#gaylor
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when exile ends, she’ll be her first call
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So hang on, hang on, lemme make sure I’m getting this right. So she’s in a psych ward. In a wedding gown. And she takes the “miracle move on drug” the “forget him” pill of which the effects are temporary. Right, right. And then she’s set free, and immediately walks into a sterile office in a VICTORIAN MOURNING gown! And sits down to start working away on her typewriter. She’s writing, and she loves her muse, and it’s ruining her life. Okay. And then she and the muse are laying on the papers, in love. The pages of her work, her diary, her songs, THE FILES!! And they’re together, and the pages are flying around them, blocking them from the camera, okay? You still with me? She reaches for the muse and then she’s getting electric shock therapy?? With curly hair?? Okay. Okay. And again, loving the muse is ruining her life. And all the doctors, the people closest to her, run away scared when the electricity short circuits or whatever, and the muse is the only one who notices and stops it from killing her!!! The muse is in a (glass) phone booth, and Taylor is sitting right on top, but out of view from the muse. And they are in the middle of NOWHERE. The rust that grew between telephones??? And then we’re back in the office, and she’s pulling all the files out of the drawers!! In the mourning gown again!!! And she’s letting them out, ruining the sterility, and she’s freaking out, sobbing. And then she’s facing the camera, stone cold, letting the files swirl around her, now out in the open ON FIRE I MIGHT ADD. And back in the psych ward in the wedding dress, she breaks the glass to escape, to bolt?? And then, once the files are free, once the glass is broken, once the muse steps out of the glass!! Then she can touch the muse. Then she can touch the muse. Somebody give me an oxygen mask, holy shit
#hyperventilating#put me in a padded room#I think I’m losing it guys#ttpd#taylor swift#gaylor#glass closet#kaylor#fortnight#fortnight mv#maroon#lgbetty#friends of dorothea#the bolter#the tortured poets department#the anthology
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REBIRTH 🦋🥹
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I'm Cackling
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april 23, 2019 | five years ago today
while performing ‘new year’s day’, taylor changed the lyrics twice:
“i want her midnights, but i’ll be cleaning up bottles with you on new year’s day”
#april 23 2019#april 23#2019#time 100 gala#female pronouns#new year’s day#songs and albums#performing#reputation#gaylor throwbacks#gaylor#gaylor swift#lgbetty
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Happy Lesbian Visibility Week from Taylor Swift 🧡🤍🩷
#gaylor#gaylor swift#me! out now on lesbian visibility day#lesbian visibility week#ttpd#the tortured gaylors department#gaylors on twitter#mine#badgalazzie
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Hmmm what if…..
Listening to The Tortured Poets Department and thinking….what if this is from Karlie’s perspective?
Like girl, stop being so dramatic and tragic and let’s just BE TOGETHER!
Why are you sacrificing us to this idea of being the great poet? They don’t hold you, they don’t know you, they don’t decode you or troll you like me.
I’m the one who actually knows you….stop picking the fans/industry and choose us instead!
You left your typewriter at my apartment
Straight from the tortured poets department
I think some things I never say
Like, who uses typewriters anyway?
But you're in self-sabotage mode
Throwin' spikes down on the road
But I've seen this episode and still loved the show
Who else decodes you?
And who's gonna hold you like me?
And who's gonna know you if not me?
I laughed in your face and said
You're not Dylan Thomas, I'm not Patti Smith
This ain't the Chelsea Hotel, we're modern idiots
And who's gonna hold you like me?
Nobody, no-fucking-body, nobody
You smoked then ate seven bars of chocolate
We declared Charlie Puth should be a bigger artist
I scratch your head, you fall asleep
Like a tattooed Golden Retriever
But you awaken with dread, pounding nails in your head
But I've read this one where you come undone
I chose this cyclone with you
And who's gonna hold you like me? (Who's gonna hold you, who's gonna hold you?)
And who's gonna know you like me? (Who's gonna know you?)
I laughed in your face and said
You're not Dylan Thomas, I'm not Patti Smith
This ain't the Chelsea Hotel, we're modern idiots
And who's gonna hold you like me?
No-fucking-body, nobody (who's gonna hold you, who's gonna hold you?)
(Who's gonna hold you, gonna know you, won't control you?) Nobody
Sometimes I wonder if you're gonna screw this up with me
But you told Lucy you'd kill yourself if I ever leave
And I had said that to Jack about you so I felt seen
Everyone we know understands why it's meant to be
'Cause we're crazy
So tell me, who else is gonna know me?
At dinner, you take my ring off my middle finger
And put it on the one people put wedding rings on
And that's the closest I've come to my heart exploding
Who's gonna hold you? (Who?) Me
Who's gonna know you? (Who?) Me
And you're not Dylan Thomas, I'm not Patti Smith
This ain't the Chelsea Hotel, we're two idiots
Who's gonna hold you?
You left your typewriter at my apartment
Straight from the tortured poets department
Who else decodes you? (Who? Who?)
Source: LyricFind
Songwriters: Jack Antonoff / Taylor Swift
The Tortured Poets Department lyrics © Sony/ATV Music Publishing LLC
See all
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Does anyone else feel like they’re at the point in a horror movie where they have an inkling of what’s about to happen and they want to warn everyone but also are intrigued and can’t look away? 🫣
She’s about to pull off the biggest bait and switch. Everyone thinking Karma is a song about good karma coming to those who keep their side of the street clean and while it is for some, it’s also about how the general public, media, industry, and toxic fandom are getting their 🍑es handed to them…
/you flipped the script for the hell of it,
addicted to betrayal, but you’re relevant
you’re terrified to look down
cause if you dare, you’ll see the glare of everyone
you’ve burned just to get there
It’s coming back around/
/watch her put your opps on the throne,
got you wavin’ pretty white flags, feenin’ for that cash
now ya switchin’ up ya behavior, thinkin it’ll save ya/
Karma IS the guy on the Chiefs…
but not in the way everyone is led to believe.
The response is going to be HUGE.
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I was scrolling through my gallery look what I came across kshskdbdkk😭
#“somewhat straight driection” is killing me#koincidences#kaylor#gaylor swift#gaylor#koincidence#taylor swift
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THE TAYLOR ALISON SWIFT SHARED THIS ARTICLE TO HER STORY AND I AM SCREAMING
Excuse me?!!
This album is leading into her FILM MAKING?!!!
This is so good! It’s beautifully written and echoes so much of the Kaylorsphere thoughts!
Sidenote- I take the “man” commentary in context of them sticking to her lyrics literally for the sake of the article; but so many mentions of showing a closed life, expressing rage, CLAUSTROPHOBIA for gods sake
SHES BURNING IT ALL THE FUCK THE WAY DOWN YALL 🔥
Also… HER MODEL FRIENDS at the end sent me 🥲
*still screaming*
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Peter is brand Taylor talking to real Taylor, I Look in People’s Windows is real Taylor talking to brand Taylor (the two were supposed to become one, but the more famous she gets the harder it is)😭😭
The whole theme of the album is Taylor herself and her career and how the industry has affected her, joe/matty/travis/kim are just red herrings bye im gonna go cry listening to Peter
(more details⬇️)
I’m not saying that some songs aren’t about those specific people, I’m just saying they’re only PART OF the theme, I believe her father (and other big heads in the industry) had a big influence on her career and forced her to stay in the closet from the very beginning, that messed her up, she had to hide her true self and keep bearding, and in 2019 she planned to come out but didn’t because of the masters heist, now it’s because she’s gotten more famous than ever that she has too much to lose. So maybe these men he dated, she did like them and she had multiple feelings when these relationships ended, but it’s all part of who the industry had made her into; she had one true love (maybe Karlie) but she couldn’t be with that person that’s why some songs are about a true deep love lost, but that’s still part of the “her career” theme, because of her career, she can’t be with that person. (more details⬇️)
What’s really interesting in this theme is that she’s calling out her father in multiple songs because he really made her life harder…
In Cassandra, (the obvious theory is that Cassandra representing gaylors bc we’ve been saying the truth but never believed. And the first verse is about her getting the news of her masters heist just before her coming out plan, and then “stone’s thrown” is referencing Stonewall.) And in the bridge “They knew the whole time that I was onto something. The family, the pure greed, the Christian chorus line. They all said nothing. Blood's thick but nothing like a payroll. Bet they never spared a prayer for my soul” she’s saying her family knew something but said nothing because greed and money, we saw the leaked emails of her father and how he cares more about making money out of Taylor’s career than caring about her as his daughter, so I think this bridge is about her father, also about religious trauma may or may not due to him.
In The Bolter, “A curious child, ever reviled by everyone except her own father. With a quite bewitching face, splendidly selfish, charmingly helpless, excellent fun 'til you get to know her, then she runs like it's a race” she’s talking about herself being a precocious uniquely intelligent ambitious child, which everyone reviled except her father. why? because he wanted to invest money on her, he controlled how she conducted her career from the beginning.
What’s crazier is that Robin may be about her father too. That song sounds like a sweet song but she’s faking it like “all this showmanship to keep it for you in sweetness”. If she’s referring to her father (only wanting to make money out of her career) in this song then “you’re an animal, you are bloodthirsty” makes so much more sense. And the “buried down deep and out of your reach, the secret we all vowed to keep it from you in sweetness” her father probably knows about her queerness but wants her and everyone to keep it quiet.
In But Daddy I Love Him, “people only raise you to cage you” is pretty obvious about her father forcing her to stay in the closet, and “people try and save you cause they hate you” is literally about homophobes. “Dutiful daughter, all my plans were laid” is about her father laying all the plans for her, which isn’t always what she wants. “I'd rather burn my whole life down, than listen to one more second of all this bitching and moaning. I'll tell you something about my good name, it's mine alone to disgrace” reminds me of that scene in Miss Americana where her father was lecturing why she couldn’t public her opinions. “Thinking it can change the beat of my heart when he touches me. And counteract the chemistry, and undo the destiny” is so queer coded. “Sanctimoniously performing soliloquies I'll never see / You ain't gotta pray for me” another reference to religious trauma.
So all of this, about her father, about her lover and other men, it’s all connected to her career and she’s looking back at it, thinking and reflecting on it, that’s it that’s the blog
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oh my GOD
she’s literally insane
bonus points:
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WE knew the whole time. 🤍
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Where the rubber meets the road.
These two didn't just have a relationship, they had a (soul)utionship. "The Prophecy" Hand on the throttle
Thought I caught lightning in a bottle...
What these two had was magical. There is no debate that Karlie Kloss and Taylor Swift were electric: (I am using past tense for the moment, I will refer to them in present tense a bit later in the post)
Fast forward a decade later to Fortnight. This record did not hit me immediately the way "Folklore" and "Evermore" did, It has almost been a week since it's release and I hadn't been fully onboard with TTPD. I was expecting something different, something not familiar and I had quite literally thought maybe Jack Antinoff and Taylor Swift had reached their limit together as collaborators. The music produced by Aaron Dressner had flavors and connections to "Folklore" and "Evermore," while parts of the album was reminiscent of "1989." My next thought that maybe the three of them had done all they could do.
And then the Matty Healy conversation exploded across the net (le sigh), and I just about gave up on the record.
I damn near had a sanguinary struggle within myself over The Tortured Poets Department (I know, that is very dramatic lol), and then I finally got it. The brilliance of this woman is unmatched.
The last song "The Manuscript." Now and then she rereads the manuscript
Of the entire torrid affair
"The entire torrid affair" meaning the last decade (probably longer, but I am sticking with 2014-2024). The title isn't lost on me and many others - The Man-U-Script.
The last segment of the song
The only thing that's left is the manuscript
One last souvenir from my trip to your shores
Now and then I reread the manuscript
But the story isn't mine anymore
She is closing the chapter on all of it. It's over, the countless theories, the stories we all have created about her. They're our stories now, we built them into a formidable, monstrous entity that took on a life of its own. "The last souvenir" are her words to us on this album. From the Swifities, to the Gaylors/Kaylors, to the haters, critics, industry, fans, media. She won't play this game anymore. Taylor gave enough clues on this album to make EVERYONE'S theory plausible (Karlie, Joe, Matty, Travis, Harry, Kim etc). She connected threads to come full circle, which brings us back to "1989," that 1980s syth-pop (hello! "I Can Do It With A Broken Heart"). This is why she and Jack Antonoff brought us back to where it all began, Karlie Kloss and #Kissgate (Dianna Agron, too, who can forget "Wonderland). Aaron Dressner summons moments within this records of the two albums that fractured my soul, F & E. That folky-pop melody that gets into your skin to change the DNA. No joke, I sobbed listening to "Folklore" and "Evermore."
With TTPD, Taylor comes in like a thrashing, tumultuous storm; at times seething and others admonishing. She is singing to herself, for herself and without need of approval from the mainstream radio (or anyone else). TTPD is messy, too much, not enough, vulnerable, real, relatable and she is tired of our collective shit.
Back to "The Manuscript" This Era has come to an end and she is leaving us with the ruins, the aftermath of what she went through: being forced to hide who she really is, having to placate the rabid fans who believe the stories of every boy she has ever dated. She has had zero privacy and the only safe place Taylor has ever had was her music, she is the ONLY one who knows to whom she sings. Does she love her fans, of course, but Mother is tired and done. She is ready to come clean and live the life she has crafted to keep in secret in order to protect the innocent.
The beards, NDAs, slight of hand, she is smashing all that we know. It's not her reflection she seeks to shatter, it's the illusions. In "Fortnight" the nurse, a woman (cannot convince me that it's not Karlie. A doorframe is 6'8" and that nurse is about 5" shorter that frame, which would make that person 6'3" :), comes to save her, gives her the key to set her free. The men in the video are the ones who are torturing her. Like the last 10 years, The poet has been tortured by the department of men: Joe, John, Conner, Jake, Harry, Calvin, Tom, Joe, Matty, Travis, Scooter, Scott, and the list goes on.
It's "Robin" that has got a choke-hold on me.
Buried down deep
And out of your reach
The secret we all vowed
To keep it from you in sweetness
She is singing to a child, a kid, and I am going to say a little boy. Is this song about Levi? I am going to say yes. Hands down the gem of the album, and our cue to realize she is telling us what is next, her family, the loves of her life: Karlie and the kids. That is what she wants and that will be her next chapter. We struggle to interpret the Taylor that is always ten steps ahead of us.
Her Eras Tour, this will be the last one for a while. Once it has wrapped, I wouldn't be surprised if she disappeared for a spell. Will she produce more work, sure. Perform, probably, but this last decade has taken a toll, and this tour has been a herculean effort. Hence, its wild success. Could she retire (FLORIDA)? It's possible, but she would never tell us, we would have to figure that out for ourselves.
I have more to say, but it's late and I am sleepy. As I get lost in the piano of "The Manuscript" I am reminded of the book "The Seven Husbands of Evelyn Hugo"
Not sure if anyone is going to see or read this, but I needed a place to write my thoughts about this extraordinary album that I almost let slip through my fingers.
Good night and sleep well everyone <3
#taylor swift#karlie kloss#the tortured poets department#matty healy#gaylor#kaylor#jack antonoff#aaron dessner#1989 era#the eras tour
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april 23, 2019 | five years ago today
karlie kloss liked taylor’s “It’s TIME. #time100” tweet
#april 23 2019#april 23#2019#karlie kloss#kaylor#twitter#karlie’s likes#liked posts#time 100 gala#gaylor throwbacks#gaylor#gaylor swift#lgbetty
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Thoughts on TTPD and how it relates to Dead Poets Society and queerness
(Spoilers for DPS ahead.)
I saw DPS a long time ago and rewatched it before TTPD came out, thinking there could be a connection just by virtue of the similar titles. (This connection was, of course, confirmed with the inclusion of Ethan Hawke and Josh Charles of DPS in the Fortnight music video.) The thing is, before I rewatched DPS, I remembered that Neil Perry kills himself because he is gay. It had been a long time since I’d seen it, and that was what I remembered. While rewatching it, I kept waiting for Neil to try to kiss a boy or come out to his dad or something. But he doesn’t. No one in the film ever says ANYTHING overtly about queerness. There are references to Whitman and Tchaikovsky (both presumed to be queer). Neil wants to be an actor and gets his start playing a literal fairy (Puck in A Midsummer Night’s Dream). But never does he overtly express any attraction to someone of the same sex, and never does he identify himself as gay or queer. But as a teenager watching this movie, the implied queerness was so obvious to me that I later REMEMBERED THE MOVIE WRONG.
And that’s the same way that TTPD is queer. The queerness isn’t overt. It’s not obvious or clear to everyone who listens to it. But it’s there, baked in, and undeniable when you really dissect the lyrics. Queer themes of the world not accepting your love, feeling trapped, the closet, religious trauma, and feeling judged are obvious in the album. And the genius of Taylor’s lyrics is that they can be attributed to Matty Healy (A Man™️), they can be attributed to queerness and the queer experience, and, I think, they can be attributed to both of those things at the same time.
#taylor swift#the tortured poets department#TTPD#dead poets society#swifties#gaylor#gaylor swift#lgbtq swifties#gaylor discourse#nuance gaylor#taylurking#if you’re going to send me hate for this at least don’t do it anonymously
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