sketching out a cool new rain code au where yuma is an amnesiac detective and shinigami is his silly sassy partner who is connected to his mind
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I mentioned before that the ttpd cover being on a bed is yes a bit more risqué (it’s barely that in general but for HER it is) than she’s ever been visually on an album cover. But also that tweet got me thinking about the bed as a location in her recent lyrical history. And while I’m personally not a fan of “everything is connected” swiftieism, I love the evolution of subtext it tells.
How it served as a safe harbor of sorts, with “you had turned my bed into a sacred oasis” and “we rule the kingdom inside my room” and “carve your name into my bedpost” on rep and how it’s depicted as a protected place, made that way by the person she was in the bed with. They turned the bed into an oasis, carving their name into it, staking their claim and altering it with their presence. Fortifying it. Or how sometimes, it was the only place where they could meet and come together, “head on the pillow I can feel you sneaking in” and “back and forth from New York, sneaking in your bed.” How in reality, maybe the bed (and what can be inferred happens there) was the biggest, if not sole, pillar of their relationship at those points, or for longer perhaps. For better or worse. And then at other points, perhaps in a linear sense later down the line, it’s a place of domestic refuge, with “feels like home, stay in bed all weekend” and “leave the warmest bed I’ve ever known” and also the somewhat more tangental “now I’ve read all the books beside your bed.” The bed is more of a domestic place, where she can settle in and retire to and be at ease. The thrill may be gone, but the bed serves a new purpose that she finds equally as rewarding. It’s a place of vulnerability ultimately, away from prying eyes where things can play out that never see the light of day. Plans for the future like “drew a map on your bedroom ceiling” or heartbreak like “but now my eyes leak acid rain on the pillow where you used to lay your head.” There’s an intimacy to her room and her bed that had heretofore been too sacred to her to share, to let anyone else but them in. But the implication of the cover art, her setting this album visually in that bed, that walled off place, makes it particularly enticing. How she’s perhaps finally letting us in to that sacred place and the highs and lows of what transpired there, however lyrically.
But also with the bed as a locational and emotional focal point for a previous relationship(s?), it lends itself to that popular idiom as well. How looking back, she confronts the fact that everything that has happened since she let them into her bed were still choices she chose to make and she’s now writing this album to come to terms with how it all turned out, regrets and mistakes and would have’s and all. As if, you could say, that having made her bed all those years, she’s now ready to quite literally lie in it.
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