![]() Never mind the lucky stroke that apparently had the rock star who used and discarded Swift being a guy really named John Swift does like her literalism, so she probably wouldn't written a public dear-John letter to a Tom, Dick, or (even) Harry. (Hyperbole intended.) This was Dear John, a slow, epic-length missive to a love-'em-young-and-leave-'em type that was jaw-dropping in its vulnerability and rage. 'Speak Now' also incidentally included the most searing, stark, boldly confessional song by a major artist since John Lennon's Cold Turkey. But is finding out whether All Too Well was about Jake or Harry that terribly different than the thrill of figuring out whether Dylan's It Ain't Me, Babe was about Suzi or Joan, but with Google taking the place of waiting years for a biography? It may seem peculiar to the 21st century that we can confirm who the significant others in Swift's songs are by picking out lyrical details about eye colors or fire signs or scarves and checking them against her exes. But the specificity of the bridge makes the universality of chorus more meaningful, even if the unstable relationship you're being reminded of by the song didn't involve a visit to the ER. When Swift interrupts Out of the Woods to mention "Twenty stitches in a hospital room/Remember when you hit the brakes too soon," that's about as un-Brill as Bruce talking about Crazy Janey and Greaser Lake. have faith that, whatever is lost in relatability by including something specifically autobiographical is a gain for fans who know that that weird minutiae confirms the rest of the emotions as authentic. If you're writing by the books, you learn early on not to include random asides that throw listeners out of the commonality of the lyric.
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