ‘faithful’ husband (-when you’re in a lavender marriage it is different morally, but to the public it is disloyalty to even consider he is with anyone other than her)

I think I’m gonna call him out

Maybe as in… I don’t know… 🏳️‍🌈call her husband out of the closet… coughs in coumingoutlor*

ALSO just an added bonus is the sheer amount of times she emphasizes the word “SHE” in the performance… there’s way more than just this short clip 🏳️‍🌈✨💅

The manuscript + Red

The Manuscript as in the ENTIRE torrid affair?!

Whilst reading this part of the analysis keep in mind that I believe that the manuscript is most likely from Karlie’s point of view in the future, it may be from Taylor’s, but it makes the most sense as Karlie’s POV.

Now and then she rereads the manuscript / Of the entire torrid affair

Now and then Karlie remembers (aka rereading) a time (a manuscript) full of ‘difficulty and tribulation’ (the definition of torrid), that was her lavender marriage to Josh.

They compared their licenses

I believe that this could possibly be about Taylor & Karlie in the way that Taylor has a drivers license but Karlie has a Marriage License in the era of this memory.

He said, "I'm not a donor but / I'd give you my heart if you needed it"

Gay best friend offers to give Karlie his heart, or at least his legal (-and for show) heart if she needs it.

And the years passed / Like scenes of a show

From there the marriage begins, and much like a show, Karlie and Josh are constantly performing.

Then the actors / Were hitting their marks/ And the slow dance/ Was alight with the sparks / And the tears fell / In synchronicity with the score

This is her looking back at the lavender marriage/ bearding time of their public relationship. The actors (aka the girls and their men) truly were hitting their marks and convincing the public of a romance worthy of a small Nicolas sparks novel. Obviously this isn’t a happy thing to look back on, and with the pretend comes all the times she wished she could just be done with the agony of pretending all the time. The agony that caused her so many years at the time.

And at last / She knew what the agony had been for

At last, present day (the future) Karlie knows why they did it, she looks back and knows they made the right decision because something good has clearly come from it.

The only thing that's left is the manuscript / One last souvenir from my trip to your shores

The only thing that’s left are the memories of this time.

Now and then I reread the manuscript / But the story isn't mine anymore

Now and then she remembers, but she’s out now. The story isn’t hers anymore. She isn’t in the closet anymore.

Red as in

Remembering him comes in flashbacks and echoes / Tell myself it's time now gotta let go/ But moving on from him is impossible / When I still see it all in my head

IF you have read this, tell me how I’m wrong when this entire combination of surprise songs so obviously has an invisible string CONNECTING THEM all together. (not so invisible now 😉) Because no I didn’t pick and choose what lyrics from red Taylor sang night 3. She did that herself. AND THESE WERE what TAYLOR Alison SWIFT chose to play directly after the manuscript.

Happy pride month people 🏳️‍🌈✨💗

[badgalazzie]

The cabin where Kaylor stayed on their Big Sur trip

I wanted to share with you guys what I found via tiktok (@/heyitsmoog) and twitter (@/kaylortruther) on Taylor & Karlie’s trip to Big Sur in March 2014. I’ve just recently got into gaylor but the connections between Big Sur and folklore are really worth sharing.

Taylor and Karlie stayed at Deetjen’s Big Sur Inn and the only private cabin is the Castro Cabin.

And there was only one bed…

There’s also a winery and vineyard called Folktale in Big Sur. Look at the font 🥲

Wisteria and lavender grows all over Big Sur.

Here’s a parallel to ivy lyric video.

Post inspired by this thread. Please visit the original tweet for more pics and info!

[kayloronmain]

Fresh out the Slammer x High Infidelity

So the 2016 Met Gala. A night that is so wrapped up in the Taylor SwiftTM folklore. Being there with Tom. Crushing on Toe. All while dancing with Karlie. She bent the truth too far that night. She was dancing around, dancing around the truth. And it continued throughout the summer. But she's still doing it. Another summer taking cover. To the house where you wait up, where the porch light gleams. She still visits her lover in the darkness. She was with her in dreams. But her times up. It's time for release!

For more reflections:

You know there's many different ways That you can kill the one you love The slowest way is never loving them enough

That summer she spent so much time parading around with Tom. Had but just one hour of her sunshine.

But Fresh Out the Slammer is a reflection on this period in life. This is the story. She did her time, she's running home. Soon but not yet

Another summer taking cover, rolling thunder He don't understand me

She's still stuck doing her masquerading. Here we go again. Handcuffed and under a spell. Hating the bearding but having to spend the time doing it and it becoming all consuming. Because remember, when she is out and about with the toys, she isn't with her sunshineeee~~

Now pretty baby, I'm running back home to you Fresh out the slammer, I know who my first call will be to

The slammer is her bearding. But daily disappearing for just a glimpse of his smile. Once she's done with that, you know the only other person she cares about.

Camera flashes, welcome bashes Get the matches, toss the ashes off the ledge As I said in my letters, now that I know better I will never lose my baby again

We're setting fire to the manuscript. She's saying case I didn't make it clear, I've been telling you in my songs, I will never lose my baby again OK

Now, pretty baby, I'm running To the house where you still wait up, and that porch light gleams

She's still talking about visiting her lover in the darkness. Her lover waits up. Leaves the porch light on for her. For now.

To the one who says I'm the girl of his American dreams And no matter what I've done, it wouldn't matter anyway Ain't no way I'm gonna screw up now that I know what's at stake Here, at the park where we used to sit on children's swings Wearing imaginary rings 💔

But it's gonna be alright, I did my time