Gay taylor swift
Let’s stop speculating about Taylor Swift’s sexuality
In her song “22,” Taylor Swift wryly asks the ask, “Who’s Taylor Swift anyway? Ew.”
As complex as it may be to accept, it was once very cool to hate Taylor Swift. Many of her songs from that era, stretching from roughly 2009 to 2018, are about this phenomenon, perhaps most prominently “Shake It Off,” about how “haters gonna hate (hate, abhor , hate, hate).” But this theme was shown off in more nuanced ways on albums enjoy “Reputation,” written in response to a feud with Kanye West that she was dragged into.
That she asks the question at all speaks to a broader lack of understanding about who this female is. Swift has spent a excellent deal of day obfuscating her image, especially recently, when she publicly admitted that years of being in the spotlight had taken a psychological toll. Taylor Swift principles her privacy, but this opaqueness has led to many people projecting what they want to see onto her—and these projections often seem, at least to me, inaccurate.
Taylor Swift is a woman who ethics her privacy, but this opaqueness has led to a great many people projecting what they want to witness onto her.
On my way to Ford Field in downtown Detroit for the first blackout of Taylor Swift’s brilliant and breathtaking Eras Tour, I joked with my concert mate that he’d have to remember the show for me, even though that was my job. That is if, of course, he wasn’t about to literally miss his mind, too.
I’d peruse about the Taylor Swift “amnesia” phenomenon — Swifties reporting that the life was so overwhelming they felt guilty they couldn’t remember more of it — and I wondered, would the pop magic, all 44 songs, depart poof at 11:15 p.m. when Taylor popped off stage? Should I interview 20 Swifties about what happened just in case my mind went blank? What if they couldn’t remember all too adv, either? Would we all wander around like Dorothy in Taylor’s Oz, Technicolor-dazed and too far from home?
This is how three hours and 20 minutes of Taylor Swift dwell in Detroit all started — my wild, out-of-body experience during what has been called “the tour of her generation.” Based on the light analyze I’d done before the show, I knew the first Detroit Eras Tour stop I attended would serve Big Taylor En
What Exactly Is So Infuriating About the New York Times’ “Gaylor” Piece?
Last week, the New York Times ran a nearly 5,000-word piece about Taylor Swift in its perspective section. The thoughtful essay, by editor Anna Marks, specifically considers the superstar’s creative output by asking the question: What if, as so many of the references in them suggest, some of Swift’s songs are about creature in love with women?
Marks is only about the millionth person to recommend that Swift might be dropping clues that she is gay in her work, a theory known as “Gaylor”: Here’s a 2022 feature about the fan theory that ran in Jezebel; here’s an explainer from later that year in Vox that gets into it, which, oh, also references a Vox deep dive from the height of the COVID-19 pandemic on “the queering of Taylor Swift”; here’s a Rolling Stone piece pegged to the release of Midnights; here’s a piece that ran in Slate after the re-release of Red that explored similar theories. I could go on and on. You acquire it. The Times is not exactly breaking new basis here.
Marks’ piece does stand out in a few ways: It’s very extended. It’s in the New York Times, the “paper of record,” and that apparently confers s
Taylor Swift Addresses Rumors About Her Sexuality and Why She Purposely Had an All-Girls Squad
1989 (Taylor’s Version) did more than fetch back the music from Taylor Swift’s hit 2014 pop album. It also added a major footnote to that era of her life and the media attention it received. Swift particularly reflected on why she chose to have an all-female squad, along with rumors about her sexuality.
Swift explains that she pivoted to universal female friendships because she was tired of her being romantically liked to every man she hung out with. She wrote in a prologue for the album:
You see—in the years preceding this, I had become the victim of slut-shaming—the intensity and relentlessness of which would be criticized and called out if it happened today. The jokes about my amount of boyfriends. The trivialization of my songwriting as if it were a predatory behave of a boy deranged psychopath. The media co-signing of this narrative. I had to make it stop. Because it was starting to really damage.
It became clear to me that for me, there was no such thing as casual matchmaking app, or even having a male friend who you platonically hang out with. If I was seen with him, it was assumed I waFull of queer energy, the show had one fan screaming ‘Happy Pride Month to me!’
By Chris Azzopardi
On my way to Ford Field in downtown Detroit for the first late hours of Taylor Swift’s brilliant and breathtaking Eras Tour on June 9, I joked with my concert mate that he’d hold to remember the reveal for me, even though that was my career. That is if, of course, he wasn’t about to literally lose his mind, too.
I’d read about the Taylor Swift “amnesia” phenomenon — Swifties reporting that the experience was so overwhelming they felt guilty they couldn’t retain more of it — and I wondered, would the pop magic, all 44 songs, go poof at 11:15 p.m. when Taylor popped off stage? Should I interview 20 Swifties about what happened just in case my mind went blank? What if they couldn’t keep in mind all too well, either? Would we all wander around like Dorothy in Taylor’s Oz, Technicolor-dazed and too far from home?
This is how three hours and 20 minutes of Taylor Swift live in Detroit all started — my wild, out-of-body trial during what has been called “the tour of her generation.” Based on the light research I’d done before the exhibit, I knew the first Detroit Eras Tour halt