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    Three Years After Expressing Her Resentment At Life Away From The Spotlight In “Bejeweled,” Taylor Swift Has Shared Her Wish For The World To Leave Her And Travis Kelce Alone

    Interestingly, none of the Travis love songs appear to reach the same dizzying highs (or lows) exposed in the music that was inspired by Taylor’s previous muses, but we can definitely take away some revelations from “The Life of a Showgirl.”

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    As I am sure you know by now, Taylor Swift’s latest album, The Life of a Showgirl, was released earlier today, and it’s no surprise that it has proven to be yet another apparent treasure trove of insight into her personal life.

    In case you missed it, Taylor has spent the last almost two decades memorializing her life in her music, with many of her past albums teasing fascinating intel with regard to her real-life relationships.

    For example, Reputation and Lover are widely considered to be about her romance with British actor Joe Alwyn, and who can forget the drop-shock of the vast majority of her 2024 album, The Tortured Poets Department, seemingly being inspired by her controversial situationship with Matty Healy?

    And while there were definitely some references to Taylor’s now-fiancé, Travis Kelce, on TTPD — see, for example, “So High School” — The Life of a Showgirl marks the first album to feature songs that were solely penned during their romance, making it our first real chance to learn about their love story through the lens of Taylor’s music.

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    Right off the bat, it’s worth noting that none of the Travis love songs appear to reach the same dizzying highs (or lows) exposed in the releases inspired by Taylor’s previous muses, but we can definitely take away some revelations, albeit with the usual caveat that lyrical interpretation is entirely subjective. That said, Taylor is infamous for encouraging fans to look for clues and Easter eggs throughout her work, so make of that what you will.

    Many of the songs that appear to be about Travis on The Life of a Showgirl seem to reference Taylor’s state of mind before they met. If you need reminding, the singer had a bit of a wild 2023, with the star ending her six-and-a-half-year relationship with Joe in April of that year, and quickly embarking on a whirlwind romance with Matty.

    Judging by The Tortured Poets Department, it seems as though Matty lured Taylor away from Joe through lovebombing and promises of marriage and kids, only to end up ghosting her in a matter of weeks.

    It was previously reported that their relationship was over in early June, and it was in mid-July that Travis made his interest in Taylor public knowledge when he used his podcast to discuss attending her Eras Tour in Kansas City — and being disappointed that he hadn’t gotten the chance to meet her and pass on a handmade friendship bracelet with his phone number on it.

    It’s unclear exactly when Taylor and Travis had their first date, but it seems to have been pretty soon after this podcast episode aired, as they went public with their new relationship in September.

    And in The Life of a Showgirl’s opening track, “The Fate Of Ophelia,” Taylor reflects on how downtrodden and defeated she was in the wake of her and Matty’s split before Travis’s very loud declaration of interest just a matter of weeks later.

    “If you'd never come for me / I might've drowned in the melancholy,” she sings. “I swore my loyalty to me, myself, and I / Right before you lit my sky up / Late one night, you dug me out of my grave and / Saved my heart from the fate of Ophelia.”

    This theme is revisited in “Opalite,” where Taylor admits to being teased by her younger brother, Austin, over how hung up she gets over her exes — and she suggests that Travis also had negative experiences with his past girlfriends.

    “You couldn't understand it / Why you felt alone / You were in it for real / She was in her phone, and you were just a pose,” Taylor sings in an apparent swipe at Travis’s ex Kayla Nicole.

    The basic gist of the song is that all of this past hardship — not to mention years spent waiting to find The One — was all worth it for them to be together now. It also references the fact that an opalite is a man-made stone that looks like an opal but is not naturally occurring; in this context, it seems that Taylor is trying to explain that love and happiness are also man-made, and things that need to be actively worked on rather than expected.

    Meanwhile, in “Eldest Daughter,” Taylor admits that as she grew older, she became incredibly cynical about love and marriage, and had started to believe that she would never get to experience a relationship as “beautiful” as the one she has with Travis.

    “And things I said were dumb / 'Cause I thought that I'd never find that beautiful, beautiful life that / Shimmers that innocent light back / Like when we were young,” she sings, going on to reference the fact that Travis is the youngest sibling in his family by adding: “Every youngest child felt / They were raised up in the wild / But now you're home.”

    How cynical Taylor had become is also explored in “Wood,” which also just so happens to be one of her most NSFW songs to date. The track opens with Taylor seemingly alluding to her on-again, off-again situationship with Matty, and admitting she was "distraught" after being rejected. She goes on to almost make light of the bad luck she has faced in relationships, adding: “I took him back and then / Stepped on a crack / And the black cat laughed.”

    And yes, that does appear to be a raunchy double entendre, which fits the vibe of the rest of the song. In case you missed it, Taylor seems to make several references to her and Travis’s sex life in “Wood,” with lyrics like: “Redwood tree / It ain't hard to see / His love was the key / That opened my thighs.”

    Even though just three years ago she appeared to express her resentment at having a private, low-key life with Joe and wanted to “reclaim” the spotlight — a sentiment that is most exposed in Taylor’s 2022 song “Bejeweled” — “Wi$h Li$t” sees Taylor seemingly share her desire for a quiet suburban life.

    After reeling off all of the extravagant things that other people long for, which are not dissimilar to the things that she herself shared in “Bejeweled,” Taylor sings: “I just want you / Have a couple kids, got the whole block looking like you.”

    “We tell the world to leave us the fuck alone, and they do,” she pointedly adds. “Wow, got me dreaming 'bout a driveway with a basketball hoop.”

    The final song to seemingly reference Travis is “Honey,” where Taylor compares how he treats her to experiences she’s had in the past — even admitting that she used to hate various pet names because she found that people only ever used them to be condescending or rude.

    Once again, Taylor even alludes to her exes in this love song to her fiancé, recalling how they would phone her up while under the influence late at night, hoping for an X-rated conversation — only to forget all about it come morning.

    And considering Travis popped the question back in August, it looks like he plans on staying long beyond morning — which hopefully means there’ll be more tracks about their love to come in the future!

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