I'm Testing out this theory that there is a song in each of the 'Multiple Taylor's Series' that talks about the same situation from each different perspective. We're remembering the physical portrayals from the Anti-Hero music video that gave us the map to Taylor's plan of introducing each persona. See my other posts about it:
https://kit10phish.wordpress.com/2025/10/06/meet-the-3-taylors-in-the-anti-hero-music-video/
https://kit10phish.wordpress.com/2025/10/08/how-do-the-three-taylor-personas-influence-her-work/
https://kit10phish.wordpress.com/2025/10/09/the-last-three-taylor-swift-albums-are-three-strands-of-a-braid/
Obviously not every song has a 1:1:1 match, because the tracklists are different lengths. But I thought it would be a fun exercise none-the-less, and might be enlightening.
Paris contrasts public life and private life. In public, Taylor's life is all gossip, headlines, and scandals. She wishes for a secret rendezvous where she can love honestly and people either leave them alone or are accepting.
In Guilty as Sin, Taylor contrasts what actions she actually takes, what the public assumes she is doing, and what she wishes she could do. In the song, Taylor describes a masturbatory scene--what she actually, physically does. Taylor alludes to public assumptions of what she does when she speaks of crashing into this paradox whose skin she never actually touches. She lets the public's imagination run wild relating to him-noting WHAT IF he's written, mine, in an intimate spot? But these things haven't actually happened, because he's a paradox.
Privately, she's drowning. Bored and trapped in a cage of propriety. She keeps her true actions hidden, so her "bad [queer] thoughts" don't ruin her reputation and career. If those wolves never see her touching the skin of a woman, Taylor won't be seen as bad. She can't be judged for what outsiders don't know or observe. But she dreams of cracking open those locks and taking a leap of faith. Alas, Taylor has always had a fear of falling, and remains guarded leaving the daydreams of freedom for her inner fantasies.
Wood has Taylor screaming HIS name so loudly, that people miss what's between the lines. She overtly leans into the charade, making dick jokes and cheeky, direct references to marriage and sex.
https://kit10phish.wordpress.com/2022/01/23/reputation-re-listen-3rd-lens/
I rearranged the lyrics of So It Goes:
Met you in a bar [Delicate? or the 2014 Met Gala?] All eyes on me, your illusionist [Taylor is not what she seems] All eyes on us [Guests, media, the public?] See you in the dark All eyes on you, my magician [magical but twists the truth does tricks to obscure] All eyes on us You make everyone disappear, and [Taylor only has eyes for Karlie]
Cut me into pieces Gold cage, hostage to my feelings
[Taylor is in love, yet still in her metaphorical cage. She has to hide this love from the public for the sake of her career. She’s also in the cage because her love, Karlie, is committed to someone else (Jo$h).]
Back against the wall [no options] Trippin’, trip-trippin’ when you’re gone [Karlie goes back to Jo$h] ‘Cause we breakdown a little I’m so chill, but you make me jealous [Taylor doesn’t want to share Karlie] But I got your heart Skippin’, skip-skippin’ when I’m gone [Both of them feel love, not just Taylor]
[There’s a lot of outside factors standing between Taylor and Karlie, and making their relationship complicated and messy.]
But when you get me alone, it’s so simple ‘Cause baby, I know what you know We can feel it And all the pieces fall Right into place Getting caught up in a moment Lipstick on your face So it goes I make all your gray days clear and Wear you like a necklace [lesbian sex graphic reference] But when I get you alone, it’s so simple ‘Cause baby, I know what you know We can feel it You know I’m not a bad girl [Commenting on public stigma of gays] But I do bad things with you [Sexually-speaking] So it goes Come here, dressed in black now So, so, so it goes Scratches down your back now So, so, so it goes
[sex, sex, sex is so passionate and great and makes all the public image and commitments to others momentarily disappear]
I’m yours to keep [Karlie could choose Taylor] And I’m yours to lose [will Karlie choose Jo$h?] You did a number on me [Staying committed to Jo$h while seeing Taylor] But honestly, baby, who’s counting? I did a number on you [bearding, anxious about their relationship] But honestly, baby, who’s counting? [Proceeds to count. Maybe saying resentments are building up on both sides]
In public, Taylor and her lover are magicians and illusionists, hiding their truth in plain sight. And when they are alone there is sex and bliss (Question… [Part 9]). Secret moments in a crowd convey the closeted aspect of the relationship. These two are in plain sight, but protected in a magical cloak of friendship thanks to heteronormativity (Question… [Part 4]). Taylor says this couple are starting on a fresh page and writing as they go in Cornelia Street (Question… [Part 16]). There is no precedent for this new type of relationship. Even without a gameplan, this love is making Taylor drunk with happiness and a type of enthrallment she’s never felt before. It’s stronger than anything they order at the bar.
But Taylor’s back is against the wall. In order to maintain Taylor’s public image–these lovers have to walk on breaking branches to keep their true love a secret. Each of them must beard and tell the rich people what they want to hear. Still, neither person can let go of this love–Taylor especially is a hostage to her feelings (Question… [Part 9]).
Midnights' Giant Taylor
TTPD's Poet Taylor
TLOAS' Showgirl Taylor
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