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%Start Taylor Swift s Swear-iest Midnights Lyrics Ranked Midnights HEAD TOPICS
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Well, not really; Taylor still seems a little hesitant about going all out into being foulmouthed. Whenever she does get explicit, it feels more like she’s putting on a
MidnightsA classic Taylor sort of swear, both in that it feels like she’s posturing (of course she cares what people think about her; why else keep returning to this idea?) and the sentiment it expresses is pretty mild.“Ain’t that how this shit always ends?” in “Maroon” Read more:
New York Magazine » Out of the woods, Taylor Swift's 'Midnights' heralds the return of a pop-music mastermind Taylor Swift Is the Greatest Self-Portraitist of Our Time Taylor Swift says her song 'Anti-Hero' is a 'guided tour' of her insecurities Does Marjorie Taylor Greene represent the future of the Republican Party?
New York Magazine » Out of the woods, Taylor Swift's 'Midnights' heralds the return of a pop-music mastermind Taylor Swift Is the Greatest Self-Portraitist of Our Time Taylor Swift says her song 'Anti-Hero' is a 'guided tour' of her insecurities Does Marjorie Taylor Greene represent the future of the Republican Party?
Race to be next UK PM begins as momentum grows behind Boris Johnson
Four senior ministers on Friday threw their weight behind Boris Johnson to return as British prime minister, after Liz Truss's resignation triggered a contest to quickly replace her as Conservative Party leader.
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Read more >> Out of the woods, Taylor Swift's 'Midnights' heralds the return of a pop-music mastermindAs meticulous a diarist as pop has ever known, Taylor Swift has clearly been thinking — thinking more than usual — about her journey and about her younger selves. Midnights TaylorSwift mikaelwood I CANNOT WAIT TO LISTEN TO THE NEXT SONG ITS ABSOLUTELY AMAZING treepaine mikaelwood THIS ALBUM IS AMAZING mikaelwood YES QUEEN TREE AND QUEEN TAYLOR
Taylor Swift Is the Greatest Self-Portraitist of Our TimeAs we near the release of her new album, Midnights , we try to figure out whether we’ll truly know her — and if that even matters.
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Taylor Swift says her song 'Anti-Hero' is a 'guided tour' of her insecuritiesTaylor Swift said 'Anti-Hero,' new ' Midnights ' song, will delve 'far' into her insecurities. MeetMeAtMidnight
Does Marjorie Taylor Greene represent the future of the Republican Party?The GOP's embrace of lies and conspiracies opened the door for fringe actors, like Rep.
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Marjorie Taylor Greene, to become new influential leaders, New York Times political reporter Robert Draper writes in his new book. She represents the CURRENT Republican Party. Time to vote out Hochul if you live in NY.
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Payback for vacation mandates and masking children in schools! The Pandora Box opened, only your vote of truth and justice can close it.
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Vote, smart. Taylor Swift’s ex, Kennedy scion, Conor, fighting in war for UkraineKennedy said, “I had no prior military experience and wasn’t a great shot, but I could carry heavy things.
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. .I was also willing to die there.
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I salute the courage of Conor Kennedy. Does Marjorie Taylor Greene represent the future of the Republican Party?Journalist Robert Draper says the GOP's embrace of extremism opened the door to fringe actors, who've become among the party's most influential leaders.
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His new book is Weapons of Mass Delusion. Taylor Swift, seen here possibly dreaming up vigilante shit.Evermore .Spotify As the new Taylor Swift album comes to us, I think a lot about pop stars and what they mean — what their philosophy of self is.feelings of grief and loss .
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Photo: Courtesy of @taylorswift13 via Twitter On Midnights , Taylor Swift is in her after-dark era — literally, in the sense that there is no sun at midnight (well, unless you’re in the Arctic Circle, but Taylor tends to stay in warmer climes), but also because Taylor is really embracing her swear words this time around. After first dipping her toe into saying “fuck” on folklore (in both “betty” and “mad woman”), Swift has gotten even more explicit two albums later.
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Swift suggested that the isolation of the pandemic had set her imagination free; certainly, the music’s smaller scale reflected the demands of remote collaboration. She repeatedly says “fuckin’,” works in a “goddamn,” and even has a song titled “Vigilante Shit.
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Well, one thing that always is important to remember about Taylor is where she started within country music and that sort of consummate craftsperson that she was even when she was a teenager.” She’s an adult! But does she swear like one in the studio?
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Well, not really; Taylor still seems a little hesitant about going all out into being foulmouthed. (“Lover,” from 2019, plays even more now than it did then like a transitional effort between phases of Swift’s career. Whenever she does get explicit, it feels more like she’s putting on a Reputation -style persona than her actual self.
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21 , one month from the album's release date of Oct. And for all of her use of “fucking,” she tends to only use swears as intensifiers, not as descriptors of actually explicit acts.
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As meticulous a diarist as pop has ever known, Swift has clearly been thinking — thinking more than usual — about her journey and about her younger selves; “Nothing New,” one of many freshly recorded outtakes she included on “Red (Taylor’s Version),” captures a woman in her 30s confronting her 20-something suspicions about how her chosen industry would treat her as she aged out of ingénue-hood. This idea that she represents women’s empowerment yet she’s been in some petty feuds with other women.
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In honor of her increasingly swear-y language, we’ve organized the swears on Midnights from least to most adult. At this rate, she’s practically PG-13. (Beth Garrabrant) “Midnights” opens with the steamy, R&B-adjacent “Lavender Haze,” in which Swift laments the scrutiny she’s under as a famous person dating another famous person (in her case, the English actor Joe Alwyn); the song — co-written by and featuring background vocals from the actress Zoë Kravitz — seeks a safe space removed from a realm where her loose talk threatens to “go viral,” as she puts it.
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“I don’t give a damn what people say of me” in “Lavender Haze” A classic Taylor sort of swear, both in that it feels like she’s posturing (of course she cares what people think about her; why else keep returning to this idea?) and the sentiment it expresses is pretty mild. That’s what country music is. “All this shit is new to me” in “Lavender Haze” A little more intense, but still!
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“Ain’t that how this shit always ends?” in “Maroon” “Maroon” is a song about drinking too much and waking up to poor decisions — it’s one of the swearier songs on this album — but here at least she’s relatively tame.” The vicious and shimmering “Karma” seemingly takes aim at the powerful music executive Scooter Braun, who engineered the label purchase that spawned Swift’s rerecording enterprise: “Spiderboy, king of thieves / Weave your little webs of opacity,” she sings — heed the conspicuous “S” and “B” in “Spiderboy” — before describing what she views as her cosmic advantage with a series of vivid metaphors: “Karma is my boyfriend / Karma is a god / Karma is the breeze in my hair on the weekend. “How the hell did we lose sight of ourselves again?” in “Maroon” I’m not sure anyone would say “hell” instead of “fuck” about this sort of thing, but Taylor’s one to soft-pedal her shock. She’s easing up to the bolder swears later on in the album.
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Swift’s storytelling impulse isn’t dead on “Midnights,” which she’s said grew out of her bent toward wee-hours contemplation. And you’re gonna workshop it.
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“Karma is a cat / Purring in my lap / Flexing like a goddamn acrobat” in “Karma” Here we upgrade from damn to “goddamn,” which is exciting because now a higher power is involved. Taylor’s probably just intensifying the language for better scansion, but it’s nice to imagine that she’s decided to get theological here.” Then there’s the pulpy, Billie Eilish-ish “Vigilante S—,” about a woman who helps a betrayed wife get revenge on her dirtbag husband. Is Lucifer the acrobat who has been damned by an almighty god?
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Is Karma actually a force of the devil? Taylor, have you read Paradise Lost ?
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“I don’t start shit, but I can tell you how it ends” in “Vigilante Shit” Props to Taylor for including “shit” in the title of an actual song (will this sell at Target??), but deductions for using “shit” in conventional ways. There’s the part of her that’s always gonna be that high achiever who wants to craft the perfect song and looking toward a lineage that perhaps she’s abandoned officially — but it is in her blood — of country music. First up, there’s her fairly generic insistence that she doesn’t start shit, which isn’t all that explicit, but does wrap up in a nice enough threat that she can tell you how it ends.
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(Beth Garrabrant) Yet the songwriting and the vocal performances here are so strong — she’s playing with cadence and emphasizing the grain of her voice like never before — that eventually you stop caring what’s drawn directly from Swift’s real life and what’s not. Villainess Taylor is a recurring theme on the album.
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“On my vigilante shit” in “Vigilante Shit” The better instance of swearing in this song comes when she invokes the title, saying that she is figuratively on her vigilante shit, acting as a sort of caped crusader seeking revenge when she is wronged. She paints another indelible picture in “Mastermind,” referring to herself as “the wind in our free-flowing sails” just after she offers a bit of context for why she’s been so thoroughgoing in her interactions with her boyfriend (or her audience). She has the strongest superego of any artist — you know, any musical artist — we’ve ever had.
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It’s a bit corny as an image, but Taylor herself is very corny, so we’re happy for her embracing it. “No deal / The 1950s shit they want from me” in “Lavender Haze” “Lavender Haze” is supposedly Mad Men (a show that is primarily set in the ’60s, but whatever), which puts Taylor in the position of a sort of Betty Draper raging against the feminist mystique or something. Then she takes a breath and adds: “If you fail to plan, you plan to fail.
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“Shit” is not much of a swear by itself, but there’s a nice contrast between “shit” and “1950s” semiotically, which gives this a little more of a charge. She’s got that intellectual side just constantly challenging her emotional side.
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“She’s laughing up at us from hell” in “Anti-Hero” There’s a place in hell for women who don’t support other women, and also for the character at the center of this song, who imagines herself getting revenge from the grave by having her family read her will and realizing she’s laughing at them.. I guess hell as a noun isn’t really a swear word, but this ranks just because it’s suitably bold for Taylor to damn herself.
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“I wake up with your memory over me, that’s a real fuckin’ legacy to leave” in “Maroon” Okay, now we’re fucking — though, really, we’re only fuckin’ because Taylor is resistant to ever pronouncing the “g” at the end of the word. On the one hand, she is incredibly confessional, but she’s also a very calculating pop star.
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Is that just the way she says it, or her pulling back from really embracing the swear? Either way, she prefers to use the word as an intensifier rather than ever referring directly to sex.
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“It’s like snow on the beach / Weird but fuckin’ beautiful” in “Snow on the Beach” If you’re bringing on Lana for a song, you better invoke some adult language. Again, Taylor swears for effect, but not for much descriptive usage. Oh my goodness.
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The divide between the placid image and the language gives the lyric some nice friction, but the swear is still pretty tame in and of itself. (And she still doesn’t use the “g”!) “Did you realize she was out on the town on your mind with another dickhead guy” in “Question …?” Who could imagine that Taylor would ever work up to using the word “dickhead”? For someone who likes to stay in the shallows of “shit” and “damn,” this is a big step forward for her, especially since she’s using it to diss some “dickhead guy,” a pretty brutal line for her, all things considered.
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Taylor will probably never sing about an actual head of a dick, except buried under layers of metaphor (and even then!), but the fact that she’s saying it straight out as an adjective — pretty wild. Bob Dylan’s always talked about himself as a channel for the culture and stuff, but there’s a side of him in his songwriting that’s very much about being a ruffian, an outsider. “Your roommate’s cheap-ass screw-top, rooftop rosé” in “Maroon” One of the most vivid images on Midnights comes as Taylor co-opts my personal experience of moving to Greenpoint after college and drinking too much.
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(Did she start writing this song in her 1989 era? It’s a better depiction of being young in New York than “Welcome to New York.”) Cheap-ass isn’t the kind of word Taylor uses much, but it fits for the character, scans really well into the rhythm of “screw-top, rooftop,” and tells you just what kind of rosé she’s drinking.
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Because, in a patriarchal society that favors white men, how can a young woman who looks like a supermodel dare to think she could be historical? And yet she does.
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No wonder the hangover in the rest of the song sounds so bad. “One thing / After / Another / Fuckin’ / Situation” in “Question …?” “One drink / After / Another / Fuckin’ / Politics” in “Question …?” Taylor puts a “fuckin’” right in the center of this album’s biggest singsong pop chorus, pacing out words like a metronome so that she has to hit both syllables of “fuck-in” hard (and, yes, there’s no “g”). The line repeats, describing a fuckin’ situation and then a fuckin’ discussion about politics and other boring subjects.
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You know, it seems her entire career, she’s been quietly chasing Joni Mitchell. The lean-back rhythm of her patter here is Taylor trying on her most world-weary “I’m washed” posture on the album. Plus, there’s the exaggerated pause after “fuckin’,” which makes it sound like a noun just before she adjectivizes it.
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She fucks! She’s not going to say it directly, but we know what’s up. Related .
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