#newromantics

[highoktober]

Patrick nagel art. (1980s) When the name Patrick Nagel comes to mind you think of the cover of "Rio" by Duran Duran, or simply of an ivory white woman inked in thick black lines. That's the most simple form of the Nagel Woman. These women are all self assured, intelligent, and distant from the artist and the viewer. The earliest version of the Nagel Woman appeared in Playboy Magazine around 1976, inspired by the women appearing in the magazine at the time but transposed through the influence of Japanese woodcuts. Copied from site

[whateverwhimsy]

Lost Symphonies of Togetherness

Would you ever have known

these secrets between ourselves, we keep

locking doors as days fly by

underneath dreams that sit with weight

upon the wonders we used to share -

oh, we're unaware the damage that is done

when faulty friendships

duly dry themselves up

from thirst for conversations never had

we used to stand in solidarity

with the plan to never let the sand fall for too long -

sing along to another song we'll never share

again.

[lovinghimwasreid]

'Cause baby, I could build a castle

Out of all the bricks they threw at me

[thedirectorfies]

𖦹 ₊ .˚Ꮺ 𝟏𝟗𝟖𝟗 𝐦𝐨𝐨𝐝𝐛𝐨𝐚𝐫𝐝 ! Ꮺ˚. ₊ 𖦹 

[bobbybones23]

In the early 80s, I briefly stayed with Judith Frankland @judithfrankland in London, a fantastic designer who made outfits for Steve Strange and appeared in David Bowie’s “Ashes To Ashes” video alongside Bowie himself with other “Blitz Kids” and fashion luminaries, Steve Strange, Darla Jane Gilroy and Elise Brazier. She told me tales of the Blitz Club and of her days of designing for Steve Strange and using him as her model. The Blitz Club was in Covent Garden, London from 1979 - 80 and was home to the “Blitz Kids” who were nightclubbers there on Tuesday nights. The club was located between two art colleges (St. Martins and Central School). As a result of its proximity to the art colleges, it attracted many students who were aspiring fashion designers there. The hosts were Steve Strange and Rusty Egan @rustyegan of Visage and the club was responsible for launching the New Romantic movement in London. Many notable fashionistas and dandies who later became big stars, were regulars there. A dress code of the “the weird and wonderful” was strictly enforced at the door, a policy that was put in place by Steve Strange. This was not an elitist system like Studio 54 in NYC, but rather for the protection of the nightclubbing guests against homophobic thugs. The hosts had previously done “Roxy Music and David Bowie nights” on Tuesdays at Billy’s club in Soho and later took over at the Blitz wine bar which gained much better success as an iconic club. David Bowie, gender-bending, cutting edge fashion and a desire to express it with rebellious fervor, were the common themes and passions of the Blitz Kids and the New Romantics. Some other noteworthy attendees aside from the aforementioned included Boy George, Marilyn, Siobhan Fahey, Sade, Spandau Ballet, Midge Ure, Philip Sallon, Stephen Linard, Stephen Jones, Princess Julia, Martin Degville, Scarlet Cannon, i-D magazine co-editor Perry Haines, and many others. Derek Ridgers @derekridgers, Andrew Holligan and Terry Smith were responsible for most of the photos… 📷 1/10: Sheila Rock @sheila_rock_photographer 👨🏻‍🎤⚡️🖤⚜️👩🏻‍🎤 🔲 🔳 🔲 #BlitzClub #BlitzKids #NewRomantic #NewRomantics #SteveStrange #RustyEgan #PostPunk (at Covent Garden) https://www.instagram.com/p/CoEZGFgukl5/?igshid=NGJjMDIxMWI=

[taylormadeswiftie]

We are too busy dancing

To get knocked off our feet

Baby, we're the new romantics

The best people in life are free 🩵

[itcantbemoreobvious]

New Romantics

We're all bored, we're all so tired of everything We wait for trains that just aren't coming We show off our different scarlet letters Trust me, mine is better

“We” is used when referring to herself and another person. Their gender is not specified. They both have “different scarlet letters” which in my opinion could mean sexualities. Bisexual, lesbian, pansexual - there are various “letters” in the LGBT community. Taylor speaks of boredom, tiredness and “trains that just aren’t coming”

We're so young but we're on the road to ruin We play dumb but we know exactly what we're doing We cry tears of mascara in the bathroom Honey, life is just a classroom

Taylor Swift and another person are crying tears of mascara in a bathroom. I don’t know about you but that gives me an image of two women. “We play dumb but we know exactly what we’re doing” could mean playing off their relationship as a friendship ie. glass closeting.

'Cause baby, I could build a castle Out of all the bricks they threw at me And every day is like a battle But every night with us is like a dream Baby, we're the new romantics Come on, come along with me Heartbreak is the national anthem We sing it proudly We are too busy dancing To get knocked off our feet Baby, we're the new romantics The best people in life are free

Taylor Swift is painting a vivid picture about how much judgement she receives. She could build a castle out of the bricks thrown at her. It doesn’t matter to her though because nights with her partner are like a dream. They know that heartbreak is the “national anthem” but they’re too busy dancing and singing proudly. She finishes the chorus by stating “The best people in life are free”

We're all here, the lights and noise are blinding We hang back, it's all in the timing It's poker, he can't see it in my face But I'm about to play my Ace

Taylor’s usage of we/us and he indicates there is another person involved. In my opinion this song takes place in a nightclub or bar of some kind. With all of the lights and noise she places great importance on hanging back and the timing. She maintains her poker face to a man. There is something she’s about to do, she’s about to play her Ace. 

We need love, but all we want is danger We team up then switch sides like a record changer The rumors are terrible and cruel But, honey, most of them are true

In my opinion the lines “I’m about to play my Ace” and “We team up then switch sides like a record changer” are related. It can easily be interpreted as a bearding situation where Taylor Swift needs to maintain a heterosexual image. She also states that most of the rumours are true. 

Please take my hand and Please take me dancing and Please leave me stranded It's so romantic (it's so romantic) (Ah, ah, ah, ah, ah, ah)

This could be interpreted as her and her partner holding hands, dancing, etc and then pulling away (left stranded) when it’s necessary to remain closeted.

There are two explanations that would make this song make sense. 1) she is queer or 2) she is cheating on her partner. Considering this song was released in 2014 and her public relationships never had elements of cheating I believe the first is most likely

[reputationn]

the folklore characters