Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:00):
Hey everyone.
(00:00):
Welcome back to the Swiftly Sung Stories podcast.
I'm your host, Jen, your Swifty English teacher, and today we are tackling Track eight in my track by track analysis of the life of a showgirl, and we're diving straight into wishlist.
This is a really interesting track that has been a bit controversial, and we're gonna address all of that and we're gonna try to figure out what she's really getting at in the song.
(00:20):
Behind the aspirational yacht life imagery and the Balenci shades.
What's she really saying? In my last few episodes, I analyzed Taylor's prologue poem and the first seven tracks of this album, so go check that out because it lays a lot of groundwork for understanding all of the themes that Taylor is exploring in these lyrics.
Also, all of this content is available on my website.
(00:42):
If you want the text version with annotated lyrics, and if you're watching this on YouTube, you can also find me wherever you get your podcasts and vice versa.
Okay.
Let's lay a little bit of groundwork on themes within the song, and then we will roll into our dissection of wishlist line by line.
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Welcome to swiftly sung Stories where we unpack the Taylor Swift Universe one era album and lyric at a time.
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Think of it like English class, but it's all Taylor Swift and none of the boring stuff.
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I'm Jen, your Swifty English teacher and classes in session, so come on in and meet me in the margins.
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In wishlist spelled with two dollar signs.
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As the s's.
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That's important.
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Our showgirl narrator looks around and sees all of these lofty desires of others.
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They wanna be rich and powerful and influential with yachts and helicopters and the ability to have all of their indiscretions erased from the internet.
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But our narrator wants something more grounded.
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She just wants a real partner.
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She wants to raise a family.
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She wants the world to leave her alone.
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I think the crucial aspect that has stirred up, all of this controversy comes from the point of view and the perspective.
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She's not a middle class nine to five worker who just wants a comfortable life with health insurance.
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She is a billionaire who already has all of these things, or could have or buy really anything she wants.
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So it reads as a little bit tone deaf, not reading the room.
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And does it feel kind of icky, especially with the world slowly descending into complete chaos to say that the masses only want this lavish lifestyle that she already has? Yes.
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Do I think she intended it to come across that way? No.
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But the blindness is, is also a factor.
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In my analysis of this album so far, I've talked a lot about the duality that's present here.
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There's the battle between the two selves.
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there's Showgirl Taylor versus human civilian Taylor.
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And those two selves want and need different things.
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They're constantly clashing with one another.
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And this album is basically posing the question, can I have my cake and eat it too? Can I have this mega celebrity life while also maintaining a private life? And though wishlist does, at least for me, read as tone deaf, we can also look at it from this perspective of her two selves at war with one another.
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And both things can be true.
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It can look uncomfortable and unsympathetic from the outside, and it can also have a larger message on the inside.
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It doesn't need to be either or.
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It can be.
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Yes.
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And so let's go through wishlist, line by line and see what we can decipher, because I don't think it's as straightforward as it seems at a glance.
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Before we go into detail, I only discuss Taylor's personal life in my lyrical analysis when it is essential to understanding the text or when it really helps us to put the lyrics into context.
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So I'm not here to discover what Taylor Swift did or who she dated.
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I'm here to discover what the art does.
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Also, I'm dissecting Taylor's lyrics through my lens as a writer and a former English teacher, and that doesn't have to be.
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Your lens.
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It doesn't have to be your opinion.
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All art is subjective and it means different things to different people.
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So in this analysis, I'm not saying that my opinions are fact or gospel, they're not.
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I'm just here to point out different interpretations so that you can draw your own conclusions.
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So take what you like and leave the rest.
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So the first, verse begins, they want that yacht life under chopper blades.
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They want those bright lights and Balenci shades.
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So we are in the present and our narrator is speaking in first person.
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This is happening right now, and she's looking around at the wider world and observing what other people want.
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But these aren't cheap everyday dreams.
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They're pricey dreams.
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Unattainable dreams.
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The yacht life with a helicopter to drop you off in St Tropez isn't attainable for 99.999%
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of the population.
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Those bright lights is also unattainable.
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It's probably alluding to the Bright Lights of Fame of Hollywood being in the spotlight.
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That's not attainable for the majority of us either.
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It's a pipe dream.
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And while many of us could buy Balenciaga dupes on Canal Street, the real thing isn't an affordable luxury.
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So the basic message so far is people want what they can't have, they want, in other words.
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Taylor Swift's life, but it's important to remember the theme of the album is The Life of a Showgirl.
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There's the show and then there is all that goes on underneath the show.
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There is the girl behind the show.
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So all these people, she assumes they want the showgirl lifestyle that she has, but what many other songs on the album are telling us is that we don't actually want it.
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There's a dark side to this fame and fortune, as she talked about in the fate of Ophelia and Elizabeth Taylor and Father Figure and others.
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So we might think that we want all these unattainable things.
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But they won't buy us happiness, which is essentially what I think she's getting at.
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So we want this yacht life and designer shades, and then she adds and a fat ass with a baby face.
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They want it all.
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So not only do they want material things, but they also want to look like the impossible version of the female form.
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And while she might be alluding to the plastic surgery craze of Hollywood, she's sort of also subtly nodding to the impossible standards for women and especially.
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Women in the entertainment industry, in the public eye, they're expected to have the, the perfect body and to look forever young, and they have to be conventionally attractive at the very basic level.
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That's just bare minimum.
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But they, in this case, I think is the patriarchy and the patriarchal standards for the ideal woman or women that we allow to be famous.
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Those are incredibly high standards.
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She goes on.
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They want that complex female character.
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So this is once again calling out these patriarchal standards.
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We demand impossible things from women and especially women in the spotlight.
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Be sexy but smart.
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Be funny, but not overbearing and be well-spoken.
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But don't speak too loud, be complex.
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We demand of our women, but not so much that we can't relate to you.
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But this desire for a complex female character could also apply to writers of all genres who try to craft the perfect female protagonist in their narratives.
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And this is kind of a meta moment where I think she's referencing what she attempts to be the complex female character, and also why she must attempt to be it.
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Because the public and the patriarchy demands multifaceted women.
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This is how she tries to craft her larger narrative.
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It's to fit this standard.
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So she continues this thread with, they want that critical smash, Palme d'Or and an Oscar on their bathroom floor.
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The Palme d'Or, or is the most prestigious prize at the Cannes Film Festival, and it's like the ultimate prize in film.
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It's more coveted than an Oscar, so they want the top prize, but they also want the second best prize.
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The Oscar, they wanna achieve so much of this ultimate success that anything less than is just a bonus.
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They wanna be so successful and so lauded that the prizes are just disposable trinkets.
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What they want essentially is to be where Taylor Swift is.
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'cause everything on that list of our are things that Taylor has or could have if she really wanted to.
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But these are all things that Showgirl Taylor has or could have, the Taylor that's in the public eye and wins all the awards and needs to look like the perfect specimen all the time.
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Could have all of these things.
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But we're about to learn that private Taylor, human Taylor, who is behind the showgirl facade, wants a very, very different list.
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She goes on and they should have what they want.
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They deserve what they want.
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I hope they get what they want.
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So after listing all of these prizes that are tied to money and success, she's like, go for it.
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I hope it works out for you.
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But the subtle implication is that wealth and success won't bring you happiness.
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And she knows this because she's experienced it firsthand.
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As she told us in the prophecy, don't want money to someone who wants my company, so I hope they get what they want is both encouragement and it's a warning.
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Can't buy me love.
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The first chorus then starts with a new wishlist and it's inner human Taylor's wishlist.
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I just want you.
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She's saying this probably to her romantic partner.
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Everyone else can wish for money and titles and fame, but since she already has all of those things, her wish is a bit more existential.
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She wants love and she wants it with this person and with this person only.
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She doesn't just say, I just wanna get married, or I just want kids.
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No, it's, I just want you.
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Have a couple kids got the whole block looking like you, so she wants to have children and she hopes that they look like their father because she adores him so damn much.
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She wants to settle down, but Showgirl Taylor and Human Taylor are about to butt heads here because while human Taylor may want to settle down, showgirl Taylor might not allow it.
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So she goes on, we tell the world to leave us the fuck alone, and they do.
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Wow.
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So in this imagined future where they have family and she settled down, she wants privacy.
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Will that ever happen in real life? No, probably not.
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But this is her wishlist to stay in a bubble with her new family.
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It's understandable when you're the most recognizable face on the planet.
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Who needs.
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24 7 security.
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That is a realistic desire.
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But this line also deals with a nagging fear that she has dealt with in her lyrics before, and that is how does she maintain a private life as a public figure Who writes about her private life? It's a conundrum she's explored before in The Archer, Delicate, But Daddy, I Love Him, I Can Do it With a Broken Heart, I Hate it Here.
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This is a line that she has to walk between Showgirl Taylor and Human Taylor, and that's what this album is really dealing with.
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At the heart of it, human Taylor wants a simple life, but Showgirl Taylor has made it so that might not ever be possible, and the desires of these two selves are always at war.
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She goes on, got me a dream in about a driveway with a basketball hoop.
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Still be a mansion, of course, because she's Taylor Swift, but she imagines her kids shooting hoops, probably shooting hoops with their dad.
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It's the all American dream of the happy family life.
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It's the nuclear family ideal, and it's this magic of childhood that she's always yearned to get back to.
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That's what she's describing here.
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Boss up, settle down, got a wishlist, and she closes at the chorus by repeating.
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I just want you, this final line is interesting.
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Boss up, settle down.
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Because to me it really draws the distinction between these two parts of herself.
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There's the boss, the mogul, and the showgirl who can boss up.
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Then there's this more romantic girl inside who just wants to settle down.
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But this could also be read as I need to boss up, like man up and settle down.
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As in it's time to quit this enormously public life and go quiet.
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Let me know how you read this line in the comments.
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'cause it's, it's really interesting.
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The second verse gives us more wishlists of other people, but these desires are a bit more realistic and a bit more attainable.
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They want that freedom living off the grid.
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So these people just want the ability to check out.
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And this could either mean literally off the grid, like.
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Self-sustaining solar cabin in the woods, or it could be metaphorically off the grid, like out of public eye.
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This second interpretation ties back to what she wants.
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She wants the world to leave us the fuck alone.
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That's also metaphorically off the grid, but not realistic for most superstars.
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They want those three dogs that they call their kids.
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She adds, which is a funny bit of irony because Taylor herself has three cats that we've seen her treat like children.
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All that good surf, no hypocrites, she continues.
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They want it.
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All the surfers just want to catch the waves, while others want a life free of these self-righteous showoffs.
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But this is adding to the humor because she's just been hypocritical.
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In her line about dogs versus cats, they wanna contract with Real Madrid.
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So she's talking about the other football here, what Americans call soccer, and the message is that they wanna be the best Real Madrid is one of the most prestigious teams in Europe, so it would really be a dream contract for any footballer.
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It's every sporty little boy's a dream to play professional footy and play for a real Madrid.
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They want that spring break that was fucking lit.
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She goes on and then that video taken off the internet, they want it all.
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So these dreamers wanna party hard on spring break and then have the evidence of that debauchery erased.
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What she's saying basically is you can't have it both ways.
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If you're Taylor Swift, you probably can have a video taken off the internet, but the average Jane or Joe doesn't have that power.
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And this ties back into the central themes of this song and this album.
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Can Taylor have her cake and eat it too? Can she have a private life as a public figure? I don't think we ever get any real resolution to this big existential question by the end of this album.
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We definitely don't get any resolution in this song, but these are the things she wishes for.
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We never really get to know if she will have them, but this is what she desires.
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Moving on to the bridge, we get a little bit of backstory.
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I made wishes on all of the stars, which is using this common wish upon a star metaphor, but stars in this case, in this context of celebrity can mean both things.
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Both.
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She wished to be a star and she made this heartfelt wish.
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Please God, bring me a best friend who I think is hot.
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She prayed for a real partner, a best friend with whom she also has chemistry, and as we'll learn in the next track Wood, her wish was largely granted.
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I thought I had it right once, twice, but I did not.
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So she's always prayed for this.
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She thought she had found the one as alluded to in the counting and in the context she was wrong both times, but this time is different.
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You caught me off my guard, she says, and then she closes out the bridge with, I hope I get what I want, 'cause I know what I want.
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This turn of phrase is interesting.
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It's usually caught me off guard, meaning you weren't expecting something.
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It was surprising, but she says, you caught me off my guard, which feels a bit more like she let her emotional guard down even momentarily.
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And in that moment he snuck in for a moment.
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Maybe her showgirl mask slipped and he got to meet the real girl inside.
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But now that he's here, she knows exactly what she wants to do next.
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She's got a wishlist and there's only one thing on it.
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After the bridge, the chorus repeats, and she ends the song with, I just want you.
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She has or could have all of these material things, but as she's learned, money can't buy you love.
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Now that she's found the one she wants to settle down with, she can only hope and pray it'll play out as her wishlist dictates.
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But there's still this nagging worry, and she's had this worry in her lyrics, really since reputation, and the worry is this.
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Who could ever leave me, darling, but who could stay? She's wishing upon all the stars you could stay.
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But here's the major conflict.
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Is he here for the show or is he here for the girl? And if he's here for the girl, will the show get in the way? That's all for now on wishlist.
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Thank you so much for joining me.
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In my next episode, I am dissecting Track nine Wood, which will be a fun one.
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So please like and subscribe wherever you're seeing this or hearing this so you can follow along.
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All of this content is available on my website where I have the annotated lyrics.
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And just let me know in the comments what you think of this song, because that is the most important part of all of this, not what it means to me, not what it means to Taylor.
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It's what it means to you.
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What do you resonate with? What do you think of this song? Stay tuned for the next episode and I'll see you in the next track.
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That's it for this chapter of Swiftly Sung Stories.
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If you enjoyed this deep dive, please don't forget to follow, subscribe, or leave a review.
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It helps other Swifties find their way here.
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I'm Jen and I had a marvelous time reading everything with you.
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See you next time.