Taylor swift midnights songs

Skipping right past the innocence of her debut, self-titled album, I would argue that the first truly horny Swift song appears on Fearless. “The Way I Loved You ...

In this way, “Gorgeous” fits in with the rest of Reputation in that Swift is finally allowing herself to play the villain. Lover is, in terms of horniness, a post-“Dress” album. Now skipping right past Swift’s NPR-core era (I’ve had people argue with me that “August” is horny, but sorry, that’s just wistful; things can mention sex without being horny), “Maroon” is one of Swift’s horniest songs. She doesn’t fully commit to being the seductive villainess in the way someone like Lorde does on a song like “Magnets.” Shockingly horny in lyrical content, shockingly unhorny musically. Yet it’s notable that she uses the same markers of sexuality she established in “Style.” With Swift, it’s all about sexuality told through longing and sensuous friction, and the establishing symbols are clothing and Hollywood glamour. While “Dress” is Reputation’s crown jewel of horniness, it’s not the only horny song on there. She sets the stage: “Midnight / You come and pick me up, no headlights.” The secrecy implied is clearly a turn on, and that will recur as she delves further into her sexuality in future eras. On “Dress,” she introduces another of her favorite sexy symbols: being wine-drunk. She doesn’t portray the love they had as a “masterpiece,” like on “All Too Well,” but as “red” hot. “But moving on from him is impossible / When I still see it all in my head / In burning red”? “The Way I Loved You” starts by describing some nice guy Swift is dating, which is pretty par for the course, before descending into a description of her sizzling relationship with her previous boyfriend, which was way hotter. In Swift’s pre-Reputation period, the horniness is mostly told through the lens of regret: “The Way I Loved You” and “Red” are prime examples.