Champagne Problems

Argumentative, antithetical Dream Girl

FINALLY I THOUGHT IT WILL NEVER HAPPEN!!! also i hope tree will shut down the media and that taylor is not gonna read those stupid articles

“New Romantics” is the queer anthem we need right now.

One of Taylor’s best songs ever is also one of her gayest: “New Romantics” employs some of her most brilliant lyrical tricks to construct a narrative that’s clever, moving, and, for lack of a better phrase, hella hella gay. First, let’s talk about the structure of the lyrics: The verses all end in couplets (ABABCC rhyme structure as opposed to the pre-chorus and chorus, which are both ABAB) – in poetry, you use a couplet to draw attention to something, to emphasize a point. Let’s see what she has to say: We’re all bored We’re all so tired of everything We wait for Trains that just aren’t coming

When Rob Sheffield of Rolling Stone named this the second best song of 2014, he called boredom “the least Tay of emotions.” But if this is a song about breaking the cycle of bearding – as Taylor did in 2014 – this verse sets up the dreary monotony of being in the closet, pretending to be someone you’re not. She brings the point home in the couplet:

We show off our different scarlet letters Trust me, mine is better

What’s Tay’s scarlet letter? Her love ‘em and leave ‘em inability to keep a man? No – that’s the character she parodies in “Blank Space.” This song is about her real scarlet letter, the one we don’t know about: her queerness and all the lies that come with it. Let’s skip ahead to the third verse to see why:

We’re all here The lights and boys are blinding We hang back It’s all in the timing

Something is already off here: The rhyme structure is broken. Instead of the perfect ABABCC of every other verse, verse 3 gives us ABCBDD. This could just be sloppy writing, but that’s not Taylor – this verse is meant to undermine our sense of stability in the song, to prick up our ears. This works in the context of the lyrics – Taylor being blinded by the boys and lights (presumably media attention/camera flashes?) – but it also serves to make us pay close attention to her next couplet:

It’s poker, he can’t see it in my face But I’m about to play my Ace

What’s her Ace? Her scarlet letter, of course – her bright red A, the Ace of Hearts. And she’s about to tell us exactly what it is:

We need love But all we want is danger We team up Then switch sides like a record changer

“We need love, but all we want is danger” can read like she wants danger instead of love, but I don’t think that’s what’s happening here. What if we read the line like this instead: “We need love, but everything we want is dangerous.” That fits thematically with Taylor’s other work in songs like “Treacherous” and “Style,” and it also makes sense in the context of the next line. What exactly does it mean to “switch sides like record changer”? What even is a record changer? There’s a vague allusion to turning over a record on a turntable here, but Taylor is making up words because she’s telling us something else: that she’s teaming up with someone to change the record about her dangerous love life. And “record” here is a triple meaning – it also alludes to the songs on this record, which can literally change sides as you flip the LP over, but can also change sides in terms of who she’s singing about depending on whether you know the truth about her scarlet letter, her Ace.

The rumors are terrible and cruel, But honey, most of them are true

Taylor punctuates this verse with a wink to those of us who’ve heard the rumors about her: She’s heard them too, and she wants to tell us they’re true. 

This brings us to the second pre-chorus and chorus, and to the essential question of the song: Who is “we”? Is this a platonic song about Taylor and her girlfriends (and, by extension, single people everywhere), or is this a romantic song about Taylor and her girlfriend (and, by extension, queer people everywhere)? 

Baby, we’re the new romantics Come on, come along with me Heartbreak is the national anthem We sing it proudly We are too busy dancing To get knocked off our feet Baby, we’re the new romantics The best people in life are free

We’re too busy going out with our friends to fall in love, we sing proudly about our heartbreaks, the best people in life are single. Yep, that works! But it ignores the broader context of the song – let’s take a look at the bridge, where everything slows down a LOT (again, Taylor is telling us to pay attention):

Please take my hand and Please take me dancing and Please leave me stranded It’s so romantic

The rhyme structure here (AAAA with lots of word repetition and proximate rhyme, a trick often used by noted lesbian Emily Dickinson) is like a big flashing sign: HEY, THIS IS WHAT THE SONG IS ABOUT. And it doesn’t sound platonic at all – it sounds like dancing with your girlfriend in public, only to have her leave you alone lest she confirm those terribly cruel rumors. (This bridge is also a prelude to “Dancing With Our Hands Tied” as surely as “Every day is like a battle, but every night with us is like a dream” is a prelude to “…Ready for it?”.)

The song is called “New Romantics.” She’s telling us, as clearly as she can, that this is a song about romance. Taylor has taken all the bricks people have thrown at her – at this point, still largely about how boy-crazy she is – and built a castle where she can be free with her girlfriend. Read this way, we can see a new meaning for the first verse of “Call It What You Want”:

My castle crumbled overnight I brought a knife to a gunfight They took the crown but it’s all right

This verse reads like it’s about the Kimye controversy, but I think it’s also about kissgate. Taylor built a glass castle of safety for herself and Karlie, and when it collapsed, her crown (i.e. the king of her heart) was taken from her. They had to go back into hiding (“nobody’s heard from me for months”), but they found a deeper, truer love all on their own.

“New Romantics” is one of Taylor’s best songs ever – not just because the melody is amazing and the lyrics are killer, but because it takes the language of heartbreak and turns it into an anthem of strength for Taylor and for every queer person who has ever had to hide who we are. She opens 1989 by telling us we can want who we want, and she closes it by telling us the same thing: The best people in life are free. 

🏳️‍🌈

Taylor Swift’s 2005-2006 MySpace Comments

Taylor’s alleged MySpace comments in a chronological order from 2005 to 2006. (Time of posts on 24h). Pictures of the comments were too blurry, so I didn’t add, but if needed, I have them saved in a file if anyone needs proof. 

NB: All the comments are replies to unknown posts by her friends, so the context is unknown. 

Keep reading

When she is talking about Taylor:

When others are talking about Taylor:

Happy Eyepocalypse Anniversary

in commemoration of this momentous occasion coming up thirteen days from now on April 18th, i thought i’d share some compiled thoughts that i’ve gathered over the past year. and god, what a year its been. please note the majority of this is an attempt to bring together a bunch of links to posts, and string together a story surrounding the theory, a theory that i still call a theory. in short, i understand this falls in the conjecture column, in lieu of the terms “reach” and “fanfiction.” (well tbh i think its true as hell but im not here to create a convent) and i think this is worth mentioning, it’s meant in good faith 😌

👁The Theory: #all eyes on us

taylor included some part of an image of karlie’s right eye, flipped and placed on the right side of taylor’s face, in the reputation photo used on the cd skin and stadium tour poster.

Czytaj dalej

The inspiration behind ‘Don’t blame me’, aka she is obsessed.

Yes, Taylor clearly sampled. This is not the point though. The point is what inspired her. Not only the lyrics but her muse as an angel that falls from grace. The fact that the commercial came out right after they met makes it all the more interesting. Now I want a mashup of both songs.

so swiffers really don’t get that when Taylor says “you know i love a london boy” she doesn’t mean 🦶 at all. she doesn’t mean a specific british boy, she means “you know i love a British beard to promote my music in the uk ;)”

like.... it’s a hilarious song. nothing romantic abt it. if i were someone’s boyfriend and she wrote me a song like this i’d be confused af. “he likes my aMeRiCaN smile” like girl? what do you want 😪

and can we talk about the line “iN tHe pUb wE aRe wAtChInG rUgBy wItH HiS sChOoL fRiEnDs”? ummmm tfu taylor i came here expecting a love song but you’re being funny

SHOW ME A GREY SKY LOOOOOOL A RAINY CAP RIDE LMAO ok it’s more of like “you make me f***ing depressed boy”

and like she mentions Stella McCartney for no absolute f***ing reason??? in a song about her bf? she is like “imma mention my girl stella cause i luv her”

I absolutely love London Boy it’s the funnier version of Blank Space