Fearless is a Taylor Swift masterclass in storytelling, a fantasy first date with a timeless meaning

Summary

Decoding Taylor Swift – Episode Summary

Podcast: Decoding Taylor Swift
Hosts: Joe Romm and Toni Romm
Episode Title: "Fearless is a Taylor Swift Masterclass in Storytelling, a Fantasy First Date with a Timeless Meaning"
Date: March 14, 2026

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Overview

In their inaugural episode focusing on the "Fearless" era, Joe and his daughter Toni break down Taylor Swift's "Fearless" as both a fantasy of the perfect first date and a masterclass in storytelling. They explore the song’s lyrical techniques, how Swift establishes emotional immersion and vivid settings, and how the storytelling tools she uses can improve anyone’s communication and writing. The discussion weaves together close lyrical analysis, personal reflections, broader cultural insights, and signature banter between father and daughter.

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Key Discussion Points & Insights

1. Setting the Scene: Swift’s Storytelling Tools

• [00:26] Joe confesses he connected to "Fearless" later in his Taylor Swift fandom, starting mainly with "Red" and "1989."

• [01:00] Toni marvels that Swift wrote "Fearless" at 17:

  “I think you would have to say it's a very good song. And, you know, it's not as complex as the songs that were on ‘Lover.’ This is not ‘The Archer.’” — Toni [01:06]

• The hosts introduce how the setting—rainy streets, cars—establishes atmosphere and intimacy early in the song (Joe [03:09]; Toni [03:33]).

• Cars are highlighted as symbols of teenage independence and freedom, drawing parallels with recurring motifs throughout Swift's discography (Joe [03:49]).

2. Lyrics Dissection & Theory

• [04:56] The importance of strong, present-tense verbs—“we’re driving”—immerses the listener:

  “She's kind of already breaking through to the audience, making them feel immersed, you know?” — Toni [05:29]

• [08:27] They analyze how Swift expresses vulnerability:

  "It's a running theme in many of her songs... that she's not cool… she wonders if the boy… is delicate." — Joe [08:45]

• The use of everyday, simple language and imagery lets the song feel both relatable and powerful (Joe [13:05]).

3. Recurring Motifs and Foreshadowing

• Driving and small towns: Swift’s “one horse town” appears here and foreshadows her use of small-town romance in later songs ("You're On Your Own, Kid" and "Our Song") (Toni & Joe, [13:46]-[15:38]).
• Being in the passenger seat as a symbol of both passivity and trust in relationships.
• Capturing moments: Parallels are drawn between “capture it, remember it” in “Fearless” and the refrain “remember it all too well” from "All Too Well" (Joe [16:43]).

4. Emotional Embodiment & Meta-writing

• Swift’s writing is described as “embodied,” making the listener feel what she feels, even when narrating a fantasy scenario (Toni [17:20]).
• The act of remembering an imagined event creates a meta-narrative:

  "What’s great… this song is… an imaginary first date, so you can’t remember it because it didn’t actually happen. But she’s still so in the moment that she can say to the imaginary boy… that he should remember it." — Joe [16:48]

5. Social Commentary & Generational Perspective

• The hosts riff on gender dynamics in dating, the changing expectations of who makes “the first move,” and the pressures young people, especially women, navigate around expressing affection ([21:27]-[22:41]).
• Toni references contemporary studies and draws connections to Pride & Prejudice and even Hamilton, demonstrating how Swift’s themes are timeless and recurring ([18:06]).
• Discussion on how social regression among Gen Z relates to Swift’s earlier fantasies of gender roles ([27:32]-[28:39]).

6. Song Structure & Songwriting Techniques

• "Fearless" is pointed out as a model of traditional pop song structure—verse, chorus, bridge, and repeated choruses—yet Swift adds her own variations and surprises, such as her later penchant for key changes and explosive bridges ([24:46]-[26:11]).

• “She likes to use the traditional format, but she has obviously blown up even using the traditional format.” — Joe [25:30]

7. Memorable Quotes & Banter

• On Swift’s Creativity:

  “That's just such a good line. Like, how'd she just like come up with that? Like, how are people so creative like that? Like, god damn.” — Toni [11:38]

• On First Kisses:

  “Wow, it's our first kiss and it's fearless. Like, girl.” — Toni [23:09]
  “Well, it's flawless.” — Joe [23:17]
  “Any 17 year old boys whose breath doesn't smell like Funyuns or something?” — Toni [23:25]

• On Songwriting Structure:

  “It's always good to just end with the chorus twice. A lot of artists do it in a lot of songs. It's tried and true and yeah…” — Toni [24:36]

• On Student Life:

  “C's get degrees. C's get degrees. C's get degrees. That's where I'm at right now, to be honest.” — Toni [31:17]

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Selected Timestamps

• [01:05]–Toni on the accomplishment of writing “Fearless” at 17
• [03:09]–Joe on atmosphere; Toni on setting vs. emotion
• [05:56]–Toni: “making them feel embodied, as my creative writing professor says.”
• [08:45]–Joe on the “not cool” theme in Swift’s lyrics
• [13:46]–Toni connects “one horse town” to other Swift songs
• [16:43]–Joe: “Remember it all too well.”
• [17:20]–Toni on embodiment in Swift’s writing
• [21:27]–Joe and Toni on dating dynamics/first moves
• [24:46]–Toni: “It's always good to just end with the chorus twice...”
• [25:30]–Joe: “She likes to use the traditional format, but...she has blown up even using the traditional format.”
• [28:39]–Toni on gender regression and social commentary
• [31:17]–Toni: College reality—“C’s get degrees.”

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Notable Moments

• Hamilton Parallel: Toni draws a clever parallel between “Fearless” and “Helpless” from Hamilton, expanding the discussion to how pop culture narratives mirror and inspire each other ([18:06]).
• Swift’s Career Arc: Discussion of how even at 17, Swift was laying foundation stones (motifs, themes) that reappear in her later, more sophisticated works.
• Feminist Take: Toni—on International Women’s Month—connects Swift's narratives to broader feminist dialogues and the evolution of societal views on women’s agency in romance ([28:39]).

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Conclusion

Joe and Toni wrap up by previewing upcoming episodes dedicated to “You Belong With Me” and “Love Story,” emphasizing that Swift’s early fantasies evolve into more nuanced stories as her career unfolds. The episode closes with encouragement for fans to reach out with questions—about either Swift’s lyrics or related cultural themes—and a relatable student-life riff about finals and academic pressure, highlighting the podcast’s accessible and conversational tone.

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Why Listen?

This episode is a must for Swifties, aspiring songwriters, or anyone interested in the mechanics of viral storytelling. Joe and Toni’s close readings, cultural insights, and playful rapport model how to approach pop songs as both art and life lessons—helping listeners both decode Taylor Swift and become more persuasive storytellers themselves.

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For listeners pressed for time, start at [01:30] for lyric analysis, [08:45] for discussion of Swift’s signature emotional motifs, and [16:43] for deep dives into recurring songwriting techniques and thematic evolution.

Transcript

[A]

Hi, I'm Joe Rome and I'm his daughter Toni.

[B]

Welcome to Decoding Taylor Swift, where you'll learn the storytelling tools Swift uses that make her a modern day Shakespeare, but

[A]

can make you a better communicator so you can drive your mission and build your tribe.

[B]

This podcast will not only transform how you think about Swift's songs, but also give you the life changing tools to lead, connect, and change the world.

[A]

Welcome to our first episode on the Fearless portion of her ERAS tour where her second studio album, I believe is put on display. And then she starts with Fearless, which is the song we're doing right now. I came to the song very late in my Taylor Swift listening trajectory. I really started with Red in 1989. Yeah. Fearless, I listened to starting in like the end of my high school days, and I really like it.

[B]

Well, and she wrote it when she was 17.

[A]

That is crazy.

[B]

It is crazy. I was gonna say this is a good song, but considering that she was 17, I think you would have to say it's a very good song. And, you know, it's not as complex as the songs that were on Lover. This is not the Archer. I think it's interesting. She said in July 2007 in an interview. I wrote this song. I'm really excited about Fearless. It's about the best first date that I haven't been on yet.

[A]

I know. Seriously, girl, Real.

[B]

So this is a fantasy. The songs on Fearless that she does for the ERAS tour that we're gonna do are Fearless, you belong with me and Love Story. In some sense, they're all kind of fantasies, wish fulfillments. But why don't we dive in? You wanna start with the first verse?

[A]

Sure. I'm slowly descending into sickness, I think.

[B]

All right. You gotta use those. Those nasal things and.

[A]

Yeah, he gives me these nasal things. Fine, I'll use the nasal things. Holy moly. There's something bout the way the street looks when it's just rained There's a glow off the pavement.

[B]

You.

[A]

You walk me to the car and

[B]

you know, I want to ask you to dance right there in the middle of the parking lot. Yeah. Oh, yeah.

[A]

That's really. That was really almost okay.

[B]

But I wanted to save your voice because I know that you. You.

[A]

Thanks. Thank you. On International Women's Day too.

[B]

I feel like be made to Women's month. Well, this is. This is Women's history month, right?

[A]

That it is. Women's sister.

[B]

Hey, tell me about your reaction to. To the first verse.

[A]

I think it's a very powerful tool to use framing before getting into the actual plot of what happens. You know, it's her thoughts. She's noticing the pavement on the ground. It's. It's very story like.

[B]

Yeah, yeah. It's clear she's already falling in love. I mean, in this hypothetical, some, you know, the street looks. It's a glow off the pavement. Right.

[A]

Well. And on Genius they bring up a very interesting point, which is that usually Swift uses the rain to talk about sadness, like in Dear John or I mean in delicate, it's raining. It's also a way to talk about breaking free and going crazy. She could have written like a love song without including any setting. But she always creates an atmosphere about her songs that I really like.

[B]

She does. And this is a car song. She definitely likes cars in her songs.

[A]

Well, they're very good symbols for transportation to go places.

[B]

And freedom.

[A]

And freedom.

[B]

I mean, cars were the symbol of freedom. The place that teenagers, once one of them had the license, could be alone. Right. Wasn't in someone's home, wasn't in school.

[A]

Right.

[B]

That's. And it becomes.

[A]

If you get your license by the time you're a teenager and if you live in certain states, you can't. So.

[B]

And in this case, it's a symbol who could.

[A]

Congrats.

[B]

A symbol of something else.

[A]

Yes.

[B]

You walk me to the car. What a. What a. He's a gentleman.

[A]

He's a gentleman.

[B]

Yes. Right. This is. This is just a few words to set the scene that this isn't like, you know, this isn't like Harry Styles in Style. Right. Harry Styles drives up with the lights off. Right. Shows up out of nowhere, you know, so. So in this case, seems like a good guy.

[A]

Yeah.

[B]

And immediately we go into. You want to do it?

[A]

Sure. We're driving down the road. I wonder if, you know, I'm trying so hard not to get caught up now. Yeah. I don't really know the.

[B]

I don't know that part.

[A]

You're just so cool. Run your hands through your hair. Absent mindedly making me want you. Something like that. I don't know.

[B]

Yeah. Well, that's 80% of it. You did better than me in college.

[A]

I've learned to live with 80s. Really. I've learned to live with seven.

[B]

We're driving down the road and.

[A]

Yeah. I mean, she's starting off as building an atmosphere of action of something is moving. She's moving. Just when you have a strong verb like that we are driving kind of in the present and you're participating in the verb not to Be too murdy. It's just like nerdy. Whoa. I'm so tired. Well, it's finals week, you guys. She's kind of already breaking through to the audience, making them feel immersed, you know?

[B]

Yeah. And I just, I want to say

[A]

that making them feel embodied, as my creative writing professor says.

[B]

Actually what I find very interesting in this verse in terms of the future. Taylor. But first, we have a sponsor. Oh, and this is. This is where we are going to insert the next. This is going to be in testimonial ad that my daughter does.

[A]

Well, you guys are too kind. It's gonna be the coolest testimonial ad you'll probably ever hear in a while. And yeah. Written and directed by Antonia. So you guys should probably take a listen and hit that. Hit up that code that we have.

[B]

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[A]

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[B]

It rocked. So what I find interesting about this is her line. I wonder if, you know, I'm trying so hard not to get caught up now, but you're just so cool now.

[A]

She's like stammering a little bit.

[B]

It is a running theme in many of her songs. Like delicate that she's not cool. Right. And she wonders if the boy. Right. You know, is delicate. Right. It's not cool that I'm into you so much.

[A]

Right, Right.

[B]

This is, this is sort of one of her big fears is that. And she does fall fast. Right. That's what she seems to be known for in her songs. And we've talked about that with some of her other songs as she did in all too well, arguably, because that was a three month relationship and it was like the biggest, you know, deal to her in the world. And I'm not saying it shouldn't have been. So it's just interesting. Here she is 17 and we're already seeing themes that we're going to hear again in other songs. And run your hand through your hair absentmindedly making me want you. Well, you know, I. Does the boy know? Some boys know that running their fingers through the hair is sexy.

[A]

Right?

[B]

Does this 17 year, 18 year old. We don't know how old this boy is, but I mean not, not all boys.

[A]

I don't think my father can't really do that. He doesn't really know its effect. He's not a very cool guy.

[B]

I never had hair where that. There was no point in my life

[A]

where I had run your hair, your hands through your like eyebrows or whatever.

[B]

I don't know. There you go. I do have bushy eyebrows. But yeah, I mean, you know, seven when she was 17, so, you know, 2007. Did boys know that running their fingers through the hair, it was a thing? I think so maybe the boy knew

[A]

again, he wouldn't know he had been long bald by then. When did you start balding, dad?

[B]

Hair thinning? Probably in

[A]

the.

[B]

In my mid-20s. Wow.

[A]

So that's really sad. Anyway, continue.

[B]

Well, it was, you know, it's a big deal. So anyway, you know, she is projecting onto him that he's as naive as she is. Right. But we don't know that he is. Right. This is. Again, this is a fantasy first date. Right. So he's.

[A]

No. Men are like this in person.

[B]

No, that's. Yeah. So now the chorus. Can you.

[A]

I do know this part.

[B]

Okay.

[A]

And I don't know how it gets better than this. You take my hand and drag me head first fearless. And I don't know why but with you I dance in a storm in my best dress fearless.

[B]

Nice.

[A]

And do you want me to re. Record that?

[B]

No, that's great. That is great. And I don't want you to keep straining your voice.

[A]

Yeah, but she's just saying I don't know how it gets better than this. You take my hand and drag me head first fearless. And that's like just such a good line. Like, how'd she just like come up with that? Like, how are people so creative like that? Like, God damn.

[B]

Well, you know, she's young, so this is. She thinks this is the best it gets. Right. Obviously, you know, when you.

[A]

As you get older, buying back your albums is probably better.

[B]

Right? Yeah, I think. I think there's a whole lot of things now she would say we're like, are cooler than this imaginary date. Right. I mean, it's funny calling this the best. It could be because it's just in her head, you know, you take my hand and drag me head first fear less. It's just. It's very nice. Poetry. Head first, fearless or picking up the best dress fearless.

[A]

Yeah.

[B]

Yeah. Right. And. And. And we'll see this more and more of her. You know, we are never ever getting back together type of. Of a lot of.

[A]

Well, and also. Yeah, I mean, she's. She. She's also. In the second verse, I mean, she's like saying essentially she's willing to like get hurt for this person. Like she's. She would dress very like in her best dress and she'd still get it wet and dance in the rain with him, you know.

[B]

Right. And one of the nice things here is she is using a lot of short words. Right?

[A]

Right.

[B]

And it may seem simple, but in fact the simple is the powerful. And I don't know why, but with you I dance in a storm in my best dress Fe. So there's only one two syllable word, so it automatically makes that a bigger deal. It's. It's just well done.

[A]

That's true. Didn't even notice that. Good on her. Well, yeah. The next verse is so, baby, drive slow till we run out of road in this one horse town. I want to stay right here in this passenger seat. You put your eyes on me in this moment. Now capture it. Remember it. Yeah.

[B]

Now that's really nice.

[A]

Yeah.

[B]

So

[A]

she talks about one horse town, like, small towns in. You're on your own, kid. She could. I mean, she keeps coming back to, like, small towns and how, you know, you want bigger things for yourself.

[B]

But also the quaintness and romanticism of the small town. It's interesting. She's telling him to drive slow.

[A]

Right.

[B]

In later songs, she'll be telling the boys to drive fast, Right. As she does in but daddy, I love him.

[A]

Right, Right.

[B]

Put to pedal, you know.

[A]

Well, there's an interesting lyric in a Noah Kahn song that I think kind of mirrors this. It's drive slowly. I know every route in this county. And maybe that ain't such a bad thing. I'll tell you. Are not to speed. That is kind of a. It's not like a sad or love song. It's from everything everywhere. Who does. He does a duet with Gracie Abrams on the duet version. And Gracie Abrams is a known. Known cahooter with Taylor Swift, you know, known associate of Taylor Swift. Very interesting connection. I think they should do a song together. I'm a big Noah Khan fan and.

[B]

Well.

[A]

But, yeah, I mean, driving slowly

[B]

and

[A]

they're focusing more on themselves than they are on. They're wanting to spend as much time with each other as they can.

[B]

Yeah. And so now this, again, is some interesting foreshadow of future songs. So I want to stay right here in the passenger seat, which is often where she is. That's where she is in the song she wrote two years earlier. Our song. Yeah, but it's also. Yeah, anyway, and.

[A]

But also we should do a thing on that song.

[B]

I would like to. Yes. Because that's. She wrote that song when she was 15, when she was a freshman in high school.

[A]

Dude, that's crazy.

[B]

That is such an amazing song. If she wrote. If she. I was gonna say, by the way, Taylor, if you're listening, I have an idea for you re. Record the song, do a music video. It'll go to number one. Because you wrote this, you know, for talent show, you know, in. In your freshman year in high school. And it is a killer song. And, yeah, it's definitely a song we're gonna do. But what's interesting here is you put your Eyes on me in this moment. So remember all too well. Which is just going to be a couple years from now. Right?

[A]

Right.

[B]

He looks at her and he almost runs the red. Right.

[A]

And here they're driving slow, so it doesn't matter, you know?

[B]

Right. They're safe, but it's just. It's. And then in this moment now Capture it, remember it. Because, of course.

[A]

All too well. Remember it all too well.

[B]

Yes. Remember it all too well.

[A]

Guys, is this podcast a Taylor Swift reference?

[B]

So, again, what's great when you think about what she said, this song is, this is an imaginary first date, so you can't remember it because it didn't actually happen. But she's still so in the moment of the song that she can say to the imaginary boy on the imaginary first date that he should remember it.

[A]

Right.

[B]

Anyway, I just appreciate her.

[A]

I won't say she's very embodied in the writing.

[B]

She's very embodied. And it's also a little meta, as is. As is our song. So, baby, drive slow.

[A]

Yeah, I know. In this moment now Capture it, remember it and then it. Because I don't know how it gets better than this. You take my hand and drag me head first Fearless. I don't know why but with you I dance in the storm in my best dress Fearless. Well, you stood there with me in the doorway My hands shake I'm not usually this way but you pull me in and I'm a little more brave it's the first kiss. It's flawless. Really something. It's fearless. Oh, yeah. Yeah.

[B]

So this is her fantasy of the perfect first kiss. So we're there in the doorway.

[A]

Dude, this is like. This is like the reflection. This is like the bridge from Helpless in Hamilton. It's like. But it's the second verse. It's like, oh, my God. Two weeks later in the living room stressing my father showing face while you're asking for his blessing I'm dying inside as you whine and dine and I'm trying not to cry because there's nothing that your mind can't do My father makes his way across the room to you. I panic for a second thinking I'm through But then he shakes your arm and says, be true and. And you look back to me and suddenly I'm helpless. That's what this reminds me of. Interesting not to be a nerd who can just pull. Hamilton.

[B]

Hamilton nerd.

[A]

If you ask me for a Hamilton lyric, I could probably pull it out of my ass. I can't.

[B]

Well, standing in the Doorway. Which is, again, a motif that she will use in her songs. In other songs.

[A]

Right. Standing in the refrigerated light. Refrigerator door. Yeah.

[B]

And what is the song where she is in the doorway singing to this? This is the one about. I was so ahead of the curve.

[A]

Oh. That the curve became a sphere, fell ahead of my classmates, and I ended up here. Yeah. This is me trying in.

[B]

This is me trying. She's in the door, his doorway.

[A]

Really? Oh, man, I have to listen to that song again. I used to listen to it because I was like, fuck, this is me trying. But I couldn't really listen to it because I did get basically straight A's in. So I was like, yeah. I mean, I'm sure one day this will apply to me. But I am currently at a really good university, so I feel kind of crazy every time I listen to it. Like, I love it because in physics class specifically, it is kind of a representation of what's been happening. But only this quarter. I was really sick, you guys. I mean, I have to stop defending myself. You know what? It's okay to not get A's. It really is. I've already gotten not A's. I've forsaken the straight A's in college. I gotta be. I got. Hey, hey, you guys. I got a 60 on my math final last quarter, so it's really. You can do whatever the hell you want. And usually they're curved. The class average for my physics final last quarter was a 65, and I got a 75, so it got rounded to an A. And, you know, you guys, for any people who aren't in college yet, listening, like, it will be okay. You know, if you're ever stressed about grades, there are going to be people out there who will talk about how they've gotten straight A's and they won't keep getting straight A's. And my dad is one of them, but I am not. So I'm here for you.

[B]

I will say, as I've told you before, I overly stress myself out, and I would not say it was worth it. And come a couple years after graduation, those grades do not matter at all. And no one's going to keep coming back. Yes, there are certain people who keep dropping their SAT scores, and we all hate those people.

[A]

True.

[B]

But. But. But really, you know, find the thing you love, do it, get good at it, and that's what really matters.

[A]

And.

[B]

And. And, you know, so, yeah, my hands shake. I'm not usually this way, but you pull me in and I'm a little more brave.

[A]

Aw.

[B]

Right? So he's leading the way. This is her fantasy.

[A]

Yeah.

[B]

Well, he makes the first move.

[A]

Right.

[B]

Which is what's expected.

[A]

Well, it's like not even expected at this point, to be honest. It's more like, it's more like, I don't know, I think girls are more cognizant of like not wanting to like make kind of like make a move like mistakenly. Like, I feel like that's like a big thing. I've noticed. Maybe it's just like, I don't know, I've noticed that like for me specifically, it's like, I don't want to make people like uncomfortable. Like every time I feel like I have a crush on somebody, I'm like, oh my God, like, why do I like this person? Oh my gosh. And they'll be like a person my age. They'll be like a normal dude in my class. They'll be like some girl that I like, know and like, is like a normal person. And it's like I can't ever like say anything to them. And it's like, well, look, it's okay, you guys.

[B]

The world has changed for sure. You know, this was, you know, this is.

[A]

But it's true that it's nice when the man or any other person makes the first move.

[B]

Yeah. Particularly if it's desired. Right. It's when it's not desired. That's right.

[A]

That's why it seems hard. You know, I feel like I've noticed that men make first moves less because it's like, look, they don't want to make anybody uncomfortable. And I get that.

[B]

Right.

[A]

I really don't.

[B]

And that the world has changed. Look, men are relatively clueless. They're not good at reading signals. Women can sometimes do things.

[A]

Pride and Prejudice is basically about that. He just really just goes at it.

[B]

Yeah. And, and, but anyway, this is her 200717 year old fantasy that, that, that he pulls her in real.

[A]

She was real for that one.

[B]

I mean, except for the fact that this is completely imaginary.

[A]

So your first kiss is like never. Like, I don't know what she's talking about. Like, wow, it's our first kiss and it's fearless. Like, girl.

[B]

Well, it's flawless.

[A]

It's flawless.

[B]

Which, which, whatever that means. I mean, again, I don't know. It's like what makes a first kiss?

[A]

Any 17 year old boys whose breath doesn't smell like Funyuns or something?

[B]

Yeah, well, I don't, I don't, I don't know. That, that most 17 year old boys would be considered to be great kissers. That would be amazing.

[A]

Seriously.

[B]

That would be weird and, and, and actually worrisome.

[A]

It would be a little worrisome.

[B]

But I do like the way she does this. Really something. So she's. You know where she says it's flawless, really something. It's fearless.

[A]

She's like hung up on this. She's like flawless. It's really something.

[B]

Well, and remember that's some. Something is the second word in the song. There's something about the way the street looks. So again, this ineffable quality of falling in love that she is attempting to capture, which is something she will be doing through her entire career is trying to capture, turn emotions into words that people can understand. And it's an impossible job. But you know, she's good at it. Relative, you know. And let's see. So now we have the chorus again. She runs the chorus again.

[A]

It's always good to just end with the chorus twice. A lot of artists do it in a lot of songs. It's tried and true and yeah, I mean it's, it's, it's a good method.

[B]

It's a very basic thing.

[A]

Again, structure. You know, you got verse one, chorus, verse two, chorus. I mean, yeah, post chorus, bridge, chorus, that's it. Although she does something interesting here, which is. She does. This is another common songwriting thing is there's a verse one and then verse two. A lot of songs utilize that kind of method before they move into the chorus and then there's a chorus and there's verse three. Then there's the chorus, there's the bridge and then there's the chorus. Really. Songs don't, I feel like, have to have. I mean popular songs usually have first chorus, verse, chorus, but they can be any variation of that. Really.

[B]

Yeah, I mean she has been. She likes to use the traditional format but that in a way she has obviously blown up even using the traditional format. Right. She will do things like a key change or just go bonkers.

[A]

That was the first time you ever saw me riding. And then she switches the key.

[B]

Right.

[A]

I love when artists do that.

[B]

Or the very bonkers bridge in Cruel Summer.

[A]

Right.

[B]

Where she just takes things up, you know, to the next gear. So yeah. And I think again, I just, I really like. As I say, you take my hand and drag me head first. Fearless. So again it's him, his like, you

[A]

silly billy, what are you doing? And then she's like be dragged. And she loves it well.

[B]

And she loves his Confidence.

[A]

Yeah. Well. And it feels like you're being dragged under a little bit when you're falling in love. But she doesn't go that far. But she kind of touches on her.

[B]

And I think that once again,

[A]

Because men in this generation. And say it with me. Say it with me. Ain't shit. Yeah, there you go.

[B]

I'm not certain.

[A]

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[B]

It's ever been different, my daughter.

[A]

Yeah, it's true. It's. Well, it actually is extra bad right now. I just saw an article that the Guardian put out that said one in three men in Gen Z think that wives should obey their husbands. So it actually is worse than previous generations.

[B]

Um, I think if you go back to the 50s.

[A]

Yeah, boomers.

[B]

60s.

[A]

Well, I mean, compared to 70, not the 70s. Boomers were the only other generation currently alive. Like, like, starting from, like, millennials and Gen X. Like, that is, like, not a thing. Like, it's just not a thing. Like, we're having, like, a period of social regression right now. And it's very concerning. But it's because we've become so entrenched in, like, boys have become just this absolute, like, freaking, like, hellscape where it's like. It's like when you grow up and you see that this is the only way to get a nice husband, you're like, yes. Like, oh, I'll cook and clean for my husband. That's what a woman's duty is. But that's only because the patriarchy has convinced you that that's the case. It's like you're under, like, some sort of spell, like Jesus Christ.

[B]

Well, Taylor will get there in her songs. As of now, as of the age of 17, she is, you know, her fantasy.

[A]

It's Women's Day. Maybe that's why I'm being so small.

[B]

It's okay. Look, as you know, the website Swiftly Sung Stories points out. You know, the album has a prologue, right? And in the original prologue, she writes Scott Borchetta, thank you for believing in me since I was 14 and still trying to straighten my hair. Your family.

[A]

That's crazy, right?

[B]

And needless to say, Taylor's version, the Taylor's version, Prologue in 2021 is slightly different on that point. Artists should own their own work for so many reasons, but the most screamingly obvious one is that the artist is the only one who really knows that body of work. So, you know, she had a lot to learn and she kind of distances herself from the fantasies. Although, of course, there's plenty of fantasy on the life of a showgirl, you know, and the fantasies get different, I guess, is what I would say.

[A]

I guess it's less romanticizing and more exaggerations, you know.

[B]

Well, yes.

[A]

Although interestingly, exaggerations of things that even aren't romanticized and shouldn't be.

[B]

Well, she does famously talk about the basketball court, the suburbia.

[A]

Yeah.

[B]

And was mocked for that. But again, that was just a fantasy, you know, she's not going to be living on a block with whole bunches of other families and all that sort of thing. It's just not the world that is gonna happen. So anyway, we're gonna be talking about Fearless. You belong with me in Love Story. And I think, you know, these are all important songs really. And in fact, when we get to Love Story, Right, that foreshadows Fate of Ophelia. Right. The rewriting, the rewriting of a Shakespeare tragedy, giving it a happy ending or at least imagining some of the characters having happy ending. So. So you have one more final.

[A]

I have two finals, but one of them is math. We have a weird, weird system. Very odd, very silly. But it's very well going very well for me because math last quarter was absolutely a disaster. And this quarter, it's been great. And it's been the opposite with physics.

[B]

Well, you got, you. You got hit pretty hard with pretty, you know, pretty serious illness bug.

[A]

And C's get degrees. C's get degrees. C's get degrees. That's where I'm at right now, to be honest.

[B]

I will tell you. I'd never heard that saying before in my life.

[A]

But you haven't. It's very, very, very, very common. It's like everybody says it, you know, Cs get degrees.

[B]

Back in my day.

[A]

Well, you went to mit. I'm sure they were saying, C's get taken out back in shot, so.

[B]

Well, there was this thing called the Gentleman's sea.

[A]

Yes, I heard about the gentleman's c. Back before Cs actually represented the average.

[B]

Yes.

[A]

Back when they did.

[B]

I'm reading here in the Franklin Delano Roosevelt Foundation. In FDR's day, the meaning of a gentleman's C was entirely different. A C was completely respectable. Yes.

[A]

The average of the class you were

[B]

not so as not to seem.

[A]

Oh, trust me, I've learned about the gentleman's C and it. Trust me, now it's more of a gentleman's B. And to be honest, it's probably closer to a fair maiden's A these days, so.

[B]

Well, the world has. Has turned. But once again, we really were still.

[A]

Once again, we're still decoding Taylor Swift. I'm still Tony, that's still Joe.

[B]

And when we're still number 50 on the music on Spotify's music list.

[A]

Nice. Thanks, guys. Like, comment and subscribe. I know. It's like, oh, like, why would I comment? You know, I listen to this show just to laugh and look at how beautiful and amazing, like, this beautiful girl is. And, like, how bald his, like, I don't know this dude is. And like, wow. I love looking at them and seeing them and they're so funny while the girl is. And the dad's like, cool sometimes. And I know that's how you get your face.

[B]

They're doing a lot of thinking the way Taylor does.

[A]

I know. And it's like, now you can, like, comment. You can say all of that. You can be like, wow, okay, I

[B]

will just say that we have gotten some good comments. We would certainly welcome yours. And I try to respond to them if you actually ask a question.

[A]

Well, if you have a question about any song or any interpretation, we'd love to answer. We'd love to answer.

[B]

We would.

[A]

Or if you have a question about, you know, I don't know, Swift's lyrics as it relates to feminism, I have a lot of thoughts on that. You know, please ask away anything.

[B]

And next week, Antonia may actually be here in person with me.

[A]

I may?

[B]

You may. Although if you're still hacking away, we'll.

[A]

Sorry, but yeah, I may. I think I'll be fine by then. I think it's probably just final stress that is making me feel weird. And it also could be allergies because it's getting warm again and it's like trees and stuff.

[B]

Yes, I know people who have allergy. Season has kicked in. Alrighty. Well, we will.

[A]

Well, the next song is yous Belong With Me, Right? I mean, that's one of her most popular songs of all time.

[B]

Oh, yes. Right. All right. Anyway, thank you for listening.

[A]

Thank you for listening, you guys. Omg. Pray for me on my finals, guys. If anybody out there and let's get multiple religions. And if you're like, Hindu, you know, if you're like, if you. If you believe in kind of the Panhellenic, that thing. If you kind of believe in, like, well, obviously the big three, but, you know, to be honest, it's like it's the same God, you know? But if you're any of those, please pray for me. I really do need to get a B, at least on this final to get a grade that I won't cry at. And I'm sure that I won't fail, but I really do really do need to clutch this final.

[B]

Alrighty. See you next week.

[A]

See you next week.

[B]

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[A]

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