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viivdle · 2 months

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Dancing With Our Hands Tied (Jurdan's Version) with @annamatix<3

here is part two of my analysis, and don't forget to look at anna's version in jude's pov on her account!!

"And darling, you had turned my bed into a sacred oasis" fits cardan well. the most obvious reasons are that he calls jude "darling god" and he was never ashamed of his sexuality, he's open about his desires. but all he's done was try to fill the void that jude caused and would inevitably fill. she turned what was fun into something sacred.

"People started talking, putting us through our paces" the folk talk about them, it's inevitable. i think it takes a bigger toll on cardan than he'd ever admit. not because he doubts the strength of their love, but because he knows being mortal in elfhame already sets you up for failure, and how hard jude works to live up to standards and exceed them. being constantly brought down does something to you, even if you're used to it. he is the first to know it.

"I knew there was no one in the world who could take it" again, nobody can take the judging of *everyone* in elfhame without some help. he knows how strong jude is, but he also knows how she's shielded herself from the not-so-whispered whispers before. and he knows how he himself coped with it. if he can help jude ignore the small part of gossip that does get to her, he will.

"But we were dancing, dancing with our hands tied, hands tied" another example of the ability to take it literally. cardan's hands were tied through (almost) all of TWK. beside that, a lot of opportunities didn't present themselves to cardan, even though he was already the high king, because of the prophecy. all throughout the series we read about people looking down at him, this doesn't change after the coronation. it just makes other people weary of what could happen if they were to cut deals with a cursed king.

"Yeah we were dancing, like it was the first time, first time" the scheming of jude was nothing new to cardan, whenever it happened it simply followed a pattern he already knew. their whole story is so diverse but can be looked at from a certain perspective that shows it can all be watered down into the same/similar tropes. betrayal, hurt, anguish - nothing new to either of them.

"I, I loved you in spite of deep fears that the world would divide us" as mentioned before, cardan doesn't like it when jude throws herself into danger - and she does it over and over again. not only that, but there is always the chance of assassinations they can't control - we know they happen quite often as well. all those fears that are reasonable make *him* being the person to separate them even more ironic.

"So, baby, can we dance, oh, through an avalanche?" for me these lyrics fit the scene after balekin's murder when cardan asks jude to marry him. it's risky, not 100% thought through, and definitely not thought of because of rationality. but he had hopes of overcoming what had already divided them before with it.

"I'm a mess, but I'm the mess that you wanted" do i even need to explain? "shabby, worm-eaten, and scabrous" says enough. i could go into a whole rant about it though.

"Oh, 'cause it's gravity, oh, keeping you with me" what else would keep bringing them together if not gravity and the force of the universe? they shouldn't work. they shouldn't. but only if you look at their dynamic and not the chemistry and emotions that actually make them, well, them. every story and song in elfhame is basically "mortals are bad" and "how could an immortal ever love a mortal" those things are buried in the roots of the kingdom's history. cardan tormented jude for ages, and even if you forgive that, it still wouldn't be healthy. but somehow both of their unhealthy personalities better one another. they work when everything speaks against it. gravity.

"I'd kiss you as the lights went out, swaying as the room burned down" is there a better lyric for the coronation scene than this? it all went to hell, it was a massacre. cardan got obliterated but after jude held him captive he somehow wasn't a total and utter wreck. yes, his family was complicated to say the least, but it was still family. but what was more important for some reason? jude.

"I'd hold you as the water rushes in" taken literally, this is about the time the undersea held jude captive. metaphorically, it's the same. he'd stay with her through it all, it was proven many times. again - he didn't know anything but jude when he was a serpent.

"If I could dance with you again" he was sure he had ultimately lost her when he exiled her, and we have evidence of his regrets and thoughts. he didn't even have the chance to properly enjoy being with her without it being part of a scheme before he banished her. before that, she was taken by the undersea and god knows what he thought during that time.

thank you so much for listening to my rant even though again, i doubt people read all this. i had so much fun writing this and having two different sides on it - anna's and mine. i hope you enjoyed and thank you so much anna, you're amazing<3

#cardan greenbriar #jude duarte #jurdan #the cruel prince #the wicked king #the queen of nothing #the folk of the air #tfota #holly black #taylor swift #taylor swift song analysis #tfota song analysis #jurdan taylor swift #jurdan songs #jurdan analysis #jurdan song analysis

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blueballsracing · 3 days

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down bad by taylor swift analysis

i quite like the alien/outer space motif she comes back to:

Did you really beam me up In a cloud of sparkling dust <- abduction of humans by aliens!

Showed me that this world is bigger than us Then sent me back where I came from <- outer space imagery, the world is quite bigger than just "us"

Starin' at the sky, come back and pick me up <- come back and pick me up meaning the alien ship could come back and physically come back and PICK her up in that beam of sparkling dust

Down bad (Wavin' at the ship) <- she's waving goodbye to the ship that came and abducted her in the first place

I loved your hostile takeovers <- hostile takeover of human civilization by aliens Encounters closer and closer <- "close encounter” is a term used to describe an alien/UFO sighting

I'll build you a fort on some planet Where they can all understand it <- fort on some other planet, more outer space imagery

#taylor swift #down bad #the tortured poets department #taylor swift song analysis #caro analysis

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ohnoitstbskyen · 1 month

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I cannot stop thinking about "The Last Great American Dynasty"

There's an obscure, independent folk singer-songwriter whose work I've followed since she released a double album debut during the pandemic. It's all moody, introspective pop-folk - acoustic guitar and pianos against the occasional 808 beat.

While I'm clearly not the target audience, there is one song in particular that has stuck with me ever since the very first time I heard it.

Let's discuss.

Sources and further reading:

--- WIKIPEDIA ---

Rebekah Harkness: https://en.wikipedia.org/wiki/Rebekah_Harkness

Standard Oil: https://en.wikipedia.org/wiki/Standard_Oil

High Watch: https://en.wikipedia.org/wiki/High_Watch

John D. Rockefeller: https://en.wikipedia.org/wiki/John_D._Rockefeller

The Ludlow Massacre: https://en.wikipedia.org/wiki/Ludlow_Massacre

The Homestead Strike: https://en.wikipedia.org/wiki/Homestead_strike

--- ARTICLES ---

Vogue - The Outrageous Life of Rebekah Harkness: https://www.vogue.com/article/the-outrageous-life-of-rebekah-harkness-taylor-swifts-high-society-muse

Small State Big History - Rebekah Harkness, the Scorned Socialite of Watch Hill : https://smallstatebighistory.com/rebekah-harkness-the-scorned-socialite-of-watch-hill/

St. Louis Magazine - The story of Rebekah Harkness is way more complicated than Taylor Swift lets on: https://www.stlmag.com/culture/music/the-last-great-american-dynasty-rebekah-harkness/

St. Louis Style - Who is Rebekah Harkness and Why is She the Star of Taylor Swift’s ‘The Last Great American Dynasty’?: https://www.stlouis.style/throwback-thursday/who-is-rebekah-harkness-and-why-is-she-the-star-of-taylor-swifts-the-last-great-american-dynasty/

SF Gate - Everything you think you know about the Winchester Mystery House probably isn't true: https://www.sfgate.com/bayarea/article/real-story-of-sarah-winchester-mystery-house-12552842.php

New York Times - IS THERE A CHIC WAY TO GO?: https://www.nytimes.com/1988/05/22/books/is-there-a-chic-way-to-go.html?pagewanted=all&src=pm

#tbskyen #tb skyen #video essay #taylor swift #last great american dynasty #essay #song analysis #lyric analysis

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shyjusticewarrior · 3 months

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Taylor Swift lyrics that are Jason towards Bruce

"Never impressed by me acing your tests."

"They'll be happiness after you, but there was happiness because of you. Both of these things can be true."

"After giving you the best I had, tell me what to give after that?"

"I gave you all my best mes, my endless empathy, and all I did was bleed as I tried to be the bravest soldier."

"I got nothing to believe unless you're choosing me."

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bigsurlor · 8 months

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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

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.

#gaylor #kaylor #late stage kaylor #lsk #lgbetty #gaylor theory #cowboy like me #song analysis #song interpretation #taylor and karlie #gaylor swift #gaylor twitter #bigsurlor

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wavesoutbeingtossed · 3 months

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Screaming from the crypt (or how the past haunts the present on Midnights)

I know it's been discussed so much since Midnights came out but just.

I love how there is such a clear narrative throughout the album (and perhaps especially on the 3am/Vault tracks). About questioning and regret and choices and coming to terms with all of it. It is one long story about how we're all a mosaic of the choices we make, each one taking something from us and leaving something else in its place.

(And now a disclaimer: I'm looking at this mostly through a narrator/subject lens, and trying not to dive too deeply into real-life events or speculation except for in a general sense. For this purpose I like to look at the body of work as art, like literature, because I find it makes it easier to see the common threads in the different songs and cohesion in the narrative.)

In looking at the 3am+ tracks in particular, it's fascinating how some turns of phrases or themes repeat themselves in different songs, in different contexts. (I'm only focusing on the non-standard tracks because there are too many songs and I'd be here all day but I bet I could do a part two lol.) I know many people have pointed out the parallels throughout her discography already and I’m not saying anything groundbreaking by writing this, but I love how these parallels run through in the same album, because it makes it seem like it's one long story, or at least, one long rumination on many different stories that are coalescing into a single narrative.

Battle (let’s go)

For instance, the one that jumped out at me when I started writing this post the other week was, "Tore your banners down, took the battle underground," in The Great War and "If clarity's in death, then why won't this die? Years of tearing down our banners, you and I," in Would've, Could've Should've. It's a story about staying stuck in the same cycle of reliving trauma and coping mechanisms and bad habits over and over again and fantasizing about how taking the “antagonist” out and gaining the upper hand for good would bring closure (WCS), but the truth is that nothing ever will. All that cycle does, though, is repeat itself in other situations, and in this case pushes someone away the narrator cares for (TGW). The difference is that the imagined battle in WCS is a two-way street in her mind (that is ultimately unwinnable because it was never a fair fight), but in TGW it's one-sided -- she's the one fighting dirty, taking shots, the way she'd been doing in her imagination (or nightmares) all these years. But the person in front of her isn't fighting back the way the person in her mind in WCS would, because their intentions are honourable instead of exploitative.

And that's paralleled in another pair of lyrics from the two songs, "And maybe it's the past talking, screaming from the crypt, telling me to punish you for things you never did," (in TGW) and "The tomb won't close, I fight with you in my sleep," (in WCS). In both cases, the funeral imagery makes it seem like this past event should be dead and buried in WCS, but it keeps rising from the dead, haunting her no matter what she does and in TGW, another (or perhaps the same?) tomb that won't close keeps unleashing new ways to hurt her and in turn the new person in her life. In other words, the trauma from the past continues to bleed into the present.

(Again from a literary point of view, I'm not saying the events of the two songs are linked IRL, but they're fascinating textual parallels on the album as a string of chapters, which is why Dear Reader is so compelling, but that's a whole other essay.)

To keep the battle motif going, there’s yet another parallel, this time between TGW’s "[You were a] soldier down on that icy ground, looked up at me with honor and truth," and You’re Losing Me’s "All I did was bleed as I tried to be the bravest soldier, fighting in only your army.” In the former, the subject is laying down his armour in the war she’s projecting onto him, waving the white flag, and she realizes that she’s about to destroy something if she doesn’t put her sword down too. By the time we get to YLM, the roles are almost reversed; at the very least they’re supposed to be on the same team, but in this case she’s doing all the heavy lifting, fighting for their relationship in contrast to his apathy killing it. It’s also pretty interesting (if not outright intentional) that one of the 3am+ editions of the albums starts with The Great War, where they find themselves in conflict (even if it’s in her head) that ends in a truce, and ends with You’re Losing Me signalling the end of the relationship, evidence that the resolution in the first song wasn’t an ending but merely a ceasefire before the last battle.

Putting the rest under a cut because this is waaaaay too long now ⤵️

(There’s also another metaphor there in The Great War with its battle imagery: World War I, aka The Great War, was supposed to be the war to end all wars, because loss on its scale was never seen before and when it ended, most thought never again would the world embroil itself in such battle, the horrors and implications were so devastating. Two decades later, the world found itself in WWII, with an even larger scope and more horrific consequences, the intervening time between the two a period of festering conflicts and resentment leading to some of the worst acts the world would see. Bringing real life into it for a second, there’s something a little poetic, though sad, about The Great War the song being about a fight that could have ended the relationship that they ultimately resolved and was meant to be evidence of the strength of their love, but so too did it end up being a period of détente, the greater battle coming for them years later. But that is not the point of this post.)

If one thing had been different

Another major theme in these editions is pondering the "what ifs?" of life, but I think it takes on even more significance in the broader context of the album in the lyrics of "I'm never gonna meet what could've been, would've been, should've been you," in Bigger than the Whole Sky and the repetition of would've/could've in Would've, Could've, Should've (I would've looked away at the first glance, I would've stayed on my knees, I would've gone along with the righteous, I could've gone on as I was, would've could've should've if I'd only played it safe, etc.) In both songs, the narrator is mourning an alternate course their life could have taken* and questioning what they could have done differently, in the aftermath of trauma and loss, and the regret that comes with that loss, and with the loss of agency in the situation because ultimately it was never in their hands. In an album full of questions, wondering about the path not taken, or the forks in the road that have led to a different version of your life, it's digging deeper into the contrast of choice vs. fate, action vs. reaction, dwelling on the past vs. moving on. When you're supposed to let go of the past, what do you do when it is holding your future hostage?

(*I know there are different interpretations/speculation about BTTWS which I am not getting into on main. I'm just saying that whatever the song is about, it's grieving something that never came to be. The literal origin of the song is less important to the album than the sense of loss it portrays. Whatever the inspiration is, it's crafted to tell part of the story of Midnights of ruminating over how, to borrow from her previous work, if one thing had been different, would everything be different?)

(Also I was today years old when I realized that the words are inverted in the two songs. Apparently I've been hearing BTTWS wrong this whole time.)

There's also an interesting tangent in the role of faith in both songs: in WCS, the events of the story cause her to lose her faith (e.g. "All I used to do was pray," "you're a crisis of my faith,") and question all the things she felt had been unquestionable until that point in her life (e.g. "I could have gone along with the righteous"), whereas in BTTWS, she questions whether that very lack of faith is to blame for the loss in that song ("did some force take you because I didn't pray? [...] It's not meant to be, so I'll say words I don't believe"). It's like pinpointing the moment her life changed and upended her beliefs (WCS), but as a result then leaving her unmoored in times of crisis because ultimately there's no explanation or comfort to be taken from what she used to hold true before that (BTTWS). The words she once relied upon to guide her have long since lost their meaning, but in times of trouble it leaves her wondering if that faith she once held then lost could have prevented this pain.

(Shoutout to WCS for being Catholic guilt personified lol.)

To keep on with the vaguely faith-y notions, an obvious parallel is the line in Would’ve Could’ve Should’ve about, “I damn sure never would've danced with the devil at nineteen,” and, "When you aim at the devil, make sure you don't miss," in Dear Reader. All of WCS is about her fighting with an antagonist who haunts her, with whom she wholly regrets ever becoming involved. DR could be seen as a reflection on that fall from grace, warning the audience that if you choose to go after the person (or thing) haunting you, make sure you do so clearheaded enough to be decisive. Again, these “devils” may not be related in real life: the IRL devil in DR could be speaking about her naysayers, or Kim*ye, or Scott & Scooter B, etc., meaning not to cross your enemies until you know you can win. But taking real life out of it and looking at it textually, I am intrigued by the link between WCS and DR, so that’s what I’m going with here. And perhaps that’s even the point in a wider sense; there will be multiple “devils” in your life, or threats to your well-being. If you’re going to commit to taking them down — whether it’s an actual person, or the demons inside you that refuse to let you go — make sure you have the right ammo so that they can no longer hurt you. (Of course, one lesson from these experiences is that sometimes you can’t win, and you have to live with the fallout.)

(Sidebar: I know that “dancing with the devil” is a turn of phrase that means being led into temptation and engaging in risky behaviour, as opposed to describing the actual person. Given the religious metaphors in the song, that could very well be/is the intention, particularly when it’s preceded by, “I would have stayed on my knees” as in she would have continued to follow her faith — in whatever sense that means — had she never met this person, which could also be a more eloquent way of saying she would have continued to be live her life in a way that was righteous (even naive) and seen the world in black and white. Either way, it’s a force she wholly rejects. Like I said, multiple devils, same fight.)

Regret comes up too: in WCS, she says, "I regret you all the time," obviously directed at the person who manipulated her and led to her perceived downfall, citing him as the one impulse she wished she'd never followed, because it won't leave her no matter how hard she’s tried. In High Infidelity, she tells the person to, "put on your records and regret me," and on the surface, it’s like she’s turning the tables, painting herself as the one now causing the regret in someone else, the one inflicting the pain this time. Yet the verse preceding it and the lines following it in the chorus depict a partner who is also emotionally manipulative and vindictive like in WCS (“you said I was freeloading, I didn’t know you were keeping count,” “put on your headphones and burn my city,”). It’s not so much that she’s intentionally harming the person (the way the person in WCS does to her), but rather that the venom in the subject’s feelings towards her seeps through; she’s imagining the way he’s going to feel about her when she leaves, hating her just for by being who she is. (There could be another tangent about how in both songs she’s there to be a “token” in a game for both of the men, who play her for their own purposes.) The regret is dripping with disdain. It’s as though she’s picturing how the person is going to hate her for doing what she’s thinking of doing the way she hates the person who first hurt her.

Sadness, unsurprisingly, shows up in a few lyrics. In BTTWS, “Everything I touch becomes sick with sadness,” sets the scene of a person so overcome with grief that it permeates everything around them; they cannot see their way out of it and feel like the fog will never lift. In Hits Different, it’s, “My sadness is contagious,” the result of a breakup where the person’s grief again touches everything and everyone around them, pushing them further in their despair and loneliness. The reason behind the grief in either case may vary, but regardless of the source, the feeling is overpowering and isolating. They may be different chapters in the story, but the devastation is hauntingly familiar. (As is a recurring theme in Midnights as a whole: there are situations and feelings that present themselves at different points in her journey and colour in the lines in different ways along the road. Like revisiting an old vice and realizing the hit isn’t quite the same as it was in the past.)

Death by a thousand cuts

She also writes about wounds on this album, which isn't surprising I suppose given that the whole conceit is that these are things that have kept her up at night over the years. WCS is perhaps the driving narrative on this never ending hurt when she sings, “The wound won't close, I keep on waiting for a sign, I regret you all the time,” suggesting that no matter what she does, the pain of this experience has permeated everything she’s done afterwards. (Not unlike the overwhelming grief in BTTWS, for instance.) Elsewhere, in High Infidelity she sings, "Lock broken, slur spoken, wound open, game token," and in Hits Different, "Make it make some sense why the wound is still bleeding.” Again I'm not suggesting they're about the same events; the line in HI is about a situation where a partner crosses a boundary, hits below the belt, picks at an insecurity (or creates a new one) and treats the relationship like it's transactional, opening the floodgates in turn. In HD, the wound seems to be more self-inflicted, where she's pushed the person away. (Over a situation real or imagined she feels she needs distance from.) But again, something has picked at her like a raw nerve, and just like in the past, she's hurting, even in a different time and place and person. Almost like the wounds of the past break open over and over again to create new scars. If one were to extrapolate further, it wouldn’t be the biggest leap to wonder if the wound open in WCS, then torn apart in HI makes the one in HD hurt even more.

(I once wrote a post about how I think as time goes on, WCS is going to turn into one of those songs that will be found to drive so much of her work, because it’s just… kind of the unsaid thesis statement of so much of her songwriting.)

Another repeated theme is that of the empty home and loneliness. In High Infidelity, she sings, "At the house lonely, good money I'd pay if you just know me, seemed like the right thing at the time," painting a picture of someone who may have everything they'd want to the outside world, but in reality feels metaphorically trapped in their home (or at least alone amidst abundance), a symbol of a relationship gone sour and a failure to build connection. She just wants someone to understand her, want her for her, but as she's written earlier in the song, she's just a pawn in the game, a trophy from the hunt. Home, in this case, is lonely, isolated, an emblem of her fears. In Dear Reader, she continues this thread, then singing, "You wouldn't take my word for it if you knew who was talking, if you knew where I was walking, to a house not a home, all alone 'cause nobody's there, where I pace in my pen and my friends found friends who care, no one sees you lose when you're playing solitaire." It's the same idea, admitting to listeners that the gilded cage she lived in kept her distanced from her loved ones and real connection, keeping her struggles close to the vest but feeling desperately lonely amidst her crowning success. She's pushed people away and it may have felt like the right thing at the time, but in the end maybe felt like she was trapped. And when you push people away, eventually they take you at your word and stop pushing back; you’re a victim of your own success at isolating yourself. What starts out of self-preservation then further perpetuates the underlying problems.

(There's another interesting link about "home" also feeling unsafe with HI's "Your picket fence is sharp as knives," which further leads into the theme of marriage/domesticity feeling dangerous, which is a whole other thing I won't get into here because it's another discussion and may derail this already gargantuan word salad.)

In a slightly similar vein, we have the metaphor of bad weather for a rocky road or unstable relationship, in High Infidelity again with, "Storm coming, good husband, bad omen, dragged my feet right down the aisle" and You’re Losing Me’s "every morning I glared at you with storms in my eyes.” They aren’t speaking of the same situation or even same kind of breakdown, but it is pretty interesting how the idea of clouds/storms/floods/etc. play such a role in Taylor’s music to signal depression, apprehension, fear, uncertainty, etc. In HI, I think the “storm” coming is the looming threat of commitment to a partner who makes the narrator uneasy (if not fearful). In this case, the idea of making a life with this person is not one that incites joy or comfort, but instead makes the narrator feel that dark times are ahead if she continues down this path. Perhaps in some way, the “storms” in YLM have made good on the threat in HI in a different way; it’s a different home, a different relationship, but the clouds have settled in regardless, and some of her fears have come to fruition in ways she did not expect. The person she once trusted no longer sees her or her struggles (or worse, doesn’t care), and the resentment and pain build with each passing day.

Coming back to heartbreak, one of the obvious "full circle" moments is the beginning of a relationship in Paris, where she says that, "I'm so in love that I might stop breathing," clearly enthralled in a new love that allows her to shut the world out and grow in private, capturing the all-encompassing nature of the relationship. This infatuation has consumed her in the most wonderful way (in contrast to the sorrow of some of the previous songs), and it feels like a life-altering (or even life-sustaining?) force that is so strong she may forget what it’s like to breathe. (Metaphorically speaking, of course.) By the end of the album, though, in You're Losing Me, that heart-stopping love has become a threat: "my heart won't start anymore for you." In the former, her racing heart is full of excitement, but by the latter, her heart has given out completely under the weight of the pain she bears. (YLM is full of death/illness imagery which I already wrote about awhile ago so I won't hear, but needless to say that song deserves its own essay for so many reasons.) She's gone from the unbridled joy of the beginnings of a relationship to the unrelenting sorrow of its end, two sides of the same coin.

Love as death appears elsewhere in the music too, for instance, in High Infidelity’s, “You know there's many different ways that you can kill the one you love, the slowest way is never loving them enough" and You’re Losing Me’s “How can you say that you love someone you can't tell is dying? […] My face was gray, but you wouldn't admit that we were sick.” Though not completely analogous situations, they both tell the tale of one partner’s apathy (or at least denial) destroying the other. In the former, the partner’s actions (or inaction) are more insidious, if not sinister; in the latter, the lack of momentum (or admission of a problem) is passive. In both cases, the end result is the narrator’s demise; it’s a drawn out affair that chips away at her morale and her health and her sense of self. (Breaking my own rule about bringing in alleged actual events into the discussion, but the idea that the relationship in High Infidelity, which was obviously fraught with unease and even fear, ended in a similarly excruciatingly slow and hurtful death by a thousand cuts as the relationship in You’re Losing Me almost did at that time must have been so painful. It almost feels like YLM is wondering why what used to be a source of light in her life was mirroring a situation that caused her such pain in the past.)

From the same little breaks in your soul

I said early on that part of what is so compelling about Midnights is that it feels like an album about ruminating — on choices, on events, on people — and the two final “bonus” tracks of the album depict that as well. In Hits Different, she sings that, “they say if it’s right, you know,” an ode to the confusion of a breakup and struggling with the aftermath of calling it quits. It’s a line that has always intrigued me, because the typical use of the phrase is in the sense of, “you’ll know when you meet the one,” but here it seems to have a double meaning, a reassurance perhaps from the friends (who later on tell her that "love is a lie") that she’ll know if she’s made the right decision in calling it off, but could also be her wondering if the relationship is right, she’ll know, and want to reconcile. In the final bonus track, You’re Losing Me, she sings, “now I just sit in the dark and wonder if it’s time,” this time leaving no doubt about the dilemma she faces, though it’s no less fraught. She’s wondering, perhaps for the last time, if now is finally the moment to end the relationship for good. They say that if it’s right she’ll know, and now she’s wondering if that feeling inside her (that once told her her partner was the one, which is why it hit differently), is telling her that it’s time to go for good. Wait Alexa play “It’s Time To Go.” These are not only the things that keep her up at night, but the things that play over in her mind like a film reel in her waking hours.

Midnights as a whole is a deeply personal album, as is most of Taylor's work, but the 3am+ edition tracks seem to dig even deeper to a lot of the issues raised on the standard album. Almost like the standard tracks are the things she wonders about on sleepless nights, but the bonus tracks are the things that haunt her in the aftermath. The regret, anger, sadness, grief, relief, even joy— they’re the price she pays for the memories she keeps reliving. Midnights might be the most cohesive narrative of all her albums, and really does feel like we’re watching someone work through her journal over time, stopping short of outright naming those giant fears and intrusive thoughts (except for when she does) but making them plain as day when you connect the songs together, and perhaps never more clearly than in the expanded album. It’s incredible how the songs stand on their own to relay a specific moment in time, but that they are also self-referential to each other (whether thematically or overtly) to weave a larger web over the entire work. We’re so lucky as fans to have these stories and to keep peeling back these layers as time passes. (And my literature-analysis-loving ass loves her even more for it.)

This is obviously by no means an exhaustive list, and I know there are more parallels and probably even stronger links (particularly when you add the standard version into the mix), but these were the ones that particularly struck me and I’m just glad I’ve had a chance to sit with this and think it through. ❤️

#writing letters addressed to the fire #me thinking too hard about taylor lyrics #taylor swift #midnights #long post #lyrics analysis #song parallels #Gabby this one is for you friend <3 #here goes nothing #Happy Friday or something idk!#(also i know i said there are things i wouldn’t discuss on main but my dms are open lol)#this is not as structured or well plotted out as I wanted it to be #and turned out to be more stream of consciousness than legit essay #but whatever at least i got my thoughts out there and it can release some plot of land in my brain for other stuff to think over lol #If anyone ever reads this thank you! And I’m sorry?#The best compliment i ever got in school #was when we were doing an analysis of a poem in English lit in college #And i brought something up casually #and my prof went ‘I’ve been teaching this class for eight years and that’s the first time anyone’s ever brought it up like that’#’and that just blew my mind’#and i was like ‘who me?’#so that’s all you need to know about me lol #Midnights: The Great War #Bigger than the whole sky #bttws #Midnights: Paris #Midnights: high infidelity #would’ve could’ve should’ve #Midnights: dear reader #midnights: bigger than the whole sky

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fierceyetflawed · 6 days

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the prophecy by taylor swift is SOOOO post s2 crowley coded I can write a fucking essay actually ykw? I will.

“Hand on the throttle

Thought I caught lightning in a bottle (post s1 bliss)

Oh, but it's gone again

And it was written (INEFFABLE PLAN MUCH?)

I got cursed like Eve got bitten (do I even have to say sth??)

Oh, was it punishment? (I MEAN C'MON???)

Pad around when I get home

I guess a lesser woman would've lost hope (our ever so optimist)

A greater woman wouldn't beg

But I looked to the sky and said (i would like to spend–– mmmhhh)

Please

I've been on my knees

Change the prophecy

Don't want money

Just someone who wants my company (!!!!!!!!)

Let it once be me (cause gabriel and beelzebub and maggie and nina and–)

Who do I have to speak to (god you listening???)

About if they can redo

The prophecy?" (aka the ineffable plan)

!!!!!!!!IM NOT CRYING YOU ARE!!!!!!

I can go on and on about the whole freaking song but especially:

“I'm so afraid I sealed my fate (WITH THAT KISS)

No sign of soulmates (NO FUCKING NIGHTINGALES)

I'm just a paperweight

In shades of greige” (LITERALLY THEM)

edit: WAITTTT down bad is also SO THEM!!! *everywhere i go I see his face*

#its too perfect #sorry i cant shut up about this #good omens #ineffable husbands #aziracrow #crowley #aziraphale #sham rambles #taylor swift #ttpd #the prophecy #song analysis

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daisyswift3 · 1 year

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You’re Losing Me Analysis

I wanted to do a short analysis on You’re Losing Me. My first impression of this song is that it’s another breakup song addressed to her fans in allegorical form like high infidelity (see this post). There are multiple lyrics that substantiate this interpretation. It’s horribly ironic that swifties think this is a song abt Joe when it’s really abt them and their refusal to SEE her. I’m more certain than ever now that the eras tour is a goodbye to her fans before she comes out

You say “I don’t understand” and I say “I know you don’t” // This is reminiscent of the bridge of Dear Reader. These desperate prayers of a cursed man spilling out to you for free but darling, darling, please, you wouldn't take my word for it if you knew who was talking. There is a communication issue between her and her fans. Her fans don’t know who she really is and are gonna be really confused when she comes out bc they thought they knew her

We thought a cure would come through in time…Now I just sit in the dark and wonder if it’s time // This parallels the archer. Should she stay in her dark closet or step into the daylight? Dark side, I search for your dark side. But what if I'm alright, right, right, right here? Also the mention of time makes me think of “meet me at midnight” and all the clock/time imagery she’s been using lately alluding to a countdown. Spring breaks loose, the time is near / Are we only biding time 'til I lose your attention? Her Cinderella facade is abt to expire at midnight

The heartbeat is an obvious callback to wildest dreams which she includes twice in the setlist, once in the 1989 era and once in the seven spoken word poem which again makes use of this Cinderella metaphor. This poem essentially tells her fans “You can cling onto this idealized version of me in my Cinderella dress or you can meet the real me at midnight”

Do I throw out everything we built or keep it? // Again the archer. Should she come out and potentially ruin her career and her relationship w her fans or stay in the closet? She chose the first option and burned the lover house down. Dear reader burn all the files, desert all your past lives / He's gonna burn this house to the ground…So yeah it’s a fire it’s a goddamn blaze in the dark / 'Cause there were pages turned with the bridges burned. Everything you lose is a step you take. So make the friendship bracelets, take the moment and taste it. You've got no reason to be afraid

You might have just dealt the final blow // Don’t Blame Me transitioning into LWYMMD. Her singing “The old Taylor can’t come to the phone right now. Why? Because she’s dead” while all the glass closets keeping her past selves trapped shatter and they walk out finally freed. The Anti Hero mv where her daughter in law (representing the hardcore swifties) is the person that kills her and the younger son (gaylors) points this out which enrages her and sparks a brawl. Happiness, which includes a reference to the Cinderella/midnight metaphor, being a eulogy to the old Taylor and her relationship w her fans—“dappled with the flickers of light from the dress I wore at midnight, leave it all behind”

These lyrics make it pretty clear who she’s talking to imo. How can you say that you love someone you can’t tell is dying? I sent you signals // Sending signals to be double crossed / You didn’t even hear me out, I gave so many signs so many times

Now you’re running down the hallway // Dear reader, get out your map, pick somewhere and just run

I gave you all my best me’s, my endless empathy // After giving you the best I had, tell me what to give after that

Fighting in only your army, frontlines // Combat, I’m ready for combat / So yeah it’s a war, it’s the goddamn fight of my life

A pathological people pleaser who only wanted you to see her // All of mirrorball and Nothing New. The Dear Reader bridge. They see right through me. Can you see right through me? The delicate mv. Giant Taylor begging the audience to see her in the eras tour Anti Hero performance and storming off after being ignored

Gif courtesy of @iwanthermidnightz

Lastly this track follows Dear Reader and when read together it sounds like she’s telling her fans goodbye

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taylor-on-your-dash · 5 months

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AN ANALYS OF WOULD'VE COULD'VE SHOULD'VE THROUGH THE LENS OF RELIGIOUS FAITH

Taylor has written a lot of songs (State of Grace, Holy Ground and False God for example) that reference and/or talk about relationships and love through the lens of religion. Would've Could've Should've is one of them too and we can actually say that the whole song is an extended metaphor.

Let's start with these lyrics:

If I was a child did it matter, if you got to wash your hands?

Here, John Mayer washing his hands can signify two things:

He's refusing to take responsibility. This concept comes from Pontius Pilate symbolically washing his hands of the responsibility of Jesus' crucifixion even though he believed that Jesus was innocent.

He's washing away guilt, like Lady Macbeth washing her hands of Duncan’s blood to try to get rid of the guilt for his murder.

All I used to do was pray / You’re a crisis of my faith

We know that Taylor grew up Christian and still considers herself one, as we know from Miss Americana. She had a Bible on her nightstand, according to a photoshoot she did for People in 2007, and now she's not so sure anymore. She must've been taken comfort in praying, but now she's referring to it using a past tense, meaning she has lost her faith. it was an integral part of her identity and now it's in the past.

The chorus continues the metaphor:

I would've stayed on my knees - this is both a reference to praying and to the universal victory and worship of God: "every knee will bow, and every tongue will swear allegiance” (Isa. 45:23)

And I damn sure never would've danced with the devil at nineteen - mention of the devil, the ultimate enemy of salvation. she danced with the devil, meaning that she feels like she voluntarily engaged in "immoral" behaviour.

And the God's honest truth is that the pain was heaven - here she mentions of God and Heaven, the ultimate goal for a Christian, but she's actually swearing on God that dancing with the devil felt like Heaven, which is quite the contradiction. In fact, the whole chorus is a chiasmus that reinforces the anthesis: knees/heaven and God/devil.

If you never touched me, I would've gone along with the righteous / If you never saved me from boredom, I could've gone on as I was / But, Lord, you made me feel important and then you tried to erase us

Touch is an important part of humanity and in the Christian religion Jesus heals others through the touch of his hands. In this case, Taylor is regretting the touch of the devil and the fact that he woke her up from boredom, leading her astray. We also have an interjection (Lord), which mentions God through a metonymy.

God rest my soul / I miss who I used to be / The tomb won't close / Stained glass windows in my mind / I regret you all the time / I can't let this go / I fight with you in my sleep / The wound won't close / I keep on waiting for a sign / I regret you all the time

In what could be the best bridge of her career, Taylor is praying God to let her soul rest in peace, which is a way to say that who she was before John is dead, but the tomb still won’t close cause she can't find closure. Taylor sees love as her religion but her old self who believed in love with the innocence of a child died because of her relationship with John Mayer.

The stained glass windows is probably the most interesting lyric of the track and it ties to the other religious themes in the song. She says that the tomb is in her mind, meaning that she feels trapped with and because of her memories. Stained glass windows can also represent the ones in Catholic Churches that depict an important scenes from the Bible, as if this relationship was reflected as a stained-glass image in her mind. The glass distorts the light that passes through it, just as her life experiences after that relationship were distorted by it. She went from seeing life through rose-colored glasses to stained glass windows, meaning that her view on love and relationships is being looked at through memories that “stain” any optimism and faith in new relationships.

They also represent an actual memory of hers… because at the time John Mayer lived in a parish converted into an apartment, which had stained glass windows.

The last subject I want to touch is “I regret you all the time”, because I feel like if you look at some of the songs written shortly after Dear John and/or her relationship with John Mayer, for example, Back To December: it is quite mind-blowing to consider how the tumultuous relationship with John Mayer influenced her regretting Taylor Lautner… but that's for another post.

#taylor swift #would've could've should've #taylor swift song analysis #john mayer #midnights #3am tracks

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merp-blerp · 15 days

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Part 2 of A Gaylor interpretation of "The Prophecy"

I had more Thoughts™ that I initially left out for length, but I'd like to elaborate in sections. Special thanks to @mamataylovesrubbi for being so friendly. This community is so lovely.

TW: Brief talk of self-destructive behavior and suicide near the end.

Part 1 here

Overblown Analysis Under the Cut ↓

Artemis/Diana

Some things about Artemis/Diana that I left out of part one I left out were that 1) Artemis is also the goddess of the hunt and animals. I think that tidbit adds to the fable connection, as fables are often stories about animals. When it comes to the hunt, songs like WAOLOM and The Albotros possibly being about Taylor planning revenge on her closet-ers really scream huntress. Artemis can also become a deer, a somewhat surprisingly non-vicious animal for a huntress, if she pleases. "I've been the Archer / I've been the prey." I think this could portray Taylor's strengths and weaknesses. 2) Artemis is a virginal goddess, never having any male lovers in her stories. This doesn't necessarily make Artemis a sapphic goddess, even though I've seen that interpretation, but it's pretty telling that Taylor would align so closely to a goddess with that trait. 3) Artemis/Diana was also the goddess of the moon (somewhat, it's a bit complicated, but that's Greek mythology for you). Fits the themes of Midnights, with Taylor being Midnight (Rain) and her lover being Sunshine. Though that probably shouldn't be taken too literally, as Apollo, god of the sun, is Artemis's twin brother. Trust him like a brother, yeah—

2. Vocalizing

Taylor's vocalizing after "...tell me it'll be okay" reminds me vaguely of the vocalizing in "My Tears Ricochet", a song, like this album, alludes to Taylor dying.

3. "But I looked to the sky" and "I've been on my knees"

With all the talk of sky, I wonder if maybe "Bigger Than The Whole Sky" might be about failed coming outs. I don't know if this is something others thought have already (probably), but I never thought of it before. Meanwhile, the repeat of being on her knees makes me think of "Would've, Could've, Should've". I've mentioned before that I'm open to that song being actually about JM because it wouldn't surprise me if she tried dating dudes in some way early on in her career, whatever that would mean. However, I'm open to alternatives too. With my analysis of Taylor's Eve being bitten by the serpent/Devil, maybe the serpent could be the Devil from "Would've, Could've, Should've". Maybe the Devil could be The Professor from my "The Manuscript" analysis. I'm leaning toward that Devil being her old label.

4. Throttle

A throttle is several things. It can be something to give machinery fuel. It can be a verb, you can throttle something, aka kill it by strangulation. By "hand on the throttle," I think Taylor was saying she was ready to not only fuel/validate her truth, but kill her past lives. I get this vibe that TTPD might be for TS12 what Reputation was for Lover. Just like with Rep, she's killing the old Taylor(s) that hid her queerness before she steps into the daylight with what comes after. Makes me understand all the chockers and high-neck collars she's been sporting for this era.

5. "And it was written"

I feel like I grazed over this part of the line a bit. What was written? It could be Taylor's lyrics or her 100 thrown-out speeches. She wrote them, but wasn't heard anyway, cursed. Or it could be the word written in the Bible. (In my opinion, shit) translations of the Bible call for all kinds of things to happen to queer people, and has so for years. Not that many though because the word homosexual didn't even exist when the Bible was first scribed. Taylor was cursed before she was even born. Possibly like Eve. Didn't Eve have control over whether she ate the fruit or not? Do queer people have control in who they love? Christian will debate forever.

6. "Let it once be me"

One reason why Taylor wasn't out from the get-go obviously has to do with where her career began and under what industry she was entering. An underaged, famous, sapphic country singer sounds a bit wild now honestly, imagine in 2006! The world would not have been ready, unfortunately. But why can't Taylor come out now? Well, in "WAOLOM", Taylor sneers, "I am what I am 'cause you trained me". She was raised to closet for her whole career, maybe even longer, who could know? And of course, "Old habits die screaming" (from "The Black Dog"). After this album, however, I feel like she's gearing up to free herself. Still, there are so many people younger than Taylor who come out super casually, like Reneé Rapp, Girl in Red, etc, without games or clear fear. Taylor probably sees them and wonders why she couldn't have/had that freedom. Maybe when she says specifically, "redo the prophecy" rather than "change the prophecy" she wishes she could go back in time and somehow make it so she could've come onto the scene out and proud way back then.

7. "like fools in a fable / Oh, it was sinking in"

I think Taylor started feeling like she'd never be free as she began to write Folklore. Of course, she knew the plan didn't work before that in 2019, but as she created Folklore and Evermore, she realized she was anywhere near where she wanted to be in 2020, playing the same games. It sunk in with that. That's why Folklore, Evermore, and even some Midnights songs can sound so hopeless. As an LSK, I don't believe it was due to a breakup, but more closeting. All the albums after Lover seem to have minimal color because she can't be herself.

8. "My last coin"

So, I mentioned in part one that Taylor had/has referenced self-inflicting harmful actions towards herself in many songs. She also mentions poison in this song. It got me thinking about Romeo and Juliet and how that play goes. Taylor, with the "Poison blood from the wound of the pricked hand" seems to be combining Romeo and Juliet's death, Juliet getting stabbed or "pricked" and Romeo drinking poison. Maybe this symbolizes that, even though when she was younger, more naïve and optimistic, she exclusively identified with Juliet and changed her ending in "Love Story", now she identifies with both Romeo and Juliet, even sometimes taking on the "male" role in her songs (e.g. The Heartbreak Prince and JaMEs). A part of me wonders if that could be a comment on her gender identity too, but that goes a bit over my skill level to analyze. But it feels sad that Taylor used to change the fates of Romeo and Juliet and now she's honest about what happens to them. As I said before, I want nothing but good for Taylor. it will be okay. 🤍 ✌️🌈

Alrighty, I think I got it all out of me. Watch me think of some more shit with this song. 🙄😅

#taylor swift #the prophecy #gaylor #the tortured poets department #gaylor swift #friend of dorothea #lgbetty #gaylor theory #song analysis

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abruisedmuse · 1 year

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QUESTION...?

Song analysis

Kinda wild that this is the first thing I'm talking in length about since it's not my usual and I don't talk song analysis I typically write fanfic and make edits when creative but this won't leave my head so here we are.

Things to note before we jump in:

In Taylor's speech last night when she said she was the happiest she's been in all aspects of her life, she referred to this song as it being a happy memory. Being the lyrics it didn't click unless it refers to someone close to her now. The person who fits this is Matty.

Question...? Is in the pre-show playlist for The 1975. An odd choice if you ask me being unless you listen to Midnights you know it. From my knowledge Preshow playlists usually contain top charting hits, released singles etc. To me, this feels like Matty kinda showing off that she wrote a song about him. Sorry if there's any typos I did this before coffee and I didn't have my glasses on lmao. If you don't like Matty that's fine, then this post isn't for you and you can keep on scrolling.

I cut off the intro on accident, it says "I remember". That could be just setting up the song stating this deals with the past. Or it's a response to the line in 'About you' by The 1975 where Matty sings, "Do you think I have forgotten. She says no I haven't, I remember.

The first line in the verse is giving two characters: Taylor, the good girl. Matty, the sad boy. Taylor went to two shows in 2014 for The 1975. One in LA and one in NY. I'm going with NY for this setting. The one thing going on was that they hooked up. Possibly seeing each other albeit extremely briefly.

Regardless of what it was it impacted her life greatly. He painted her nights a color she's been looking for ever since. Ever since Matty left her she's been trying to chase that feeling. Kinda ties into her speech last night too because she finally found it. After she had to deal with one thing after another. Other relationships, media, pandemic. Basically all the hurdles in her life that brought them back together. (It could also be in reference to their past situationship and what caused the fallout. )

Taylor wants to talk. She has questions about the past and wants to clear the air.

I think this took place when they were all hanging out and everyone was just shocked when it happened. They kissed around friends and were teased about it. But the friends in question gave an approval by clapping. These were super close friends who wouldn't tell any media outlets so I'm thinking like Selena, George, Ross, Adam. Etc. People who won't talk but I could see teasing tf out of them but being supportive. I don't remember which show Karlie was at which is why I didn't say her. Anyway, she's now asking him and what he did as in do you remember? Cause I do. And then she continues with her questions.

Now, Matty was using alot of drugs around here so it's possible he remembered but not everything. Or it's possible he did and wants to forget that he left in middle of night. Because as soon she asks that he goes oh. The oh is him being like ah fuck. So then Taylor shoots back three consecutive questions. Whatever happened in the past I think was her call for whatever reason maybe he didn't want to public or be in a relationship. And because she knows herself, the feelings are getting too much, she's getting this strong connection and feelings she has to end it. And Does it bother him he didn't fight for it? Does it bother him the way it does her? Does he miss her? He seems taken aback and she's saying well its just a question. A hypothetical one. He's doubting that.

This is about the Brit awards and Calvin. Stay with me. Half-moon eyes elude to someone on drugs, i.e., Matty. Peep the last line line the image "but you were on somethin". indiciating the half-moon eyes are not from weed but something harder. The bad surprise is Calvin. And this is the moment Matty knew he fucked up because he had still feelings. He was jealous cause the brit awards was when Taylor and Calvin met and as we all know. The dude is a dickhead lol.

Lots of drinking, no one should be surprised by with Matty. Idk about the politics and gender roles. It's clearly about Matty. Since hes more of an activist than Taylor and has songs about politics, has worn skirts, make up, kisses guy. It's also kinda about Taylor. Idk love to heard thoughts. I know it my bones it connects. Could also be in connection with the fact that a couple months after the awards Matty says dating Taylor would be emasculating. I think he said it out of anger. Anger at himself for not being with her, jealous of Calvin, and pissed shes dating the said dickhead. Anyway back to the awards time, they are fighting. Matty is unhappy with her talking to Calvin. And she probably asks him again what he wants. He doesn't know but he sure as hell doesn't want her with that guy.

The second best after that meteor strike is going back to the first verse. About the color she's searched for. I said it deeply impacted her. This indicates it did for the both of them. After the impact of her, Taylor. Has anyone even come close to the intense feelings they shared in a short time? The her in question I feel like it depends on when this song was written. However if we take the scene that is set for us and the time frame given, it's probably Halsey. Otherwise if it was written in 2021/2022 then it could be FKA Twigs. Whichever her, there's no hate there. She's happy for him. Truly. Either one suits him better, however she can't help but wonder...

Then the chorus repeats. Back to her speech, the reason she is saying this is a happy memory for her. Is because now it is. Her thoughts are filled with what could have happened? That color she's been searching for, the missing piece, it's found again. It's come back to her. Now she can look back, laugh, and think of it as happy. This is why everything in her life finally feels like it makes sense.

feel free to add on if you like. This is just my initial thoughts breaking down Question..? after last night

Tagging: @musicjunkie29 @deeenerys17 @hauntedromantics @littleeyelidsflutter (Ya'll seemed excited by the Musicjunkie's post so I thought of you all)

#taylor swift #matty healy #the 1975 #midnights #midnights 3am edition #question...?#1989 #taylor x matty #maylor #mattay #song analysis #lyrics

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