I HAVE FULL CHILLS.

Illuminating: Style and its obvious clues

Opinions have been varied on who Style is about, obviously many claim it's about Harry Styles because of their relationship, as well as Dianna because of her James Dean photoshoot.

Even though I knew of Karlie's James Dean photoshoot on Dec 2012, I was still on the fence since the lyrics is talking about the cycle of intense love, crashing down, and coming back to the same person. So if they just met, how can this be about her, right?

However, since Taylor's clues have pointed to the timeline being a public narrative, such as:

First introduced by Bevan with Emma Stone in April 27 2008

Karlie on magazine mentions meeting and talking at the Met 2011 and baking dates

Mentioned Karlie unprompted on her 1st US Vogue Cover (does she do that a lot on print?)

released songs from the rep album such as timeless (confirmed single) and ICSY (sonically/lyrically according to critics) under Speak Now vault (screenshot below)

Karlie wearing an Enchanted gem on her bracelet (come on, how many songs do you have and you picked Enchanted?)

I am inclined to believe they have met longer than the public knows.

Clue # 1 - Style was written and recorded by Feb 19, 2014 while Dianna's InStyle magazine was Feb 2014 and Karlie's was Dec 2012. Not definitive but it's a start.

Clue #2 - might be the most obvious one yet and it's in the lyrics

"You got that long hair, slicked back, white T-shirt"

Both had the slicked back hair, only Karlie has worn a white t-shirt.

Clue #3 - "And I got that red lip classic thing that you like"

from Vogue 73 questions - she rarely wears red but sure it's favorite

Clue #4 - Walking to Style during VSFS 2014 as the King and Queen of chess and Taylor recreating this moment every eras tour?

Clue #5

I mean, can't be a coincidence, right?

A few times in between Karlie was allegedly with Leigh or Toni while Taylor we know has had a few flings as well.

Lyric parallels

"So it goes" is such an iconic line for them and I believe that Taylor has purposely made it a title in one of the rep songs for a reason

There are 13 "so it goes" in the song including the title

"'round and 'round" - While the YAIL reference sounds a perfect callback to the 1st VSFS it could also refer to them circling each other, chasing each other like cat and mouse (Paper Rings), being on different sides of Atlantic (Come back, be Here)

and how many times have we heard Karlie with the phrase "never go(es) out of style"? - this year alone she said it twice while being interviewed.

let me know what you think

LOUD you say? 3/8 you say? 🧐👀

Making our way through the London Fundon 🙂 crowds to say, "Hello"! 👋 We cannot wait to hear how LOUD these next three of EIGHT Taylor Swift | The Eras Tour shows will be! 🇬🇧 📷: Xavi Torrent/TAS24/Getty

tstheerastour.taylorswift.com

Taylor Swift

The Glass Closet: Taylor Swift, Chely Wright, Speculation, and the Industry That Keeps Artists in the Dark

For nearly two decades, Taylor Swift has orchestrated the art of reinvention—from a fresh-faced country prodigy to a global pop powerhouse, from America’s golden girl to a self-proclaimed anti-hero. Each era has been a transformation, each reinvention a shield. Yet, beneath the carefully curated personas, the shifting aesthetics, and the highly publicized relationships, one unspoken question lingers: Who is Taylor Swift, really?

The theory that Swift is queer and closeted—the heart of the “Gaylor” conversation—isn’t about unfounded gossip. It’s about the systems that shape an artist’s image, the forces that dictate what is and isn’t acceptable, and the very real cost of authenticity in an industry that thrives on marketability over truth.

To understand this, we have to look beyond Swift herself. We have to examine country music’s history of closeting artists like the fallout that followed Chely Wright’s coming out and the impossible balancing act Swift has performed for years.

This is a story about control, coded storytelling, and the glass closet Taylor Swift has spent her career trying to break free from—without ever shattering it completely. It's a story of paving the path for a brighter, louder, more colorful future because one thing is for sure...

SHADE NEVER MADE ANYBODY LESS GAY!

The Early Aughts + Country Music Stardom: A Foundation Built on Silence

Country music has long been one of the most traditionally conservative genres in the music industry. With a core audience rooted in Middle America values, the genre has historically upheld white, heterosexual, Christian narratives as the foundation of its storytelling.

Even in 2025, there are only a handful of openly queer country artists, and most of them struggle to receive mainstream recognition. Artists like Brandi Carlile, T.J. Osborne (Brothers Osborne), and Brandy Clark have helped pave the way, but country radio still hesitates to fully embrace LGBTQIA+ voices.

In this world, being an openly queer artist isn’t just risky—it’s career-ending.

And no one embodies that reality more than Chely Wright.

Chely Wright: A Warning from the Closet

In 2010, Chely Wright became the first mainstream country artist to come out as lesbian and it destroyed her career.

Wright was a hitmaker, with #1 songs and major industry recognition. She had everything an artist could want—until she told the truth.

Country radio blacklisted her.

Venues stopped booking her.

Her album sales tanked.

The industry that once celebrated her pretended she never existed.

Her story became a cautionary tale—a stark warning that country music does not embrace queer artists. It erases them.

By 2010, Taylor Swift was already a superstar. If she was questioning her sexuality—or even fully aware of it—she had already been placed in a carefully controlled box.

Unlike Wright, Swift’s departure from country music wasn’t an exile—it was an escape. But that escape wasn’t just about genre. It was about control. It was about building a world where she could reinvent herself while keeping parts of her identity just out of reach.

A Different Perspective: Chely Wright’s Discomfort with Speculation

When The New York Times published an essay on the Gaylor theory, I was surprised to find that Chely Wright herself expressed discomfort with the way Taylor Swift’s sexuality is discussed in public. Wright called the piece “awful” and “triggering”, criticizing the newspaper for engaging in speculation. Given that Chely’s story has long been a major point of discussion in the Gaylor community, her response was jarring. At first, it made me question whether using her experience as a lens for understanding Taylor’s career was appropriate.

But upon deeper reflection, her reaction makes sense. Chely Wright’s coming-out experience was deeply traumatic—she spent years hiding, lying, and carefully constructing a false image to survive in country music. And when she finally told the truth, her career collapsed overnight. For Wright, the mere act of publicly discussing another artist’s sexuality—whether as support or analysis—might feel like the same kind of external pressure she once faced.

However, there is an important distinction: The Gaylor conversation is not about forcing a label onto Taylor Swift. It’s about analyzing the subtext Swift has deliberately embedded in her work. If Taylor wasn’t queercoding her music, this conversation wouldn’t exist in the first place.

It’s also crucial to recognize that the industry forces that once silenced Wright are the same forces that shaped Swift’s career. While Wright may reject this discussion entirely, that doesn’t change the reality that Taylor’s work is filled with coded storytelling—suggesting she is navigating the same strict boundaries but in a different way.

Wright’s response to the op-ed highlights a larger cultural question: Why does queerness still have to be treated as a secret, while speculation about straight relationships is encouraged?

Why Is Speculating About Queerness Seen as Different?

One of the biggest criticisms of the Gaylor theory is that it’s “invasive” to speculate about Taylor Swift’s sexuality. But where is the line between analyzing queer themes in her work and being inappropriate? Why do Swifties who push back against this theory have no problem speculating about her relationships with men?

This is where the double standard comes into play.

Taylor Swift fans have spent years digging into her personal life—analyzing lyrics, finding Easter eggs, and debating which songs are about which boyfriend. Entire media cycles have been built on this:

Is "All Too Well" about Jake Gyllenhaal?

Is she secretly engaged? Was she secretly married?

Was "You Belong With Me" about Joe Jonas?

These questions are not only accepted— they're expected.

But when Gaylors apply the same level of analysis through a queer lens, suddenly, it’s labeled “invasive” and “harmful.” The message is clear: It’s only okay to speculate if the answer is straight.

To me, this is an outdated view to force straightness onto someone while also claiming that sexuality is a spectrum. Given Taylor’s layered storytelling, it feels necessary to allow her to exist on that spectrum—where maybe some of her stories are not what they seem.

As we know, Taylor Swift spent the early years of her career operating under the rigid gender norms of country music, a world where women were expected to sing about heterosexual romance, faith, family, and small-town nostalgia. But as her success grew, so did her desire for creative control—and possibly, her need to carve out a space where she could express herself more authentically, even if only in coded ways.

Her transition to pop wasn’t just about breaking genre boundaries—it was about escaping Nashville’s conservative grip and stepping into a world where reinvention, subtext, and ambiguity could thrive. And she made that clear from the very first song on 1989.

“Welcome to New York”: Taylor’s Break from Nashville & Living In Screaming Color

"You can want who you want / Boys and boys and girls and girls."

This wasn’t just a throwaway lyric. It was the loudest queer-coded statement she had ever made—and it opened the album that marked her escape from country music’s restrictions.

This is also the era that she gave us New Romantics and Out of the Woods with lyrics like, "The rest of the world was black and white but we were in screaming color."

Many Gaylors believe that Red (2012) was already a queer-coded album, with songs about a secret relationship—possibly with Dianna Agron—hidden behind PR relationships with men. But in 2014, she took it a step further:

She stopped centering men in her music.

She built a “girl squad” narrative that celebrated female friendships—but felt, at times, like something more.

She became more private—hiding her personal life while crafting an ultra-public, ultra-marketable persona.

If Red was about testing boundaries, 1989 was about reinvention as a shield. From this moment forward, Taylor would never again present her personal life without layers of control.

Reinvention as Survival: The Dual Taylors

Swift has reinvented herself with every era, but this reinvention isn’t just about artistic evolution—it’s been a survival mechanism.

She constantly presents two versions of herself—the one the public sees, and the one hidden beneath the surface.

This is the essence of the glass closet—where an artist can leave clues, drop hints, and tell the truth without ever being forced to say it outright.

Why Taylor Swift’s Closet Is Different

Unlike Chely Wright, Swift never had to lose her career over her sexuality—but that’s because she never let it become the story in the first place. The longer she hints, codes, and subtextually confesses, the veil gets thinner.

When she says “ME! out now” on Lesbian Visibility Day, people still think it’s a coincidence. When she plays "Maroon" on Karlie's birthday, it doesn't mean anything. Somehow, even when a song with such an obvious rhyme scheme as "The Very First Night" all but hits you over the head alluding to a female pronoun in a love song, Swifties turn the other cheek and deny the obvious.

She has spent 20 years writing about love—but to the general public, that love has only been for men. For those who see through the lines, she has been communicating her real experience the entire time.

Swift’s public relationships always seem to appear when speculation about her queerness reaches a peak. The Summer of Lover 2019? Joe Alwyn’s presence is reinforced. The Midnights era? Enter Matty Healy, a quick PR cycle that fizzled just as fast as it began. And now, in 2024, with The Tortured Poets Department drenched in queer themes? Travis Kelce is front and center. Whether these relationships are real, exaggerated, or entirely contractual, they always serve a purpose—to keep the glass closet from completely shattering.

The Power of Subtext in the Mainstream

In many ways, Taylor has done something radical—she’s embedded queerness into mainstream pop culture in a way that allows it to exist without being outright rejected.

Before her, queerness in the industry was often either completely hidden or presented in a hypersexualized, rebellious way that still played into the male gaze (see: Madonna and Britney’s VMAs kiss, Katy Perry’s “I Kissed a Girl”).

Taylor’s approach is different. Her queerness isn’t a spectacle—it’s woven into love songs, metaphors, and heartbreak anthems, allowing it to be as deeply felt and widely consumed as straight narratives.

For younger artists, this has cracked open the door.

Queer Artists Who Have Benefited from the Shift

Artists who emerged in the post-Taylor pop landscape now have far more room to exist as their authentic selves. Many don’t have to code their queerness the way Taylor does, and that’s partially because her queer-coding forced the industry to acknowledge that queer narratives could be commercially successful.

Examples of artists who have benefited from this shift include:

Kelsea Ballerini – A country-pop artist and close friend of Taylor Swift, Kelsea has been a vocal LGBTQIA+ ally, advocating for inclusivity in a traditionally conservative genre. While not publicly queer, her embrace of queer narratives and shift toward pop mirrors Swift’s own path, signaling a slow but growing evolution in country music.

Girl in Red – Explicitly queer in both image and lyricism, yet embraced by the same industry that would have never allowed Taylor to be this open in 2006.

MUNA – An openly queer pop band that has been able to build mainstream success without needing to obscure their identities.

Billie Eilish – After coming out as queer in 2023, Billie has embraced her identity without industry pushback, reflecting the shifting landscape Taylor helped shape. Her openness marks a new era where pop stars no longer need to rely on subtext or plausible deniability to exist authentically.

Chappell Roan – The most recent example of a queer artist who is making waves in the pop scene—heavily inspired by the theatrical elements of Taylor Swift’s songwriting and world-building.

Would any of these artists have been able to flourish in the mainstream ten years ago? Unlikely. Taylor’s massive, industry-defining career—and the queer interpretations of her work that have never been shut down entirely—helped normalize the idea that queerness doesn’t have to be a commercial risk.

The Unfinished Revolution: Taylor’s Influence on the Future of Queer Storytelling

Taylor Swift’s position in pop culture is unique—she is arguably the most famous person in the world, yet her true identity remains one of the most debated subjects in modern music.

This paradox—existing in a glass closet while simultaneously paving the way for others to live openly—is what makes her influence so undeniable.

Taylor Swift may never fully break out of the closet herself—but she has already blown the door open for others to walk through.

She has spent two decades bending the rules of the industry, proving that queer-coded storytelling is not just marketable but deeply resonant. The next generation of artists doesn’t have to bend the way she did—they can step into the spotlight and tell their stories without hiding behind mirrors and metaphors.

Taylor may be trapped in the glass closet, but the industry she reshaped will never be able to shut the door again.

LONG LIVE THE WALLS WE CRASHED THROUGH!

and one more thing, this was 100% a coming out post (ON LESBIAN VISIBILITY DAY AFTER A 13 DAY COUNTDOWN OF RAINBOW PICTURES) and the fact that people chose to ignore that makes me so sad for taylor

OK, I've been debating over this for ages...

Who of you guys is familiar with Stationhead?

I've been listening almost religiously for months now, and I've got questions.

For those who have never seen this name:

Stationhead is an app that can be linked to your Apple Music or Spotify account and allows streaming playlists, so you can share them with others in real time. It includes a chat function and some other little bits and bobs. Artists--including Taylor--occasionally use it for listening parties, where they stream a specific playlist, and fans go nuts in the chat. All good fun. Taylor Nation has an account they use for those listening parties, and they are usually announced beforehand via instagram, etc.

Whenever there is no active listening party, there's still a Swifties channel. There's a whole syndicate that shares the responsibility of keeping the music playing there. They can stream music simultaneously, but only one gets featured "on air" on the channel at any one time. I can't really determine whether those individual hosts are fans, or what, or how they got into the syndicate. But I did notice two things: 1) Just before a listening party, a certain host called "swiftiesss13" tends to take over the channel. Basically while everyone is gathering and waiting for the main event to start. 2) There also seems to be a default host that plays whenever no one else from the syndicate is active. That would be taylorswifties13 (LOVE the 1989 icon 😉).

Please note, that these are all just my observations. I know nothing about the behind the scenes that are going on. If anyone here knows more or thinks I'm spewing utter nonsense, PLEASE fill me in!

Now.

The thing I feel kinda weird about sharing, but which I really would appreciate thoughts on... So, on that default station, the host taylorswifties13 has been playing the same playlist for several months now. I BELIEVE the most recent changes to the playlist occurred around mid November. Specifically, Nov. 15th, IF I'm not mistaken. I'm going by text messages I sent to my friend back then, and my fuzzy memory/awareness of what came before then, because up until then, I'd been listening for months, but hadn't known what to look for. First of all, let me share the playlist that has been in place ever since then:

Note, that since I have no way of knowing for sure, my staring point of Begin Again is perfectly arbitrary. As for the colour coding, red indicates songs from the The Eras Tour setlist. That's 21 tracks out of 47, so close to half. In addition to that, we have tolerate it, which used to be on the setlist, and Florida!!!, which was part of the TTPD set for four shows (London and Miami). I wasn't sure whether to count the latter as a setlist song, or a surprise song, but I'll mostly count it as a surprise song. The tracks in green, are songs she played on her final leg in USA/Canada. Any tracks with an asterisk (*) were surprise songs during the European leg of the tour. Please don't be too confused by all of my annotating and colour coding; it’s all a bit silly on my part, but maybe it's helpful to someone else..? Dunno.

And here's the "juiciest" bit about it all

...assuming I haven't lost you by now.

If you would please direct your attention to tracks 35 and 36:

Gorgeous (track 34) ends, This Love starts playing, but STOPS just a few seconds into the actual verse. If you look at the progress bar, this is exactly how long the song is meant to play. I once tried following it up by adding this song to my Spotify favourites (which you can do via the Stationhead app), but it only gave me the proper version. Very odd. Anyway, I was so puzzled over this almost straight away, but it took me several more months (last week) to think of checking the runtime. Here it gets a bit so-so.... because it's 38 seconds. But not sharp. It's NOT 39 seconds, but it's also not exactly 38. Still. Very strange, kinda tantalising, not quite precise enough for my liking and YET so UNCANNY. On a stopwatch that doesn't show the milliseconds, it certainly WOULD be 38 seconds... 🤷‍♀️ If you are wondering about my reaction time: I also isolated the exact snippet of the track in video editor, and it was under 39 seconds. The whole thing is compounded by the fact that the original Fearless plays right after. The original. EVERYONE in the chat keeps complaining about the "stolen" version. Ok. I get it. But also, why does no one else find it weird?! They are raging, but no one is questioning. In a playlist with ONLY TVs, except the two reputation songs which have no TVs yet. In fact, there's ONLY two rep songs and NO Debut songs. The host is otherwise very mindful of their curation.

For me, the odd skip, followed by this odd OG version immediately brought ONE thing to mind:

This was from Karlie's snapchat stories. It entered the lore officially, when Taylor referenced it in her The Man music video, on the graffiti wall.

Why I think it's relevant and it all fits together?

* This Love (a 1989 song, contains lyrics like "this love came back to me" etc) plays for only a short time, which should raise eyebrows on it's own, but arguably, it also runs for 38 seconds. * OG Fearless (rather than TV) is another way to make you stop and think, but it ALSO is the version that actually was out when the mirror thing happened. There were no TVs yet.

ANOTHER ALSO. The "We Are Fearless" mirror thing happened November 16, 2016. Remember when I THINK the playlist changed to THIS?! Mid November 2024 (15th). At first I thought it was 16th, but I live in Australia, so my 16th isn't America's 16th yet early in the morning, which was when I discovered it. (Dang! 🤣) Anyway, close enough? I want to say "take this with the hugest grain of salt" because I didn't quite have my shit together back then. But in favour of this being odd: I knew about the mirror, I didn't know when exactly it happened. When I searched my text history to find the dates for when I became aware of all this, I STILL didn't know when the mirror thing happened. I found that date on my phone first, before googling the video of the mirror writing, which then conveniently came with an actual date. I was shocked. It just fit too well.

Tiktok

eight years ago today, in her snapchat story, karlie kloss wrote “We are FEARLESS” on a mirror, causing the lettering to appear backwards taylor later referenced this on the infamous ‘the man’ wall november 16, 2016 #lgbetty #friendsofdorothea #swifttok #taylorswifttok #taylorswift #taylornation #taylorsversion #swiftie #taylorswifttheories #taylorswifttiktok #tswift #tswifttok #taylorswiftedits #taylorswiftedit #onthisday #onthisdayinhistory #throwbacks #taylorthrowbacks #throwback #taylorswiftthrowbacks #karliekloss #kaylor #fearless #fearlesstv #theman #themanwall #eastereggs #easteregg

eight years ago today, in her snapchat story, karlie kloss wrote “We are FEARLESS” on a mirror, causing the lettering to appear backwards taylor later referenced this on the infamous ‘the man’ wall november 16, 2016 #lgbetty #friendsofdorothea #swifttok #taylorswifttok #taylorswift #taylornation #taylorsversion #swiftie #taylorswifttheories #taylorswifttiktok #tswift #tswifttok #taylorswiftedits #taylorswiftedit #onthisday #onthisdayinhistory #throwbacks #taylorthrowbacks #throwback #taylorswiftthrowbacks #karliekloss #kaylor #fearless #fearlesstv #theman #themanwall #eastereggs #easteregg

Ok, so far so good.

But I'm still at a loss. As I mentioned before, everyone regularly complains about stolen Fearless. NO ONE ever asks why This Love is cut off. I question on the daily whether I'm just going nuts. Isn't it happening to ANYONE ELSE?! But it has to, as the playlist is streamed. It would mess up the entire timing from thereon, if it didn't happen to everyone at the same time. I'd think you don't have to be a Gaylor to find it strange?!

Oh, and a wee bit more Kaylor...

This really is a minor thing, but did you notice track 22? It just so happens to be the Kendrick Lamar version, as in NOT the exact version from the Eras Tour, but the one from that lovely music video, which features our girls boxing their hearts out 🥵 Not very demure, but feels VERY mindful, no?

I have one last thing to add:

I can't exactly send in evidence for this, as the playlist is super long, but y'all are free to waste some time and fact check me if you don't believe it... the entire playlist runs for 3h03 min (and once again a couple of extra seconds, so not perfectly on the dot, but for a whole playlist that's to be expected). What's that in MINUTES, you may immediately wonder? 183. Thank you very much 🙈

BUT WELL...

Let's think critically here for a moment... I'm either delusional, or this playlist does have "KAYLOR" written all over it. Cool. Fun. BUT HOW DO WE KNOW, that this playlist isn't just made up by one of us? Unfortunately, we don't. Or at least I don't. If any of you could elucidate, I'd be totally thrilled! Things that make me have a wee bit of faith:

It appears to be the default playlist on the Swifties channel

The tracks are very mindful of the TV situation, just like playlists that are coming from a more officially official source: NO Debut, as little reputation as possible, but then the odd one out Fearless OG

This is where the surprise songs come into play: the ratio of non-setlist tracks that were actually played during the America leg of the tour as surprise songs is a bit higher than what I'd expect to be chance alone. I've since tried to come up with random lists of songs and compared them to the actual surprise songs to kinda test this. I fell very short with some, came rather close with others, never quite reached the exact same number, let alone higher. I could be totally wrong, but this list of songs, that was first aired just a few shows into the American leg, contains a suspicious number of surprise songs. Almost like the curator knew that some of them would be played. Dunno. I'm aware that this isn't good evidence, but still something I noticed.

To sum it all up.

This has been driving me insane. I don't know if I see patterns where there are none, or if I see them alright, but the source is just another Kaylor having fun with it. Any thoughts, comments, insights would be MORE THAN WELCOME. What do you think? Is this something random, or is Miss Taylor having a jolly good time messing with us?

Alrighty folks, buckle up, because I googled "Taylor Swift Wonderland music video" and have fallen down a as of yet unsolved Eras tour puzzle/ one of the greatest theories I've ever heard!

Reddit Link also included

Hey Taylor…have you ever tried ✨this one✨?

🧡🩷🤍

What is happening?!

How can all of this happen in a week?

Ice Spice singing Girls Just Wanna Have Fun while holding a magazine with Karlie on the cover after this happened

Taylor’s friends wearing clothing with a Phoenix right before Karlie walked for Schiaparelli as the Phoenix

.

Travis on stage with his painted red bottom soles

Karlie posting a picture to her IG clearly showing her Louboutin red soles.

Taylor’s dancer basically copying another of Karlie’s IG posts

“ quick touch up”

.

Kam sanders likingSchiaparelli’s Phoenix post of Karlie

What is going on?

Oh and then Griff opened the Eras tour and sang Girls Just Wanna Have Fun

it’s just like. maybe she just liked the colors of the bi flag and dyed her hair for fun. maybe she liked the idea of cedar closets and was inspired to write a song about an ex boyfriend. maybe she wore a rainbow dress during her pride speech because rainbows are pretty. maybe she dressed like a pride flag flamingo for wango tango to match pride month as an ally. maybe she said that gay pride makes her her because she’s that committed to allyship. maybe she heard about the connotations of lavender in the 50s and wrote a song about how that mirrors her feelings for her boyfriend. maybe she’s never heard of the “hair pin drop around the world” (stonewall) and just chose something that wouldn’t make much noise. maybe she really just likes singing from alternate perspectives. maybe she forgot to change the pronouns when she covered riptide from a female perspective. maybe she put herself in glass closets in multiple music videos because she feels trapped by herself. maybe she wrote so much about secrecy on reputation because she thought if she was seen with her boyfriend publicly it would ruin the relationship. maybe she wrote so much about secrecy in her earlier albums because she prefers privacy. maybe she wrote about secrecy on folklore and evermore because she was writing fiction. maybe she compared loving her partner to sin that forfeits her good standing with god and the world because she likes to be dramatic. maybe the very first night is about a guy and she just accidentally made the verses rhyme with “her”. maybe she really likes daisies because they’re pretty. maybe connections between cruel summer and closure are accidental. maybe connections between it’s time to go and down bad are accidental. maybe she’s been best friends with all of her lovers. maybe!

………………However,