swifterthancivility

[swifterthancivility]

I would love for this to be true. Like honestly, it would literally be one of the best days of my life if I learned Taylor was queer.

However, what this and almost all queer lens analysis of Taylor Swift's lyrics fail to address is that there is an obvious and much more likely reason that her songs sound queer. Queer romance requires secrecy in very similar ways to how celebrity romance requires secrecy. Yes, when I listen to Ivy, I envision myself in an edwardian gown running through an over grown garden in the moonlight to meet up with my suffragette wife. Because that would be necessary for me at that time. When I listen to Cruel Summer of course I think of my "best friend" that I fantasized about living with that ghosted me probably because I was in love with her and didn't realize it. When I listen to the song lover I think about my girlfriend and I creating safe spaces for each other and growing old together. I think all of those things because I'm GAY.

However the very obvious and plausible reality is that Taylor literally has PTSD from having her entire relationship history on the front page of everything all the time. I have PTSD just from watching it. Taylor is only 5 years older than me and I've been a swiftie since debut. You don’t know what it was like to be in the Red era if you weren't there. I literally said "I have bad taste in music, I like Taylor Swift" to people because it was literally embarrassing to be in college and a swiftie. Everyone I knew hated her for just existing. Again some of y'all don't remember it and think you do. Because from the time I was 11 to probably 20ish the worst possible thing you could be was a girl. This was the unironically "not like other girls era" this was the time where bitches like me were out here on tumblr telling people that having sex with a passed out girl was rape and being called "feminazis." I literally had a room mate who previous to knowing me had described exactly that experience as "cheating." This is the world Taylor not only grew up in, but had to experience numerous deeply public traumas in. And if she so much at looked at a man she was called boy crazy, desperate, slutty. Not just by newspapers, by literally everyone I knew.

Do we maybe understand now why all her songs are about not being able to love freely? Maybe Ivy is about being afraid of getting caught dating someone. Maybe Cruel Summer is about getting caught dating someone. Maybe lover is about hiding in the house so you don't get caught dating someone. Maybe she actually didn't have a great time trying to date.

And yes she could be queer. Anyone could be. However 93% of American women do not identify as lesbian or bisexual. If you've ever tried being a lesbian outside a large city you will know that statistic intimately. Honestly I think we're over-represented by public facing celebrities (not necessarily by the media made or by writers, directors, etc who are relatively not public). While queerness is a possibility, it's also just as likely that the most obvious answer is the truth.

And for the record Taylor doesn't want anyone speculating about her relationship at all and has literally said that her entire career. She does not want this speculation and she is most vocal about not wanting the speculation around relationships with men. Her publicity with Travis is literally the first time she has ever been this public. Of course she gets a little messy sometimes and drops a name. But when asked, in general, how she feels about the speculation she has only ever described it as awful to endure. To act like this is just some ruse to draw interest is actually very cruel. I don't know if you know this but she is actually just human being like you or I. Surely you've experienced the indignities of going through a public break up especially if it got messy. Now imagine that's your whole life.

I used to be very against posting on this speculation even if I discussed it privately with friends. I've always felt that any speculation on her relationships with men or women should be discussed privately if at all. HOWEVER at this point she's made it pretty clear that she's offline and living her best life (i wish I could do that too instead of spending an hour writing a thesis paper on this no one will read). I do not take issue with the fact of queer speculation. I take issue with the arguments being made that these songs are undeniably queer. That simply isn't true. Take it from someone with an english degree who writes and performs written and spoken word poetry. What meaning you see in a piece of art says much more about you than the art. The first thing they tell you in English major school is "death of the author" meaning that we can never know or prove the author's purpose and/or thought process for their work. For that reason the author's intent is of almost no note in critical analysis of artistic media. Are the songs about men, women, or all genders? We'll never know unless she tells us or some descendant releases her records to the public or some technological anthropologist uncovers her diaries in some vault long after her songs are the only things remembered of her. That doesn't mean there isn't value in thinking deeply about her work but this is simply not a fact finding endeavor. It's just gossip.

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!

[swifterthancivility]

I wait patiently, he's gonna notice me. You are the one I have been waiting for. I've waited my whole life. I've been sleeping so long in a twenty year dark night, and now I see daylight. He better lock it down or I won't stick around 'cause good ones never wait. If this is the long haul, how'd we get here so soon? I wait by the door like I'm just a kid. Were you waiting at our old spot? Now I'm waiting by the phone. Like waiting for a bus that never shows, you just start walking on. Now I just sit in the dark and wonder if it's time. Should've known it was a matter of time. I died on the altar waiting for the proof. Still alive, killing time at the cemetery. I just sit here and wait, grieving for the living. I won't confess that I waited, but I let the lamp burn. The woman who sits by the window has turned out the light. Even statues crumble if they're made to wait.

[swifterthancivility]

This is mean but I get so annoyed by Lana Del Ray. Her aesthetic can be really good but her music is so terrible. I honestly can't comment on the fact that it seems to be all about loving horrible men because I can't get through a whole song with her. She sounds like she eats rocks for breakfast. At what point does vocal fry become a medical condition? And all of her songs are slow and boring. I like an emotional sad slow song once in a while but that cannot be the whole discography. And maybe there is a song that the fandom loves that doesn't sound like a 90 year old grandmother talking about disturbing stories of falling in love with a drug lord while she chain smokes but none of those songs are there when I try to listen to her. A lot of people told me I would like her music but unfortunately I'm not sure we can legally call what she makes "music." What is the appeal? She doesn't even seem to be a nice person!

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"My hair is my power source."

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SABRINA CARPENTER for Prada Beauty via Instagram

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Sabrina Carpenter performing with Taylor Swift at The Eras Tour in New Orleans

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I love the new album by Sabrina. Is anyone getting a little bit of K-pop vibes from her? I didn't notice it before, but now I feel like I can't unhear it. I'm not musical, so I can't explain it well, but there's something about the phrasing and the layering of the song that's giving me Loona and Twice vibes. I feel like if she wanted to have a bunch of people sing it and a ton of aesthetic group choreography shots in a music video, it would work well. I'm not an expert in her discography either, but she hasn't made any kind of stylistic shift imo. I don't know that this is intentional.

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I genuinely cannot tell if this is ironic or not.

sometimes you find a reusable tupperwear in the back of your fridge that. well. you could wash but. goodbye. Remember the real problem is Taylor swift .

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Every Taylor Swift music video → Picture to Burn

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My whole life I've had a hyperfixation and I am not exaggerating. The first one was Sailor Moon which really dominated kindergarten for me. Then I read Harry Potter and that not only did that take me from below grade level to several grade levels as a reader, it dominated my brain so much. Then Lord of the Rings, then a very embarrassing Twilight phase followed by an even more embarrassing phase I wouldn't admit to even if you tortured me, then Supernatural, and my last one was Black Widow specifically from the comics.

Hyperfixations used to feel like a moon in the night sky to me. I love manga and comics still, and I read a lot of them as a kid but that love didn't come close to my actual Hyperfixation which really always had 30% of my brain power at least. But I really thought I didn't have any Hyperfixations anymore pretty much since I graduated college. I know maladaptive day dreaming was also a huge part of my life and I do have a ton of things I actively follow and enjoy. But I felt a little sad that I haven't really fallen in love with a franchise since Marvel.

And then I realized I have a hyperfixation on Taylor Swift. Not in a parasocial way, but literally connected to her songs. I think about her music all the time. I quote her constantly when explaining things. For some reason this realization has kind of shaken me. I think it's also put some of my reactions into perspective. When I hyperfixate on a topic I just constantly consume new information about it, because I love it. So like I read tons of articles, follow a ton of swifties on social media, obviously run a blog about her, and make an effort to read everything she puts out as well as listen to all her music.

And because of that I get really mad when people just don't know as much as me and still share information that is inaccurate. It's annoying when it's some rando but it's infuriating when it's a person who consistently comments on pop culture. I feel like if everyone knew the full information on every Taylor Swift headline they'd feel very similar to me. She's a person with consistent values who has a lot of valid fears about her safety and her ability to have a happy life, she's a little messy, and she is a really good artist who loves making music.

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I honestly do not understand why people are saying that taylor is releasing basically new versions of old songs to get at these other popular female artists. First of all, Literally all artists do this. Secondly, Female pop is having a really big renaissance, like she would not be able to Promote anything.If she tried to avoid when other female artists were promoting stuff. And finally, And this is the most salient point, Um, why do y'all expect a new remix for A random song to Get the number one spot? I am a lifelong swifty.I absolutely love taylor swift. I'm not out here Listening to "I can do it with a broken heart" instrumental. I don't think these songs are gonna be number one very long. If you remember midnights, Blondie was dropping a new play last or a new track every other week for months. And most of them were not number ones either. I honestly think it's really just to keep the buzz around the album for as long as possible. Now i'm not following billboard, But even though it's taylor swift, I don't think people are gonna be jamming fortnight (Asylum version) featuring sad tears. And if we are, Then maybe these other ladies didn't really deserve the top spot. Like, I think it really says something that people are willing to listen to like a dance club, boring bop.Remix of a song that's been out for like Three months, Over your new fresh a new track.

And here's the, I'm not getting any of these releases. I'm on tiktok just like everybody else. I feel like the charlie xcx song that has all of the stuff about her and lorde is really popular. Espresso and please please are doing great. I know billie eilish just dropped something. But to be honest, I'm not a huge Billie Eilish fan just cause i'm happy. Like i'm fully on swifty.Tiktok, and i'm not seeing a bunch of swifties being like Super jazzed over some, like new playlist, dropped on spotify. In fact, Most of the releases seem to be vinyls. And i'm poor. Or at least not rich enough to be spending like eighty dollars a vinyl, for something I literally cannot even play. So that's not like hitting the charts. Also, the vinyls are all just like releases of the main album, with like one of the anthology tracks. None of this is like hitting the top charts at all. I feel like she's releasing a new vinyl like every ten seconds.

It really and truly is just not that serious. This is like someone posted taylor swifts private jet usage over like the last year, sometime earlier this year. And if you look at it, It literally is just her going to tour stops and going home. And at least that, I kind of understand because like everybody's making the argument that it's like Killing the environment (even though it isn't and like literally any Climate scientist discussing this will tell you that it doesn't actually make that big of a deal, and literally the biggest polluters are so happy we're all talking about fucking taylor swift right now. Because like fucking exxon mobil's out there, ruining everybody's life 24/7, and nobody gives a shit. Also if she's transporting all her tour paraphanalia she's probably just doing the most efficient thing). But this is just a little ridiculous. Like suddenly, taylor swift hates women, because she's releasing vinyls on the same day that someone she's probably spoken to twice has released a single. Also fucking poor billie eilish, Everyone's trying to like make beef between her and taylor. Charlie XCX, Lorde, Billie Eilish, and most of the other female artists I've seen, have all been boosted by their proximity to Taylor before. Y'all really have to create drama from nothing.

At the end of the day, It is so weird and gaslighting to be a taylor swift fan. Because y'all bitches, Are always preying on her downfall. For no reason! Like I swear to god taylor looks at someone the wrong way and everyone is freaking out. Just relax folks. The reality is that taylor is a pretty unproblematic person that her entire life.Every single person on earth has tried to make her problematic.

Also here's my disclaimer: No I do not think taylor should speak up about political issues. The woman has one skill, it's called music. She shouldn't be commenting about global politics. She doesn't know what she's talking about. She literally doesn't even know who to ask. Y'all need to understand celebrities are really dumb. Like, they're really good at their one thing, But they're dumb about everything else. Not only did taylor swift not go to college, she barely attended high school. She is an amazing musician, but she put all of her brain power into that. I think if I sat donald taylor had a conversation with her, I would have a great time. But she does not have any background or experience in any relevant topics. So no, As an egyptian who literally was talking about gaza before many of you even knew what it was called, I would prefer if every celebrity just shut their goddamn mouth. There are many people posting on the ground in gaza. There are many experts discussing this situation. There are many journalists covering it. Taylor has gone to benefits for palestine. If she talks about it, Literally all of the news will shift From being about what is going on on the ground, To weather or not, taylor swift was right to say that. I hope and pray that she keeps her mouth shut about it. And anyone who thinks that she should put in any weight on any other politics, you are dumb. This applies to all issues.

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The 1989 Tour

July 25, 2015 - Foxborough, Massachusetts

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“What an absolute honor and a delight it is to get to say these words to you: Hamburg, willkommen zur Eras Tour! […] So here we are, all together, for my very first concert that I’ve ever gotten to play in Hamburg. Thank you so much for having us and spending your night with us. Here’s my theory about rain shows, because this is officially a rain show. I don’t know if you’ve heard this about us, but here on the Eras Tour, we absolutely adore a rain show. And I think that a rain show only chooses a crowd that is completely worthy and ready to party with us all night long in the rain. Are you ready for it? I thought so. And you’ve already had a pretty amazing night so far, because earlier on, you guys got to hang out with one of the best bands in the world. I am of course referring to the extraordinary Paramore! So you and I, we’re about to go on a little adventure, and that adventure is going to span 18 years of music, and we’re going to be doing that one era at a time. How does that sound to you, Hamburg? So here’s the thing. These are songs that I wrote about either my feelings, or something that happened to me, or something that I invented in my imagination. And maybe that’s what you think about when you hear these songs out in the world. But all that’s about to change after tonight, because after tonight, when you hear these songs, you’re going to think about us, and the memories that we made here tonight at the Eras Tour. I’ll be your host this evening. My name is Taylor!”

— Taylor before playing Lover in Hamburg, Germany on July 23rd

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I literally can’t stop thinking about how the literal FIRST lyrics we ever heard about Joe were “Knew he was a killer first time that I saw him” and then spends every song on TTPD about how loving him was literally killing her. Idk idk idk