#the getaway car imagery

[torturedpoetdeptchair]

But Daddy, I Love Him!

Okay, so yes, the obvious little mermaid reference (anyone noticing MORE WATER on this album?!) this song is most obviously a Love Story with a twist—what if the man you thought was Romeo, is in fact, no Romeo?

And it’s got a story arc like Love Story, mostly defined by reactions to her fame/judgement of her choices, leading to a happy ending but I think the line “Time, doesn’t it give some perspective” which I think it SO INTERESTING.

So along with her rebelling against what is expected of her as a dutiful daughter of fame (these people only raise you just to cage you), we get the Getaway Car imagery, and see her presenting herself as totally out of control—running with her dress unbuttoned, telling him to floor it through the fences, that she would rather burn her whole life down than listen to one more second of all this bitching and moaning!—and while there is the fake happy ending, where she convinces her parents to love this man—it’s followed by the line about perspective!

(obligatory TAyriel drinking Aviation gin for Ryan Reynolds pic)

And I think it’s perspective on so many things—her younger self romanticizing a forbidden relationship, that she can change a bad man, that a wild boy and wild joy are what she wants! And perspective on fame, and how living up to the image and standard of all the “vipers in empaths clothing” is just as toxic and horrible as what she thought she wanted. One way or another, whether you agree with her choices or not, they’re hers, even the mistakes, and she wants to own and grow from them.

(i love this song)

[lipslikethegardensofbabylon]

#ttpd analysis day fourteen - The Smallest Man Who Ever Lived

i'm gonna be honest with you this was the hardest song to dissect because every time i listen to it the bridge makes me lose my mind. it has the same addictive pull as the bridge of Would've, Could've, Should've, Cruel Summer, Getaway Car. it's SO good, imo one of her best bridges ever written.

i first want to comment on in your Jehovah's Witness suit which is again another lol-lyric moment, but in a big brain connection i saw that @thisisctrying pointed out that he was essentially selling her a religion. i love this bc it continues the religious imagery of Guilty As Sin?

you hung me on your wall, stabbed me with your push pins makes me think of a couple of different things - image wise, it makes me think of pinning a map up on a wall, marking places that you’ve been (also a hint of carve your name into my bedpost ≠ i'm just a notch in your bedpost, but you're just a line in a song (from FOB)). it also makes me think of pierced through the heart but never killed. the other connection that comes up is to “put a pin in it” means to save something for later, typically to postpone something useful but not for immediate use. this meaning feels more likely given the subsequent were you a sleeper cell spy? in fifty years, will all this be declassified?

the bridge just goes so hard, I’m obsessed. there are a few callbacks to previous work but to me this bridge is on mtr echelon:

the betrayal in did you sleep with a gun underneath our bed? is so good. esp given how she historically describes her bed/room as a safe space - turned my bed into a sacred oasis/drew a map on your bedroom ceiling/the warmest bed I’ve ever known

the gun weapon of choice is also interesting to me considering she’s also discussed daggers and poison, and a gun specifically has to be loaded. it makes me think of memories feel like weapons/we gather stones, never knowing what they'll mean, some to throw, some to make a diamond ring

the line were you writing a book? IMMEDIATELTY made me think of so I'll go back to L.A. and the so-called friends who'll write books about me, if I ever make it which is especially painful i think for the narrator. they’ve historically said “I struggle a lot with the idea that my life has become unmanageably sized,” she continued. “Not to sound too dark, but I just struggle with the idea of not feeling like a person.” and this lyric does exactly that - it reduces the person to a product, a story to be sold for a profit.

to end, the lyric and in plain sight you hid but you are what you did and I'll forget you, but I'll never forgive gives me such chills. i saw someone share that they had a history of abuse and that lyric made them feel so validated. there’s just something so haunting and angry but beautiful about it.

[chosetherose]

getaway car / august / the other side of the door

then

this is me trying

Wait. What? For the love of the soft cozy blankets I am still in…what is going on right now?

Mind you I’ve just woken up and haven’t watched any clips of Melbourne N2 yet but this feels very much like Kaylor Tumblr lore.

August: like the timeframe we’ve talked about *for years* as being potentially important for Jerklie contracts?

Getaway car: like leaving at the end of a contract?

The other side of the door: like a closet door? The secret hideaway house’s door (you know the imagery she always sings about)?

This is me trying: like something in the works is hard to get done?

We know Taylor sends messages with her surprise songs so this combo has my mind racing with options.

Telling us 🚜 is around until/through August? Start of football season disconnect? But she’s about to be on break for September and October so hmm.

Jerklie split after August 2024? This feels like wishful thinking. I’m wondering more and more about 2025 for them.

Taylor sharing her truth? This would very much surprise me too, especially since she still has tour dates on the books. Her last show before her 2 month+ break is 8/20. I guess she could share what she wants to share then let it soak in for a few months. But still it seems far fetched to think about. You’d think she want the option to be out of the spotlight depending on how she feels.

Or maybe it was just a cool song combo.

[tortured-gaylor]

from the journal of ava: but daddy i love him notes

according to swifties, this is a little mermaid reference: she gave up her voice to be with the man she loved

idk i haven't seen the little mermaid since i was 5, i'll take their word for it

i just learned these people only raise you to cage you

links back to who's afraid of little old me?: "you wouldn't last an hour in the asylum where they raised me"

growing up famous, she was never able/allowed to just be or do what she wanted. this is also made clear in the miss americana documentary. seems like scott especially tried to keep her quiet and caged

she has used cage imagery often throughout her career in music videos and visuals (look what you made me do music video, the shadows in the visuals during the midnights set at the eras tour, the speak now ornament, the glass cage in the willow music video,...)

the spotify library installation also had a cage, but the birds were free on another shelf

sarahs and hannahs in their sunday best, clutching their pearls sighing "what a mess" i just learned these people try and save you cause they hate you

this seems to allude to religious people being homophobic. they try and "fix" you by praying for you

she's the odd one out, doesn't fit in with the norm (the sarahs and hannahs)

they slammed the door on my whole world, the one thing i wanted

again with the controlling

is the muse the whole world? is it simply freedom? or is it something else entirely?

now i'm running with my dress unbuttoned, screamin' "but daddy i love him"

like the love story music video

song themes are similar to love story as well with the disapproving father

i'm having his baby... no i'm not but you should see your faces

GAGGED

you should have indeed seen my face

dutiful daughter, all my plans were laid

idk what to tell you

it's queer

her parent (likely her dad) planned her whole life out for her and she fulfilled this "destiny", even if that life doesn't suit her

tendrils tucked into a woven braid

links back to seven: "your braids like a pattern"

the saboteurs protested too much

homophobes

lord knows the words we never heard, just screeching tires and true love

links back to getaway car

this could mean words of acceptance, likely from the church(goers) again

i'll tell you somethin' 'bout my good name it's mine alone to disgrace

she's done being sheltered and ready to make her own decisions, decide who she is all by herself

god save the most judgmental creeps who say they want what's best for me sanctimoniously performing soliloquies i'll never see, thinking 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 this wild joy if all you want is gray for me, then it's just white noise and it's just my choice

this is her saying people have no business being all up in her relationships. they seem to think they have the moral upper hand and get to decide what's best for her, even if they don't know her or her partner at all

she pulls an uno reverse on them by asking god to save them, just like they did for her

this could mean she's gonna love who she loves, despite what the world wants/expects from her

this calls back to the people "saving" her cause they hate her (so homophobes again)

this is a reach but did they try to strip her of her pride colours and she finally decided to ignore these very loud voices?

scandal does funny things to pride but brings lovers closer

✨ shared trauma ✨

for real though, scandal could be her being outed by whatever tabloid

forced her deeper in the closet, but closer to the (also closeted?) muse

we came back when the heat died down

the scandal forced them to keep a low profile for a bit but they came back (stronger than a '90s trend?)

went to my parents and they came around

reminds me of That™ miss americana scene

also reminds me of how the dad in love story eventually came around

time, doesn't it give some perspective?

there's something in this line but i'm not sure what

[foxes-that-run]

Blue walls

Reputation Magazines 1 and 2 | Everything Has Changed | Paper Rings | Peace | Call it What You Want Lyric Video | Lover Album Cover Photoshoot | 1989 Deluxe Polaroids

Taylor has used the imagery of painted blue walls on Red, 1989, Reputation, Lover and Folklore. While many Swifties imagine this is Taylor literally painting a muses brothers wall's blue, I don't agree because the blue wall was in:

lyrics on Red, Red has a link to Daylight and the lover prologue also

the 1989 Polaroids,

the CIWYW lyric video & Reputation magazines, looking staged. She also wears a cap similar to the Red TV cover.

the Lover Album Cover shoot, looking obviously staged where Taylor says it is possible album covers many times. The final Lover cover had her hair dyed/coloured/painted blue. In the video you can see Taylor had painted a heart on the blue lover wall, which is a happier sky blue daylight shade than in Reputation's depressed navy.

Symbolism

Walls can symbolise barriers, a shield to threats, isolation, boundaries and privacy, a separation of private and public.

Blue can symbolise calm, serenity but also depression and sadness. Taylor uses two very different shades in this way.

Painting can symbolise covering up, transforming or hiding something.

Brother - sometimes a brother is just a male sibling but it can also be a close trusted friend or companion.. perhaps a male friend who Taylor cowrote a love song about you with

To me I think the blue walls are a separation of Taylor and everyone else, her life is too public and she is exposed which made her sad, or blue:

She met the muse in EHC and took down her blue walls, letting them in.

In 1989 the polaroids for Clean and IWYW she has tall blue walls again, the tone looks like a pale blue with a yellow filter. This may be a happy shade and the filter makes it ambiguous, like that album.

On Reputation she paints the walls blue again, this time a depressed navy, her life is private and she's depressed. The background on CIWYW is also blue.

On Lover the shade is happy, but the scene is so forced. The lyric is remembering painting walls with someone, like a secret safe world. Paper Rings copies the melody of Breathe In, Breathe Out a song about a break up that Taylor mentioned on Tumblr on 25 June 2015 and referred to in Getaway Car and Labyrinth. Paper Rings is about a more complex feeling than it seems, and seemingly was written before Reputation was released or earlier.

Finally in peace the muse is painting dreamscapes on the walls …not an escape or reality but an image of a dream on a metaphor for being trapped.

[scheodingers-muppet]

reputation (stranger things version) let’s go

…Ready For It? - jancy. the whole “i’ve known i wanted you since we first met” kinda vibe really fits them i think. “some boys are trying too hard, he don’t try at all though. younger than my ex’s but he acts like such a man” sorry steve. “knew i was a robber first time that he saw me. stealing hearts and running off” nancy is really the only character we see *multiple* people crushing on. steve and jonathan, of course, but also dustin, fred, arguably robin.

End Game - steddie. “you and me, we got big reputations” king steve and the freak, two sides of some big reputations. “i got some big enemies” being hated by the school and town and the literal upside down. “in rumors, i’m knee deep” “i’ve made mistakes…but something was born on the forth of july” steve’s huge character arch we see in season 3, over the summer.

I Did Something Bad - nancy. shes realms the only one i can see for this one. the confidence and bad-ass of it really only fits her

Don’t Blame Me - steve. why? because i said so. i fully believe he loves VERY deeply. why? because. i said so.

Delicate - steddie, from eddie’s pov. “my reputations never been worse so, you must like me for me” literal manhunt for him and steve’s making googoo eyes at him. “dark jeans and your nikes” is so steve coded. “i know that it’s delicate” not only is eddie wanted for murder, but also, steve’s reputation would be very delicate; even been friends with eddie could make him a target

Look What You Made Me Do: el. “the role you made me play of the fool” and being used in vecna’s plan. “i got smarter, i got harder in the nick of time” “i don’t trust nobody and nobody trusts me” her trust has ben broken so many times and shes had to fight tooth and nail for the trust in her now “the old taylor can’t come to the phone right now. why? oh, because she’s dead” paralleled to el coming back at the end of season 2 completely changed

So It Goes… - jancy, from nancy’s pov. “we breakdown a little, but when you get me alone, it’s so simple” “you know i’m not a bad girl but, i’ll do bad things with you”

Gorgeous: ronance, from nancy’s pov. “i got a boyfriend, he’s older than us.” “you’re so cool, it makes me hate you so much.” and “i’m furious at you for making me feel this way” with how nancy didn’t like her at first. “ocean blue eyes, looking in mine” tldr; nancy’s gay awakening is robin

Getaway Car: jancy. “i wanted to leave him. i needed a reason” and “he poisoned the well, i was lying to myself” about steve. “we were flying but we never got far” and “think about the place where you first met me” with the relationship starting to crumble. “we were jet set bonnie and clyde until i switched to the other side” i like to imagine this as her going to robin but that’s just me.

King Of My Heart: steddieeeeee. okay listen. i love when fics make references to king steve and steve likes the name. i adore royal imagery with them. “we rule the kingdom inside my room” “king of my heart, body and soul” i LOVEEE eddie calling him king steve again, but as like, “you’re the king of my heart” “you’re love is a secret im hoping, dreaming to keep”

Dancing With Our Hands Tied: byler. “i loved you in secret…how were you to know?” “deep blue but you painted me golden” when blue meets yellow in the west. “i loved you in spite of deep fears that the world would divide us” i think mike might be starting to realize his feelings for will while he’s gone, loving him even though he’s scared the distance will hurt them. “dancing like it was the first time”

Dress: ronance. why? idk it just fits. nancy and robin get close, become friends and nancy realizes her feelings for her. i can also see elmax if you remove the sexual elements of the song.

This Is Why We Can’t Have Nice Things: steve to tommy and carol. “it was so nice throwing big parties” “it was so nice being friends again…but you stabbed me in the back while shaking my hand” tommy leaving him for billy. i just need to see steve lose his shit, honestly.

Call It What You Want: steddie. idk what you want from me, its so steve talking about eddie before they’re official. “my castle crumbled over night…they took the crown but it’s alright” losing “king” title. “nobody’s heard from me in months” falling down the social rankings and living a more “quiet” life (ie no parties and such) “my baby’s fly like a jet stream high above the whole scene” both eddie looking down on social hierarchy and also eddie perched on his chair during campaigns, being literally above the whole scene. “all the jokers dressing up as kings” billy taking his role. “you don’t need to save me, but would you run away with me?” steve maybe talking to eddie about how he can “pay him back” for saving his life or something cute like that.

New Year’s Day: stobin. this song has always kinda been platonic to me. but it’s so them. the devotion of always being there, no matter what or why. “please don’t ever become a stranger whose laugh i would recognize anywhere” I MEANNNNN

[kayloronmain]

Deciphering I Know Places

I Know Places has always been one of my favorite tracks off 1989. After a recent listen, it feels so important to the story Taylor is weaving in her discography, how it ended up progressing, and how it may ultimately end. Let’s examine 🔎

You stand with your hand on my waistline

It's a scene, and we're out here in plain sight

Evidence submitted. They were on full display. People started paying attention to their relationship, their coming’s and going’s.

I can hear them whisper as we pass by

It's a bad sign, bad sign

Somethin' happens when everybody finds out

See the vultures circling, dark clouds

Vultures circle prey as they wait for death. An omen that a situation is about to take a terrible turn.

Love's a fragile little flame, it could burn out

It could burn out

Wild winds can burn out a fragile little flame. “A rose by any other name would smell as sweet.” But not in her case. In her case, her love is a scandal. When the talking turns to screams, Taylor isn’t allowed to pursue her love anymore (publicly).

Cause they got the cages, they got the boxes

And guns

What comes to mind is the heartbreaking juxtaposition between the language of being on the run, sneaking, and escaping in the 1989 era to the cages and boxes of Reputation.

Was she the crook who was caught? And caged? And tamed?

Notably, this is the first time we see the vault imagery that became a prominent component of the Taylor’s Version re-releases.

They are the hunters, we are the foxes

And we run

She used to run. Now she’s in a getaway car. First she was forcibly caged, her wings clipped. Then while planning her escape, shots fired, her sparkling summer ruined, and she went willingly into hiding, accepting her fate, at first. Willing the prophecy to be different. Hiding has been torture. Now she’s breaking free

Baby, I know places we won't be found, and

They'll be chasing their tails trying to track us down

Cause I, I know places we can hide

I know places, I know places

She knows places, but those places only exist in her mind now. In her music. In her folklore. Places you need a key to get to. The only one is hers. This is where she hides. All this showmanship.

Lights flash and we'll run for the fences

Let them say what they want, we won't hear it

Let them say the rumors that are terrible and cruel, but honey most of them are true?

She’s not running anymore, she’s driving a getaway (k)ar telling him (jaMEs) to floor it through the fences.

Loose lips sink ships all the damn time

Not this time

She’s taking no chances on having her plans foiled this time. Her revenge will be perfectly executed. She’s pleading her case to us.

Just grab my hand and don't ever drop it

My love

(I) They take their shots, but we're bulletproof

(Hide) and you know for me, it's always you

(I) in the dead of night, your eyes so green

(Hide) and I know for you, it's always me

Shots were fired but indeed she rose up from the dead, she does it all the time. And now she’s coming back for what’s hers. Her reputation and her name.

The fact that she’s literally singing

I……… Hide…….. I……… Hide……… in the background vocals.

Followed by

I-I-I-eye eye 👁️

[atticsandwich]

omg a fellow swiftie! can i ask what you think each character's favorite album would be (and why) i loved the songs you picked for each of them on your list!

THANK YOU FOR ASKING I LOVE YOU.

and so without further ado:

What I think each obey me character's favorite Taylor Swift album would be

(this is just for fun pls don't take it personally if you don't agree with my takes lol)

LUCIFER

Red. i think a lot of people would go with rep or folklore for him but Red is such an intensely passionate album overflowing with multitudes of emotions that it'd be the one he'd gravitate towards.

His favorite on the album would either be state of grace or treacherous, i think. both songs just encompass the feeling of an unexpected emotion/encounter that not only intensifies but also fundamentally changes you as a person.

acknowledges ronan and how it's a beautifully written memorial. however, he'll only listen to it if it's a particularly reminiscence-heavy day

MAMMON

he's a reputation girlie DEFINITELY. The almost grunge-like feel of the first half juxtaposed with the second's more romantic upbeat pop (and ends with a piano ballad? yeahhhhh) is something he would soooo eat up. Not to mention he already has a rep era outfit ready by way of his demon form lol

favorites are don't blame me and getaway car and by the time new year's day hits he's an emotional mess. "please don't ever become a stranger who's laugh i could recognize anywhere" he'd be projecting the hell out of himself in that situation and he'd start whining and demanding that you never forget him. as he does.

LEVIATHAN

1989. Listen to me. He's a pop music enjoyer to a T. He probably won't admit it though. He'll probably say his favorite genre is like alt but then secretly have emotion and 1989 as his spotify (devilfy?) top streamed. (outside of course, his animanga playlist)

Very much a deep-cut kind of guy. He can appreciate style and blank space but firmly believes i know places and you are in love are superior and majorly underrated. and he's right...!

SATAN

this one's easy. evermore. no questions. in my opinion it's taylor's most literary-driven album, even more so than folklore, which i feel like is more storytelling-driven (pls tell me u get what i mean even though they're kinda the same thing but also not 😵‍💫). evermore is just one of those album that you'll only get to fully appreciate once you start trying to understand the songs as they stand on their own, and not as an interconnected puzzle.

cowboy like me is his favorite. i mentioned in my list that it's also the taylor song i associate the most with him, but i feel like he'd fully understand the underlying kinship and desperation that encompasses the song, especially if he tries to relate it with how he sees you, and how you're the only one on the same playing field as him.

almost cried to marjorie. he's in his feelings like that. closure appreciator (aka he's got taste. he's got the vision).

ASMODEUS

you'd think it'd be 1989, but it's actually Midnights. he'd LOVE the sultry take on synth-pop, and it's an album he would constantly have on ritation when he's getting ready to go out, or if he just wants to feel it. There's something about midnights that's so dark yet so unmistakeably airy and light, romantic, devastating, and sensual.

maroon or karma would be his favorite. karma is more of his favorite 'feel good' song though, while maroon is his favorite because of its imagery and emotion.

BEELZEBUB

just like the list, he was the hardest to pick for 😵‍💫 i think it's mainly because Beel doesn't really strike me as someone who gets way into an artist, and generally vibes with whatever he can find. He probably has a gym playlist consisting of multitudes of different artists and genres. If i had to pick though, i think his favorite would be Red - it's actually a pretty good workout album in my experience.

his favorites are the lighter songs, like everything has changed and starlight. i think he's the type to enjoy those types of songs more - lighthearted, upbeat, sweet. will not listen to ronan. he can handle the more emotional songs, but ronan made him lose his appetite. (i get u beel i never listen to it too i cant)

BELPHEGOR

folklore. what better album to sleep to? he doesn't sleep to it because it's boring per se, but because folklore just has that soothing essence to it that's very calming despite how devastating a lot of the songs are

doesn't get why betty, james, and augustine can't all be together, though. ("if me, you, and beel can make it work, so can they," he says when you ask.)

favorites are the last great american dynasty (thinks rebecca is funny), peace, and hoax. peace is hit top pick though, he resonates with its themes of "you're too good for me, i've wronged you yet you chose me, i'd give the world to you if you asked"

DIAVOLO

oh this guy would LOVE Speak Now. it's such a magical, whimsical, yet also so emotional and nuanced all wrapped up in a ribbon of both love and heartbreak. there's a sense of childlike fascination in diavolo that i think would resonate with how humans process love, yearning, loss, uncertainty, and just living, and i think speak now encapsulates all of those perfectly.

he's a romantic, let's be real. his favorutes are sparks fly and enchanted, and he can't help but think of you and how he felt when he fully realized how he felt towards you. it's explosive, magical, and he just wants more.

would unironically suggest long live as a RAD graduation song

BARBATOS

another Midnights kind of guy. not in the way asmo is, though. while asmo loves midnights for both its romantic and sensual aspects, barbatos favors this album because of its overall thematic depiction of the progression of the emotional spectrum - be it love, longing, grief, and life is general. i think people forget that midnights is also very introspective of Taylor's career, with multiple callbacks and small references to her previous work, while also being an album of processing separate emotions in a set timeline of her life.

adores the 3 am tracks, labyrinth, and mastermind. mastermind specifically is something i feel like he can resonate with specifically if he associates it with you, although whether you're the mastermind or it's him, he's not entirely sure. all he knows is that he's glad everything fell right into place for you to be his, or vice versa.

SOLOMON

his favorite would be Lover, i think. for many reasons, but especially because it's specifically you he thinks about the entire time listening. there's plenty of different facets of love to explore too - the domesticity, the sensuality, even the absurd and blasphemous. of course, there's also a little inkling of heartbreak and angst in the record, but he's one to appreciate those, too.

favorites on lover would be... well, lover, the titular track. he loves the domesticity he feels with you and yearns for it. i think he'd resonate with ma&thp too, but mostly for its storytelling. death by a thousand cuts will start to make him sad if he ever thinks about the both of you in that situation, so he probably skips it often for his own sanity (and probably sygb too?)

SIMEON

FEARLESS.

honestly it was either fearless and lover again, but i feel like he's more in line with the "i love you but reality isn't always a fairytale. why do you always feel so close, yet so far away?" idk if yall realize this but fearless is such. a melancholic album?? look at the tracklist and tell me I'm wrong, u can't.

funnily enough. relates to white horse a lot, mostly because of his own insecurity with how he stands between your relationship with him vs. the brothers. do u get what im trying to go for here. for that same reason he also loves you belong with me.

LUKE

this precious angel is a debut appreciator. the naive, almost juvenile level view on love, while trying his absolute best to prove himself, cherishing every friendship he makes, and especially his friendship with you. He's still improving himself as an angel day by day so one day, he'll establish himself as someone you can fully rely on!

his favorite is i'm only me when i'm with you - everyday he spends with you is something he truly cherishes, and he's always looking forward for the next time he'll get to hang out with his best friend.

THIRTEEN

another reputation girlie. argue with a wall (jk)

listen, she just thinks it's fun, she loves the intense beats and synths, and loves to scream the lyrics. i don't really think she'll care much for the more romantic songs, but she can still appreciate how heartfelt they are.

special exception to dwoht - the depiction of a suffocating exhiliration of love gets to her. it's so dangerous yet so tempting, so bounded yet so freeing....

aside from the aforementioned, also loves ready for it...? and i did something bad. it's the anticipation and thrill and conniving facets that enthralls her.

loves 1989 just as much though. pop bible ftw

RAPHAEL

folklore enthusiast. loves how mellow yet emotionally nuanced and diverse it is. loves exploring the various depths of human emotion portrayed in the album. listens to it while he sews, it gives him a pretty steady rhythm.

if you mention loving the album, he'll make you a cardigan. (just like the one in the song, he'll say. he looks stoic but you can tell from the handiwork that he's spent an absurd amount of time and dedication to perfect the piece. wear it often. he loves seeing it on you. he won't say that outright, though.)

his favorites are the most emotional and introspective ones - my tears ricochet, mirrorball, this is me trying, hoax. again, mostly because he loves peering into human psyche and that spectrum of emotions in particular.

MEPHISTOPHELES

he'd say Speak Now because it's Dia's favorite, but it's actually Red, funnily enough. will never admit it though, because he knows it's also luci's pick.

the intensity in red's portrayal of passion and heartbreak is something he appreciates, and while not necessarily 100% relating to, he understands why anyone would feel that way. love is a very fickle yet powerful thing, after all.

there's an essence of longing in the album, both for what was and what will be. Sometimes he can't help but see himself and you in those situations; him knowing that associating with you would be too much trouble than worth, but also he can't help but want to deepen his relationship with you, yet he's unsure where he can comfortably place himself between the brothers and the others vying for your attention. he hides that insecurity in stride though, the less you know the better.

top picks are treacherous and holy ground, for reasons mentioned above.

ok that's all of them. that took way longer than i thought LMFAO thank you again for asking anon!! i hope i didnt disappoint 🫡🫡

[looselipssinkships-x]

please ramble some more about the lyrics in campagne for my real friends

I didn't proofread this. It is roughly 1700 words. I have a lot of feelings. Buckle up.

Okay let’s take it from the top:

You are a getaway car, rush of blood to the head – okay so this isn’t a huge one for me but like, it sets the scene, sets the tone, starts painting a picture of this person. They are chaos, they are energy, and this song is sung directly to them while being about them. 

I’m just the covers on top of your bed – I am waiting patiently for you to come home. I am warm, I am safe. I am an afterthought, I am no one, I am invisible until I am gone.

I keep you warm and not ask you where you’ve been – this line comes and goes so quick and the first time I actually heard the lyrics they hit me like a freight train. This line is the kind of shit I read and write stories about. It speaks to care, to compassion, the kind of gentle acceptance that we all crave (or maybe it’s just me and my emotional damage but I feel like it’s a smidge universal). You know I’m flawed and messy and sometimes the choices I make aren’t the best but you’re not leaving. You’re there when I am ready to return.

With your backless, black dress, soaked to the skin – the imagery and the syncopation of this line just, does things to me. I need to be in a club somewhere (preferably gingers in nyc ily) in something tight, black, and backless. This person is clearly the center of the singer’s attention, and the way I choose to interpret the song, they appreciate the attention of the masses but the only person whose attention really matters to them is the singer (y’know that feeling when there’s a whole crowd of people but it feels like it’s just you and that one other person? yeah. those kinda vibes.)

And when it’s said and done, they’re all scramblin – okay so I misheard this line for like, a while. I heard “we’ll all straggle in,” like the way everyone crawls into bed in the early hours of the morning after the bars close up. It continued painting the picture of the dichotomy between recklessness and security, with the imagery of the singer as the warm bed you return to for quiet comfort. ‘They’re all scramblin” paints a bit of a different picture, maybe this person’s energy is a little more reckless, sends people running. They’re someone you can’t tear your eyes away from until it all starts to crash and burn and then it flips and you can’t bear to look. The singer says “they’re all,” not including themself. They will stay when it all falls apart. 

And we’re friends, we’re friends – The repetition of this line feels sooo intentional, like this person needs to be reminded, reassured. Especially with the first ‘we’re friends’ being a little more drawn out and melodic and the repeat being shorter and percussive, it’s firm, it’s no nonsense, it’s “this is not up for debate.”

Just because we move units – I don’t have a lot to say about this line, because I have no idea what it means, but I thought it said “just because we know you dance,” which feels like it fits the song, and seems like a allusion to the focal person supporting the singer/band. It expands the picture to this focal person coming to shows and maybe that’s how they met, because their energy has to be eye catching, intoxicating.

Strike us like matches, ‘cause everyone deserves the flames – I think every time I think about this line I debate how it can be interpreted. Are we keeping everybody warm? Are we putting everyone on display and shining a light on them? Are we lighting them on fire? Regardless of the interpretation of why everyone deserves the flames, the imagery of “us” being what initiates the fire is so vivid, especially the way striking a match creates a tiny little explosive reaction, such  a significant spike in energy made through the strike.

We only do it for the scars and stories – We do it for the future, we do it to keep on living, we do it all to squeeze every last bit from this short little life we have. This is from the era where at least half of fall out boy still felt like they were living with a deadline. Do you know what it is to feel like the sand in your hourglass is falling faster and faster and you are desperate to make the most before that time runs out? You know it will hurt, by now it doesn’t cross your mind for things not to hurt, but this is what feels real right now. This person with their frenetic energy makes you feel alive, and you sink into that. 

The sounds of this small town make my ears hurt – All you want is to get out. Small towns can be so suffocating, and the dynamic between two people desperate to make it out can be…fraught. It’s so hard. The context of this song in a small town?? Everyone is trying/everyone is shining?? God do you know what it is to love someone who shines so bright in such a dull town and have to watch as the dullness threatens and eats away at their bright? Maybe this is just me because goddamn everything feels like a fight, like pulling teeth, like i will never ever be free from that small town no matter how far I move, no matter how much I change, it will always eat at me.

They say, you want a war, you’ve got a war but who are you fighting for? – The desperation in this line, the angst, the way you can feel your heart rasping up your throat in this line, begging an answer “what are you fighting for?” and until you know what you are fighting for how can you do anything but lose?

Tide’s out, the ships run aground, we drown, traitors in shallow waters – syncopation bay-beee!! When i started thinking about all of fall out boy’s boat mentions I was like wow, kinda weird for a bunch of kids from the midwest, then I remembered Chicago is on a big ol fucking lake. (I am from the very landlocked midwest. The first time we had a flood warning after I moved to the east coast I almost threw up because I couldn’t figure out what was going to flood. Was the ocean going to flood? Is the Charles going to come into my apartment? I was unwell). ANYWAYS. This line always makes me think of that thing about like, drowning is still drowning whether it’s 3 feet or 3 miles of water, though the specific “traitors in shallow water” feels like someone is making an example of them, this was intentional. When did we go from car to boat though? Are we fleeing? Are we drowning upon departure or arrival? My personal heartache is upon arrival. We finally believe we might have made it, only to not have made it at all. That feeling of your dreams being just barely out of reach. The reference as “traitors” feels like a call back to the small town. Small towns feel like they can go either way? Depending on who you are I guess, and why you’re leaving, small towns are either “you can always come back home” or “once you leave you’re not welcome back.” But it could an accusation from either side, really. That awful in between feeling of feeling trapped in the small town but you have decades of small town instilled in you that you stick out like a sore thumb when you get to the big city. It takes trial and error to learn to assimilate yourself into this new place, and there’s a lot of time spent feeling like you don’t belong in either. (If you’ve stuck it out this far, I understand if you think i should go to therapy. You would be correct). 

Everyone is trying, everyone is shining, everyone deserves the flames, but it’s such a shame – what!! an!! ending!! I know I already threw a bit of this line in earlier but I’m obsessed with both the lyrics and the way it’s sang almost as a call and response. Everyone is shining is fighting to be heard, the repetition of such a shame during previous choruses and the emphasis on each word as the song ends. What is such a shame? The way they’re shining? The way they burned out? It feels very much the way people from my town react when they find out someone they used to think highly of is now tattooed and queer. They’ve fallen from the path of the righteous, what a shame. It’s also the energy of like, how people react after people, especially young people, die from something like suicide or overdose after being bullied/demonized/what have you and left with no support system but everyone’s supposedly sad after they’re gone. 

Conclusions: Champagne for my real friends, real pain for my sham friends feels very much like a tale of best friends/lovers escaping a small town. (Backless black dress feels like a manic pixie dream girl, but also I saw a post the other day about pete being patrick’s manic pixie dream girl, and it doesn’t not fit). The person the singer is talking about is such a bright light in their dead end town and the singer just feels hollow and empty and angst ridden, they’re both a little too jaded by life already. They try and make it out but it’s hard, it’s so hard, it eats at them and they wear on each other, but by god they’re going somewhere, they’re going to make it out. Only they don’t. They crash and burn. Their ending burns as bright as their beginning did, as bright as anything. They had a good run. They gave it their all. Look at how those good kids ended up, isn’t it sad? Champagne is for all the small town kids fighting for a life bigger than what they were told they had to grow into.

[thelasttime]

love story + getaway car = but daddy i love him

i understand how it can be difficult to dissociate a song from its perceived muse (especially when that muse is someone as heinous as ratman) but also. i think it's not so cut and dry as that when it comes to how taylor comes up with her songs. yes on one hand bdilh can be interpreted as her giving the bird to swifties/media critics/etc who criticized (in many ways rightfully) that particular relationship. on the other hand it can be so many other things, like media commentary on her love life overall, literally her family/dad's disapproval of someone (ala ours), inspired to some extent by an actual feeling/experience she had then ran with and decorated with fictional imagery like in folkmore, a combination of some or all of those things, etc. i don't think it's fair to a song or to her to reduce it to a moment of problematic delusion where she says screw the world i love this guy and if you criticize us in any way you're a creep. in fact if that was all it was, after everything else that went down that she talks about on the same album, i don't think she would have published the song at all. she (and jack) are obviously proud of it as a piece of art in its own right. the same goes for songs like ours and i can see you when you compare them against dear john and wcs. but again that is just my opinion and i respect however anyone might feel about the song as well.

very much agree with everything said. i think the introduction says a lot about the music and not everything is as cut and dry as we think!! and she fully recognizes that what she was doing was not the right thing

[sophietv]

The Multidimensions Of Taylor's Art

I wrote this piece on Twitter back in May when people were very loud about the fact that trying to attribute a song to a muse was disrecpectful and was diminishing Taylor's art.

I think today is a good day to repost it:

Taylor Swift's art is multidimensional. She said it herself and as we keep repeating over and over again, she's a Mastermind.

The message she conveys with one song is larger than just being a good song with beautifully written lyrics.

I see a lot of people talking recently about how when people talk about the muses of the song they are "reducing" Taylor's art to her muses. And how gaylorism was somewhat "better" before because the focus was less on this.

(I would like to differ on this, but it’s a whole other conversation). 

But Taylor's art is multidimensional and intentionally directed to her fans. ALL her fans.

In one song, she manages not only to create a masterpiece with incredible lyricism.

She also manages to include deep queer references, ingrained in queer history. 

She also managed multiple times to reference queer arts, books, poems, artists etc.

Acknowledging all of it and appreciating it is, yes, very important. I mean, it's the core of her art and a beautiful part of gaylorism.

Who hasn't learned a lot about our own history all thanks to Taylor?

But while this part is very true. Taylor also manages to make sure in every song that we can identify the muse.

It has always been an important part of her artistry. Remember liner notes from Debut to 1989?

She even decided that it was not enough, and starting with reputation, she started including Taymojies, making sure you knew very well who and what that song was about.

But she doesn't even stop there. For most of her songs starting with 1989 all the way to Midnights, she's also making sure that you can identify said muse through her lyrics.

Ever wonder why, for most of her songs there's parallels you can easily make with social media posts, articles, interviews, videos etc?

She's making sure that she references things in her songs that will point to the muse and that you'll be able to track back with some simple google search. 

All of this is very very clearly intentional.

She also uses the same imagery that she knows very well her fans can recognize since 1989 while talking about her muse.

Using recurring themes that she's well aware her fans (us) will associate with the person (Sun, gold, New York, daisies etc.)

But the depth of her work doesn't even stop there. She'll even use timestamps in her songs to communicate certain messages or references to certain persons. And this is when the length of the song is not simply intentionally referencing one person:

Ex Sweet Nothings: Karlie's birthday

And so much more…

This can clearly be qualified as pure genius. But she pushes it even farther. 

If we take Midnights for example she even samples her songs to older ones to help you identify the time, the event or the muse this song references.

Lavender Haze - I Think He Knows

Question…? - Out Of The Woods

Maroon - King Of My Heart

And it's not even the end of the massive amount of information that she manages to put out in a 3-4 minutes song.

This is simply astonishing. 

Her brain truly is amazing.

Her lyrics videos are made to help you identify what and who the song is about. With visual clues and very intentional uses of capital letters and comas.

For example: "Your Midas touch"

Making sure you know she's referencing king Midas who turned everything he touched into gold (gold again, interesting).

Or: "some name dropping sleaze tell me what are my Wordsworth"

From The Lakes, referencing the poet William Wordsworth.

And it still goes further. She will include small details in her songs that you'll pick up on if you pay attention but will fly right past most listeners. A sort of secret message for those who really pay attention.

Ex: in Getaway Car, when she sings.

"Ain't a circus, ain't a love story and now we're both sorry (we're both sorry)"

This is two girls singing "we're both sorry. Meaning the relationship she was trying to protect with this getaway car was with a girl. Once again pointing to the muse.

I already wrote a novel and I haven't even touched the music videos and tour visuals…

But her genius in songwriting doesn't even end there.

Because, if you don't know the muse or refuse to see it. She'll also manage to buy some plausible deniability in her songs so it kind of points to her PR relationships too.

Not much, just enough so that if you really want to believe those Hollywood stories, you can hold on to these lines/visuals and be happy.

But she manages to do so, while staying true to the real muse and not so much to the PR relationship.

A good example is Invisible String and the famous Yogourt shop line with the wrong shirt color.

If your life depends on Toe, it's enough to make you happy and you won't search much further.

However if you search a bit, you'll find out how she intentionally messed up the lyrics.

I could still go on and on about the depth, the genius and the complexity of her songwriting, but I think you see my point now.

She said it herself, her songwriting is painfully autobiographical. And she puts an immeasurable amount of effort in it to make sure you get the story right.

Dismissing the muse of the song to not reduce her work is just as bad as dismissing her queerness and all the references she does to it, to not "speculate" on her.

In both, of all the multidimensional approaches that she uses in her art. You are keeping yourself from enjoying and dismissing about 50% of her hard work. If not more when you include music videos.

Acknowledging her muses to the songs is not reducing anything but more embracing as much as you can the genius and hard work she puts behind every song and every artistic decision she makes.

And I'm not saying that you HAVE to acknowledge the muse or else you are not a true fan. Art is meant to be enjoyed differently by every person and at the end of the day you take what makes you happy, simple as that.

My point is to say that acknowledging the muse in her music is not reducing anything. Quite the contrary. 

[bloodmoonlich]

Reference Hunting (list below the cut)

Scattered letters with letters REP TV IOIO (or 1010)

Bracelets spelling: eras tour, it's me hi, big reputation, YNTCD, Taylor's Version, Swiftie, Cruel Summer, karma is a cat, getaway car

Lucky number 13 (chest, scrabble pieces, 3 sets of dice)

Butterfly imagery all over (various references) - butterflies in hair feel like Clean ("butterflies turned to dust")

Wearing an eras tour Lover bodysuit

Cat imagery all over (Karma is a cat / general cat lover)

Flower imagery all over (Various flower lyrics)

Plastic snakes (rep)

Mirrorball center top

Seagull for 1989 (or dove for "peace") center top

I ❤️ NYC center top

Red scarf and red puzzle piece for all too well in top left

Champagne glass set on neck (champagne problems)

Boots and guitar top right (Debut / country eras)

2 areas with roses in top 5 (multiple rose references in songs)

Cardigan

Clock set to ??? (I think Midnight with the seconds hand on 7?)

Wearing sparkly jewelry (Bejeweled)

Red lip imagery in top left + lipstick in bottom right (red lip classic thing)

Guitar picks in her hair

Pine trees in bottom right (evermore eras set)

Heart shaped glasses on neck for Red

Newspaper on should for rep

Moon charm on shoulder (love you to the moon and to saturn)

Red shoe or cleat in bottom left (in the shoes I gave you as a present or maybe Travis ref)

Smiley bead on chest (tied together with a smile)

Some of the bracelets in her hair look like the little braids she wears

[tsdrinks]

Breaking Down Every Alcohol Lyric in Taylor Swift’s Musical Catalogue

It’s known that Swift enjoys a drink from time to time, as she’s referenced various types of alcohol in her songs throughout her career that’s spanned almost two decades. In this article, we’ve tracked down every reference to a specific alcoholic beverage Swift has ever sung, broken down by album.

Editor’s note: In order to curate the list, I listened and read the lyrics to all 231 of Swift’s released songs and features (much to the enjoyment of my lovely wife). Yes, even the 2007 Christmas album. No, it didn’t have any alcohol references. All in all, the listening took a little over 15 hours. 

I entered this project fairly neutral on Swift and came out, well, not quite a Swiftie, but certainly a fan of her more recent eras. Now, let’s get into the list. Are you …Ready For it?

Taylor Swift, Fearless, Speak Now and Red

Swift’s first four albums contained no references to specific alcoholic drinks. This is unsurprising considering the records came out when Swift was between the ages of 16 and 22. Swift wouldn’t make her first alcohol reference until 2014, with the release of…

1989

On “1989,” Swift, who was 24 at the time of the album’s release, references alcohol in only one song.

“Clean”: “You’re still all over me like a wine-stained dress I can’t wear anymore.”

Reputation

“…Ready For It?”: “Island breeze and lights down low. No one has to know.” Island breeze is a fruity vodka cocktail.

“Gorgeous”: “Whiskey on ice; Sunset and Vine. You’ve ruined my life by not being mine.” The first whiskey reference of Swift’s career! A big moment (to us, anyway). 

“Getaway Car”: “I knew it from the first Old Fashioned we were cursed.” Ah, the Old Fashioned: A true classic and probably the most well-known whiskey cocktail. A well-made Old Fashioned truly Hits Different. This is back to back songs on the record referencing whiskey. In her bourbon era? 

“King Of My Heart”: “Up on the roof with a schoolgirl crush, drinking beer out of plastic cups.”

“Dress”: “I’m spilling wine in the bathtub. You kiss my face, and we’re both drunk.” We’re seeing a stark tonal shift on “Reputation” compared to the pop star’s first five albums. More booze, more romance, less wide-eyed country gal. 

“This Is Why We Can’t Have Nice Things”: “Jump into the pool from the balcony. Everyone swimming in a Champagne sea.”

Lover

“Paper Rings”: “The wine is cold like the shoulder that I gave you in the street.”

“Death By A Thousand Cuts”: “My time, my wine, my spirit, my trust. Tryna find a part of me you didn’t take up.”

“London Boy”: “And you know I love Springsteen, faded blue jeans, Tennessee whiskey.” “London Boy” seems to be about Alwyn and is chock-full of cheesy British references. This line comes toward the beginning of the song, sort of an “I love America, but this British guy…” thing. Springsteen, faded blue jeans and Tennessee whiskey are three things Swift equates with America, or at least Nashville, where she moved at age 14 with her family to focus on her music career. Here, we have it on record: Taylor Swift loves Tennessee whiskey.

“False God”: “Hell is when I fight with you, but we can patch it up good. Make confessions and we’re begging for forgiveness. Got the wine for you.”

“You Need To Calm Down”: “You are somebody that I don’t know. But you’re takin’ shots at me like it’s Patrón, and I’m just like, damn. It’s 7 a.m.” Another line that doesn’t refer to alcohol in a literal sense. In this case, it’s a simile. Patrón is a popular brand of tequila commonly consumed in shot form. 

Folklore

“The 1”: “Rosé flowing with your chosen family. And it would’ve been sweet if it could’ve been me.”

“The Last Great American Dynasty”: “Filled the pool with Champagne and swam with the big names and blew through the money on the boys and the ballet.” This line harkens back to “This Is Why We Can’t Have Nice Things” with more swimming in Champagne imagery.

“August”: “August sipped away like a bottle of wine, ’cause you were never mine.”

“This Is Me Trying”: “Pouring out my heart to a stranger, but I didn’t pour the whiskey.”

Evermore

“Willow”: “Lost in your current like a priceless wine.” This refers back to the first line of this verse: “I’m like the water when your ship rolled in that night.” It’s another case of Swift using alcohol as a simile; she’s caught up in the current of this person’s presence — trapped in the riptide. And it appears she feels like she’s drowning, as priceless wine being lost in a current evokes shipwrecks like the Titanic. 

“Champagne Problems”: “Champagne problems.”

“Champagne Problems”: “Dom Pérignon you brought it” Dom Pérignon is a brand of Champagne, and Swift sings about Champagne a lot in this song, as you can guess from the title.

“No Body, No Crime”: “Este’s a friend of mine. We meet up every Tuesday night for dinner and a glass of wine.” Este Haim of HAIM, that is. Her and her sisters’ band is featured on this track.

“No Body, No Crime”: “Her husband’s actin’ different, and it smells like infidelity. She says, ‘That ain’t my Merlot on his mouth.'” In this fictional song, Este believes the red on her husband’s lips is not from her merlot — a dark red wine — but presumably from another woman’s lipstick. 

“Ivy”: “So tell me to run or dare to sit and watch what we’ll become. And drink my husband’s wine.” On “Ivy,” Swift tells the story of a married woman who falls in love with someone else and has an affair.

“Closure”: “I’m fine with my spite and my tears and my beers and my candles.” This is the first beer reference we’ve gotten since “Reputation.” Swift may not be much of a beer woman. 

Midnights

“Maroon”: “‘How’d we end up on the floor, anyway?’ You say. Your roommate’s cheap-ass screw-top Rosé, that’s how.” Screw-top wine: Not typically the best. Should’ve Said No to that one, perhaps.

“Maroon”: “The burgundy on my T-shirt when you splashed your wine into me.” Oof, wine spills are the worst. Shake it off, Taylor.

“Mastermind”: “I’m the wind in our free-flowing sails and the liquor in our cocktails.” You can’t sail without wind, and you can’t have a cocktail without liquor (mocktails don’t count).

“Paris”: “Cheap wine, make believe it’s Champagne.”

“Paris”: “‘Cause we were somewhere else in an alleyway, drinking Champagne.” From make-believe Champagne to real Champagne in the same song. That’s a success story. 

Conclusions

All in all, Swift has made 28 specific alcohol references in her work. This isn’t counting references to being or getting drunk or vague, unspecified drink mentions, such as the line “my fourth drink in hand” in “Dear Reader” or “Clink clink” in “Slut!”

Nineteen of the 28 were wine references, so it’s a safe bet that Swift is more of a wine drinker than anything else. However, she’s also sung about whiskey or whiskey cocktails four times, which indicates that perhaps she enjoys a little bourbon or an Old Fashioned from time to time.

Seven of the alcohol lines came on “Evermore,” which is officially Swift’s booziest album. In her drinking era during COVID-19? If there’s one thing we can always count on from this megastar, it’s relatability.

“Evermore” is followed by “Reputation” with six alcohol references, then “Midnights” and “Lover” each with five. “Folklore” is next with four, and finally “1989” with only The 1.

We’ll be sure to update this list with any new alcohol references that appear on “The Tortured Poets Department” or vault tracks on the remaining two “Taylor’s Version” albums.

Until then, Dear Reader. 

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[exheists-a]

﹟𝗘𝗫𝗛𝗘𝗜𝗦𝗧𝗦. a private and highly selective portrayal of james kelly from the 2014 film american heist. this blog will contain sensitive and triggering material —— follow at your own discretion. minors and personal blogs do not interact.

—— ❛❛ 𝚆𝙷𝙰𝚃𝙴𝚅𝙴𝚁 𝙷𝙰𝙿𝙿𝙴𝙽𝙴𝙳 𝚃𝙾 𝙼𝙴 ﹠ 𝚈𝙾𝚄 𝙰𝙶𝙰𝙸𝙽𝚂𝚃 𝚃𝙷𝙴 𝚆𝙾𝚁𝙻𝙳? ❜❜ —— ❛❛ ﹙ . . . ﹚ 𝗬𝗢𝗨 𝗙𝗨𝗖𝗞𝗜𝗡𝗚 𝗧𝗨𝗥𝗡𝗘𝗗 𝗧𝗛𝗘 𝗪𝗢𝗥𝗟𝗗 𝗔𝗚𝗔𝗜𝗡𝗦𝗧 𝗠𝗘. ❜❜

﹙ ✟ ﹚ a study in: having nothing to lose , the getaway driver , this is my brother and i need a shovel to love him , and the desire to live a peaceful life but being unable to.

𝗘𝗦𝗧𝗔𝗕𝗟𝗜𝗦𝗛𝗘𝗗: ¹² / ³⁰ / ²⁰²³ ... 𝙰𝙻𝚈𝚂𝚂𝙰 ˢʰᵉ / ʰᵉʳ

trigger warnings: blood , death , murder , weapons , military , war , incarceration , parental neglect , general n/sfw content and imagery.

my name is alyssa ( she/her , twenty6 ) and i'll be your metalhead and horror enthusiast mom for the rest of your journey ! a full rundown of my rules can be found here but you should already know the basics. don't be weird. don't be an asshole. and don't steal. this blog will be considered perpetually low and fluctuating activity.

JAMES " JIMMY " KELLY. CISMALE HE / HIM. THIRTIES. EX MILITARY. MECHANIC. GETAWAY DRIVER. GOD WON'T GIVE HIM A FUCKING BREAK.

place of birth ... new orleans , louisiana.

education / occupation ... high school graduate in 1999. › joined the u.s army in 2001. › served in iraq for one year in 2003. › trade school to become an automotive mechanic in 2006.

health ... undiagnosed post traumatic stress disorder.

habits ... cigarette smoker. occasional drinker.

criminal record ... convicted felon. sixteen months served in prison for attempted burglary in 2004 at the age of twenty three. › off record includes: illegal possession of a firearm , reckless driving , street racing , drag racing , assault , battery , aiding and abetting , complicity , conspiracy , armed robbery , false imprisonment of a hostage , illegally manufacturing an explosive device , fleeing.

siblings ... francis " frankie " kelly. › older brother.

personality ... level headed , calm and cool under pressure. prone to lying when it comes to his past. chock full of shame , guilt , and embarrassment. emotional and good natured when he doesn't have to act otherwise. highly skilled in various aspects ( fixing cars , racing , playing piano , building explosives ) but extremely humble. prefers not to talk about himself.

after a burglary gone wrong which resulted in a police officer being killed , older brother frankie takes the rap for a crime committed together and is sentenced to ten years in prison while james is sentenced to sixteen months. after his time is served , james returns home to a world that now views him differently —— and he works towards turning his life around. this includes attending trade school where he becomes a mechanic with the hopes of one day owning his own shop and becoming something more than just his past.

frankie is released after serving his sentence and a rocky reunion ensues —— james blaming his older brother for ruining his life , and frankie reminding him that everything he has done in his life has been for him. through deceit and guilt , frankie pulls james into a bank robbery heist as the wheel man. initially , james refuses and attempts to flee ; but threats are placed on him , his brother , and his loved ones by the men organizing it if he doesn't participate

the heist proceeds as planned until an eyewitness walking towards the bank sees the masked frankie at a window and the masked james parked in a car. she flees to notify authorities.

with police surrounding the building and james now inside , a shootout ensues and frankie takes a bullet. the group attempts to escape after james breaks into a nearby car and hot wires it —— but he returns when he notices frankie is still inside. the other men are gunned down one by one during their attempt to flee.

seeing no other way out , frankie knocks james unconscious and dresses him in the clothes of a hostage. james regains awareness as frankie is dragging him out of the bank with a gun to his head to appear as though he is a hostage —— and a sniper shoots frankie down on live tv. james is ushered into an ambulance , where the paramedic working on him notices a bulletproof vest under his clothes. quickly attacking him and discreetly making an escape in the rain , james makes it onto a trolley to leave town.

[taylortruther]

Once again you are so right, if so it goes is referencing Vonnegut we’ve all gotta pack it up 😪

(Not literally but I shudder at the thought)

HAHA it really doesn't make sense, "so it goes" is just a phrase popularized by vonnegut to indicate a passage of time, or, idk, resignation to time? same thing as "it was the best of times, worst of crimes" - yes, the phrase "the was the best of times, it was the worst of times" comes from dickens, but a tale of two cities doesn't really have anything to do with getaway car (except maybe a prison break lmao) - i don't really think taylor wanted us to think of vonnegut or dickens to understand or enrich those songs. unlike, say, the miss havisham imagery in RWYLM, which does enrich the song and seems very clear even though dickens is never named.

[tomorrowillbeyou]

dr. ryan tomorrowillbeyou how to you feel about the car crash imagery in pierce the veil's today i saw the whole world

I LOVE THAT SONG SO FUCKING MUCH ummm idk i think it's cool im kind of stupid when it comes to analysing song lyrics to be very honest... i think it's fucking cool though. perfect company to your undressed spine CHEFS KISS LITERALLY . literally rhe image of like all your guts and bones and stuff being spread out along the road ooouuughh.... yesssss .. very nice angle of looking at the whole car crash business very painfully intimate ... also if we are bringing ptv to the table can we talk about I DON'T CARE IF YOU'RE CONTAGIOUS!!!!!!! literally the only song ever to me ..... now that i think about it "im gonna tear out the thread one by one from your skin till your bones feel embarrassed from all the attention"... very relevant actually to what ive been saying here . if we're heading there together at the same time you sing while i drive. when i was younger i used to draw a lot of parallels between that song and demo lovers although idk if i would as much now... but anyway literally seeing all someone's bones and flesh beneath their skin as something so romantic. also sexual . anyway went on a massive tangent there sorry. lastly may i jsut say I only need one hand to drive when you're with me you're my getaway.... <- PATTERN NOTICER