PART 3 ANNEX:
KISS - A TRACK BY TRACK EXPLORATION
Take a deep breath. Here we go again.
1 - TINY LITTLE BOWS
This first track uses a lyric sample from Sam Cooke’s “Cupid,” a song entirely about being ignored by the person you love, and attempting to put a hit out on them via Cupid. Carly re-contextualizes, but only a little. Surprise surprise, it’s no longer someone who doesn’t know she exists.
Instead, it’s about someone who knew she existed, and she fell into LIMERENCE with but has REJECTED her, and now she’s MISERABLE.
Right off the top of the album, my theory seemed in relatively good condition. We had name-drops of sub-themes as she listed City Names and the idea of being Separated By Geographical Location, Being Forgotten and Getting High.
Ask me for the truth about it
We just met
And I wish we could be holding hands
I wish we could be holding hands
How do you think it goes
With those tiny little bows?
We start off with what’s rapidly revealed to me to be a memory of the first time her and Her Love met. She instantly wanted him, and felt like she was hit by cupid’s arrow.
You're the one that I want
You're the one that I know
And everywhere you are
Is a place I wanna go
Dancing really high
Dancing really slow
Again Carly leans on the pressure, here: You’re the one that I want. The idea of a lover being special or “the one” is anything but rare in pop music, or just poetry in general, but Carly’s use of the cliche is always ideologically different.
Carly habitually uses the idea of someone as “the one” as almost an accusation; it’s always to someone she doesn’t have, or can’t have, or didn’t want her, and usually some combination of all three.
The U2 song “One” talks about how the “one” is someone who carries you when times are hard. “You’re The One That I Want” from Grease is about how exciting it is to find the “one” who stirs you up and makes you feel great. On “Still The One” by Orleans, it’s a reflection on how well love has helped a long term relationship stay together.
Let’s hear how Carly Rae Jepsen’s “Chosen One” is doing…
Do you ever think about us
Watching TV in your bed
Call me if you think about it
Yeah. Dude is in bed in another city, possibly on tour (lots of cities name-dropped in this song), watching TV, not thinking about her to the point that Carly believes she’s been forgotten completely.
It is not romantic. For an upbeat song, it sure is heartbreaking.
2 - THIS KISS
So right here, “This Kiss” is a big moment for me, and this dumb journey I’ve found myself on.
“This Kiss” is what I’ve come to think of as a “KEYSTONE” song; a song that contains detailed information relating to the themes, as well as containing an overflow of crossover meta and micro displays of thematic and lyrical story.
The Keystone songs connect most directly to the themes that dominate the album “Emotion.” They draw the line in crystal clarity, and need very little or even no explanation to fit neatly into the overarching idea.
This was the first Keystone song I encountered, so this is where it got intense. I felt like I’d taken a red pill in the matrix, or hit some kind of runner’s high. I couldn’t believe what I was hearing. I fell into a tailspin of cynicism, and became convinced this would be the only song on the album to match the themes and the format so overtly.
But something in the opening lyrics really spun me out; for the first time besides the first mention of a woman that I encountered on “Your Type,” Carly brings up one more adult woman: the girlfriend of her Intended Lover.
I didn’t know it yet, but this was huge, this was MASSIVE. This was the final piece of the puzzle I didn’t even realize I had been putting together;
You will detect, overtly, themes of LIMERENCE, TEMPTATION, REJECTION, ESCAPE, OBSESSION, SECRETS, and MISERY/LONGING, making this a flawless 7 for 7 on Carly’s main themes, as well as a number of sub-themes and micro-narrative hints weaved through the entire piece.
I went out last night
I'm going out tonight again
Anything to capture your attention (your attention)
As usual, the idea of “going out,” partying or dancing is not for fun, or for Carly’s own private purposes. She wants her Intended Lover’s attention. This theme of going out in a passive way, strictly on a mission to ensnare one specific person, comes up every time Carly talks about going out in any way. She is Partying With An Ulterior Motive.
And she's a real sweet girl
And you know I got a boy
Details we both forgot to mention (forgot to mention)
Well, shit. Look at that. “I bet she acts so perfectly,” Carly sang of a proposed competing girl on Your Type, but here she is in no-longer theoretical terms. This is an actual person we’re talking about. The guy actually has a girlfriend, and Carly has a boyfriend, too. Ditching one guy for another is the subject of “Store” on Emotion Side B.
Let’s see where this goes.
I always know where you are
And you always know where I am
We're taking it way too far
But I don't want it to end
There’s the classic mention of Physical Location and Knowing Where Someone Is Geographically sub-theme, but I’d like to take a diversion here for a moment, to set up some signposts for where we are going.
Now, forgive me for drawing some lines here in my spooky Carly Rae Jepsen basement, but this, contextually, is huge. They’re taking it way too far, but she doesn’t want it to end. That’s all her songs in a nutshell.
This is what makes “This Kiss” so startling, when placed into the puzzle.
It ties all 7 of the themes into one narrative; Obsession, Temptation, Limerence, Rejection, Secrets, Escape, Longing, they are all given an actual “story” form around the simple notion that:
“all of Carly Rae Jepsen’s songs are about excitedly pursuing someone who has a girlfriend and getting shut down by them and told it’s a bad idea but then fantasizing about it anyway.”
She gets shut down in this one too, we’ll get there, just give me a second.
Now, I don’t want to put this out there as an actual “theory” so to speak. But there’s an aspect of what’s going on in The Jepsen Pattern that is going to come lurching out of the fog. I call it the Narrative Aspect. You might have already noticed it.
There can be no argument that Carly Rae only sings about inter-mixings of the 7 themes. But could all of Carly’s music based around one story, or one TYPE of story?
That’s a huge question, and one that will become a sticking point.
Certainly, the entirety of the Infatuation/Rejection/Misery theme of Emotion could be easily explained as the emotional backdrop of “guy with a girlfriend cheats on girlfriend but then calls it off.”
And that contextualization of Carly’s music is stated out loud repeatedly as we get deeper. I don’t want to put the Narrative Aspect out there as a concrete offering, or speculation about Carly’s personal life.
But its presence in her music is unquestionable, and will only be getting louder, and less subtle, as we move further.
So. Back to “This Kiss,” just in time for the chorus.
This kiss is something I can't resist
Your lips are undeniable
This kiss is something I can't risk
Your heart is unreliable
Something so sentimental
You make so detrimental
Says it all, doesn’t it? She “can’t resist” his kiss, but also “can’t risk” his kiss. At first it sounds like Carly is the one in the driver’s seat, but that’s quickly revealed as a misdirect: “Your heart is unreliable” isn’t her being worried about him as an unreliable lover, it’s more nuanced than that.
The next line reveals “something so sentimental, you make so detrimental.” If I’m reading that honestly, with context, it sounds like Carly is trying to kiss him and he’s saying “no that would be bad.” Which…You know, good for him, but her heart is breaking.
And I wish it didn't feel like this
'Cause I don't wanna miss this kiss
I don't wanna miss this kiss
It’s wild to see those final lines.
“I wish I didn’t feel like this” is an emotion that recurs like a pollen allergy in Jepsen’s discography. The idea of being trapped emotionally and mentally by love you didn’t ask for is a constant reappearing concept; the idea that love is painful, and it would be easier to escape it than to indulge it.
Often, there’s no context clue for why Carly religiously presents a pop hallmark, “being in love,” as a bad, risky, unreliable or dangerous thing. But now we can see it more clearly.
Love can seem real dangerous when you’re trying to steal someone’s boyfriend.
3 - CURIOSITY
I was still reeling from the nakedly thematic anthem of “This Kiss,” that “Curiosity” coming RIGHT after it on the album felt, in a real way, disorienting. This was the first time for me that I honestly believed in what was then just a joke theory. It was a spiritual awakening, because, as should now be expected, the lyrics make zero implications about the content of the song.
“Why make implications when you can just be pretty much totally explicit and say exactly what you mean” is again the mandate. Surprise surprise, here’s REJECTION, MISERY/LONGING, OBSESSION, and SECRETS.
Interestingly, it’s also a bonanza of sub-themes and leitmotifs: Staying Up All Night, Begging For Love, Showing Up At Someone’s House Without Permission, Knowing Where Someone Is Geographically, Someone Sending A Message Without Speaking, Phone Calls, Love Making You Sick Or Crazy all make notable, typically blatant appearances.
So, let’s get hurt.
Break a bone
Got me on my knees
You break my heart
Just to watch it bleed
Already we’re off to a dark-as-fuck start, sung classic Carly fashion in an upbeat, happy voice. Jepsen is going darker and more straightforward than usual here; she feels tortured by his love, but then we realize, it’s not him that’s doing the torturing:
I'm sick with love
Sick like a disease
Don't call me up
Just so I can please you
Again, love is framed like a problem, or an ailment; “calling her up” to please him doesn’t appear to be sexual, in context, as she doesn’t appear to be getting that level of validation from this guy.
Look at me
Left here in the corner
Stupid girl, I really tried to warn her
Walked the streets all night, until you came around
Knew that you would come, before you ever even made a sound
Carly talks to herself in third person, calling herself stupid, saying she should have known better. However, after some late night walking, the dude does indeed show up in her life.
Although it’s worth saying, he’s not at her place. He didn’t show up to her house. She showed up where he was, a subtheme in Carly’s music: seeking someone out in public, usually on some kind of mission to seduce them whether they like it or not. You might remember it from songs like “Kiss” and “Didn’t Just Come Here To Dance” and “Making The Most Of The Night.”
And sure enough, in the next lyric, we see that Carly’s romantic intentions are anything but straightforward.
So don't break me tonight
This is crazy love and you know I'm gonna follow you home
Through the rain
'Cause I need your love, and you know I'm gonna follow you home
Do me a favor and read those lyrics in the creepiest voice you can. …Yep.
She does NOT get the guy. He “came around,” but could still “break her” with rejection…Which is going to be hard, because she is going to LITERALLY FOLLOW HIM HOME because she NEEDS his love. Whether he asked for it or not.
This also readdresses the leitmotif of Knowing Where Someone Lives, occasionally phrased as Knowing Someone’s Geographical Location. Carly always is quick to remind Her Love that she knows where he is physically, even if he doesn’t want her, and is also just as quick to assert she might just show up out of nowhere.
Let’s take one last gander at the chorus:
I know, I know, I know you got the key
You know, you know, you know that it's for me
Well I think that we should try it out and see yeah
At best, this is a platonic friend, asking for a chance at a bigger relationship. It fits all the themes. But now, contextualized by the songs preceding it, if we wanted to, we could make a harsher judgment.
It sounds an awful lot like she’s asking him to cheat.
4 - MORE THAN A MEMORY
This is another KEYSTONE SONG, this one falling into the “after it’s over” category, with our girl endlessly pining and agonizing and torturing herself with the memory of a relationship. Since you’ve been on this journey with me, I think you’ll see, once we get into this, why I didn’t pick this one apart.
I didn’t have to.
Speak to me, you're walking too close and it's hard to breathe
I should be running, but the hurt's naive
And I'll expect too much
You were good to me
I left a scar that no one else can see
And now you're back here and reminding me that I lost way too much
And you know that night I almost said I love you
And you almost said it back
Are we gonna be more than a memory
No matter how lame our apology
I let go of you, you let go of me
Are we gonna be more than a memory
Are you gonna just stand in front of me
Pretending I'm not your destiny
I'm not over you, are you over me
Are we gonna be more than a memory
OBSESSION, SECRETS, REJECTION, MISERY/LONGING are all obviously present, as well as sub-themes of Someone Making You Shy, Apologies, Saying Something You Regret, Being Forgotten, and a rare but reliable appearance of Anger Over Someone Denying They Are Her Destiny.
Yeah. “Pretending I’m not your destiny.” It’s all right there. “A scar that no one else can see.” Lovely turn of phrase, I think. Beautiful lyric.
A scar no one else can see. Does she just mean internally? Because it seems more like she hasn’t told anyone, so…Is it secret? Why would it be secret?
“I’m not over you.” Yes. Correct. That is definitely correct. The elements in play on this song tie directly into the elements at play on EMOTION. We’re four songs in and all of them tie heavily into the Jepsen Pattern.
5 - TURN ME UP
This is another one that tries to position itself as a “empowering break-up song” with its chorus, but even the slightest look at its first lyrics reveals the truth.
What we’re looking at here is REJECTION, MISERY and LIMERENCE, with classic sub-themes of Lovers Downgrading To Friends, Separation by Physical Distance/Geography, Lost And Alone and Partying With An Ulterior Motive with a side helping of Carly’s favorite emotion: Regret.
All alone, here I am
I don't know what I'm after
Now that you're just a friend
I can call you and ask you
From the very first time I saw your face
I knew I was satisfied
You were talking so sweet I had to taste
I wish I never tried
So we start off IMMEDIATELY with the Lovers Downgrading To Friends/Sad Before I Met You double punch, moving directly into limerence and regret with an implied helping of forbidden or dangerous love. She is on a train here, direct-lining major themes without establishing any kind of other situation or premise.
This also references, with crystal clarity, the song “Sweet Talker,” from her first album, Tug Of War, which contains the lyric:
— You talk so sweet and it's dribbling like honey, It's just one taste —
That is a very specific connection/reference, putting forward the idea she is separating from the idealized guy on the song from way back when. She tasted the honey, and she got stung. It’s worth saying this is one of a dozen or so songs where The Pattern nakedly overrides any pretense.
I’m also going to SPOILER you a little bit and say that this isn’t the first time Jepsen lyrics blatantly repeat and or paraphrase themselves.
I’m breaking up with you
You're breaking up on me
You kissed me on the phone
And I don't think it reaches
What am I to do
And how's it gonna be
'Cause breaking us in two
Is breaking me in pieces
So again, we’re faced with a conundrum within the premise presented to us.
It initially sounds like Carly is the one in charge; she’s breaking up with him. But that very rapidly is revealed to a position she’s been forced into, both by physical distance, and worse, his indifference. Separating from him isn’t an empowering move; it’s out of pain and desperation.
It’s her last option; she’s giving up on pursuing this person out of frustration, not empowerment. Don’t wanna take my word for it? Take Carly’s:
I'm giving up and going out tonight
Turn me up (turn me up), turn me on (why don't you turn me on)
Turn me up (why don't you turn me on), turn me on (and on, and on, and on)
Turn me up (why don't you turn me on), turn me on (turn me on, turn me on)
Turn me up (turn me up), turn me on
Off she goes, Parting with an ulterior motive. The song literally ends with her begging him to come back. The threat of her “break up” means nothing because he’s already checked out.
6 - HURT SO GOOD
Wikipedia describes the phenomenon of the “friend zone” thusly:
“In popular culture, the friend zone is a situation in which one member of a friendship wishes to enter into a romantic or sexual relationship, while the other does not. It is generally considered to be an undesirable or dreaded situation by the rejected person.”
It’s worth namedropping this outright, as it comes up often in Jepsen’s music; the idea of either being trapped as someone’s platonic friend, or being demoted to that position, is a constant specter across all of her albums.
The idea of fantasizing you were with someone who’s unavailable and leaving you longing, feeling anxious or self conscious about how much you’re enjoying hanging out with someone, or feeling loss and rejection after being told you’re “just a friend.”
These emotions are the ones most sharply depicted; the loss of someone you never really had. And surprise surprise, they show up here in the form of REJECTION, OBSESSION and MISERY.
I don't ever wanna let you go
We could take it fast or make it slow
I'm the friend that you misunderstood
Everyday is just a wish I could
Why you gotta make it hurt so good?
The “friend that you misunderstood.” And yet, it doesn’t sound like he misunderstood her at all; it just sounds like he isn’t interested in what she’s offering. The song is framed as a romantic proposition, but we can rapidly ascertain he’s already refused her, or at least to some degree made that a likely outcome of her proposing this.
And just in case he didn’t get the message:
Is it too late or too soon?
I'm right outside here wanting you
You don't see me, but you should
Why you gotta make it hurt so good?
Remember on “Gimmie Love,” on EMOTION, when she drives by his house and stops outside “again tonight?” At this point, I think we should be able to agree this isn’t a coincidence.
7 - BEAUTIFUL
You’ve come this far. You know what’s coming. It’s a song called “Beautiful.” What could it be about? What could Carly be singing about, here? Do you want to venture a guess?
Could it be about feeling beautiful? About someone you think is beautiful? About someone making you feel beautiful, or a beautiful experience, maybe? Maybe it’s about art, or a great day, or just the excitement and beauty of being alive?
Haha, right. No, of course not. It’s about being MISERABLE because someone REJECTED YOU and remembering the time they told you you were Just Friends, now that you’re Separated by Physical Distance but they’re still Stuck In Your Head.
Hello, I know it's been a while
I wonder where you are
And if you think of me
Sometimes cause you're always on my mind
You know I had it rough
Tryin' to forget you but
The more that I look around
The more I realize
You're all I'm lookin’ for
As I’ve said what feels like hundreds of times by now, the unifying themes of Jepsen’s music are NEVER subtle. They’re never hidden. Let’s keep going:
The beginning or the end
How do we make sense
When we're on our own
It's like you're the other half of me
I feel incomplete
Yep. Lovers Downgraded To Friends and she misses him and is miserable and appeals to him endlessly to come back.
8 - TONIGHT I’M GETTING OVER YOU
This one, like “Turn Me Up,” tries to masquerade as an empowering break-up anthem. They’re practically the same song, “Tracks of My Tears”/“Tears Of A Clown” style, both talking about a friend-turned-lover who’s checked out of the relationship, and a desire to “dance” with “somebody new.”
But like Turn Me Up, the masquerade of indifference and facade of "moving on" rapidly falls apart, even more disastrously than before. Themes of REJECTION and MISERY, with leitmotifs of Dancing Only To Distract Yourself, Lovers Downgrading To Friends, Dreaming, Staying Up All Night, and Begging.
First up we have the, at this point inevitable, “just friends - OR ARE WE?” namedrop:
We're not lovers
But more than friends
Put a flame to every single word you ever said
No more crying
To get me through
I'll keep dancing till the morning with somebody new
Right, sound familiar? She’s gonna dance! The friend who rejected her isn’t gonna matter anymore! How exhilarating! She’s free! Get out there and forget him, girl! You can do it this time, let’s sing a song about being free! New romances!
Or not. Cause then this happens:
Stuck in a real bad dream
And man it feels so new to me
Should be in your arms but I'm begging at your feet
It's been a real hard night
And I just hold my pillow tight
It won't love me back, no,
It's not you and I
This verse, like so many final Carly Rae Jepsen verses before it, functions as a Jepsen Second Verse Twist, re-contextualizing the entire song. The “dancing all night” is a fantasy. She’s actually alone, in bed, begging him to come back. Again this is not SUBTLE or SUBTEXT, it takes only the SLIGHTEST level of reading comprehension to understand that this upbeat, empowering pop track is actually about a person who is totally alone and miserable.
9 - GUITAR STRING/WEDDING RING
Look at the opening verses of this fucking song:
You were here and then you left
And now there's nobody, nobody
Now they're all just second best
There's nobody, nobody
Yep, welcome to a song built around a chorus asking a man to propose when he’s not even interested in you and has already broken up with you. There’s an All The Other Boys namedrop too; the term “second best” will also show up on her song “Higher,” but let’s push further into this…
But if you cut a piece of guitar string
I would wear it like it's a wedding ring
Wrapped around my finger
You know what I mean
You make my heart sing
If you cut a piece of guitar string
I would wear it
So far in the song we’re looking at REJECTION, OBSESSION, and here’s LIMERENCE:
When you're near I feel the best
I'm somebody, somebody
It's in my pulse, it's in my chest
My whole body, whole body
Oof, the only person who makes her feel alive isn’t interested in her. Hm, okay, delicious, can I get a side of Being In Someone’s Arms and Spending The Night Together/Staying Up All Night?
Just hold me closer
Oh won't you hold me down tonight
Cool, and can I please have some Separated By Physical Space/Geography?
You're in the country
I'm in the town
But it’s not over. It’s never over. Only on one song does Carly ever describe successfully fully leaving someone and being over them, and it’s MUCH later in her discography, on Emotion Side B. So even though this sounds like a song about a relationship that’s dead and gone…
So if you want me
I'll be around
This one is particularly sad and tragic, to me.
The image of him cutting his guitar string, again presenting Her Love as an unavailable musician, is poetic in that it represents him choosing her over his art; but he hasn’t done that, and apparently, he won’t.
10 - YOUR HEART IS A MUSCLE
One of the most common behavioral patterns of immature romantic love is a more interested person literally arguing with a less interested person, trying to emotionally pressure and “logic” them into returning the more interested person’s feelings.
This generally comes in the form of projecting their feelings, and then trying to intellectualize and debate the truth that the other person doesn’t feel the same way. This idea, that the other person is “only pretending” not to love Her back, or should simply try harder to love her, shows up often across Carly Rae Jepsen’s music.
The idea of asking Her Love to “work harder to return her feelings” or “give her a chance” is reiterated dozens of times throughout dozens of Carly’s songs, but never so articulately and directly as on “Your Heart Is A Muscle,” which focuses on REJECTION and OBSESSION.
You gave my shirt back
I don't really get the meaning
It's like you're giving up before it all goes wrong
I've been told but I don't really like the feeling
I've been away, I've been away too long
So clearly there’s been some sort of…incident, here, and the return of the shirt signifies rejection. It appears they were Separated By Physical Distance for a period of time, and now this dude is concerned that problematic elements in their relationship are going to cause everything to fall apart.
At least she’s handling it well. So far.
I, I, I wanna go wherever you are
I, I, I wanna be wherever you are
I, I, I wanna see whatever you are
There goes that. She goes into further details about her needs of him in the next lyrics.
You say love's a fragile thing
Made of glass
But I think
Your heart is a muscle
Your heart is a muscle
You gotta work it out
Make it stronger
Try for me just a little longer
Again, she’s literally just asking him to try to love her, because something has caused him to want to give up. Again, it’s not clear what went wrong, but our final bit of lyrics shows just how much more invested she is than him…
Wake up moon we spend the night alone together
You're a real good listener, but you don't have much to say
Wake up you, you won't pick up the phone whatever
You're probably sleeping, I hope we're still okay
YIKES. If you’ve ever been in a fight via text, or maybe locked into an unhealthy round-and-round relationship with text component, these words might seem very familiar. Needy. Frantic. “r u asleep?” “respond to me.” “I hope we’re still okay.”
Oh, and also that’s Spending The Night Together and Saying Things Without Actually Speaking in there too. And the moon, again, sharing the image of a couple under the moon from “Cut To The Feeling” and “In My Bedroom,” as well as on the Cursed Song Of Which I Must Not Speak, “Picture.”
11 - DRIVE
Drive functions as a kind of prequel to the escape songs of EMOTION; in many ways, it’s an Outlier Song to the overall thesis; a single lyric about the guy actually liking her is hard to miss, but, even with that, it falls squarely into The Pattern.
Addressing LIMERENCE, SECRETS, ESCAPE, with side notes of Driving, Staying Up All Night, and Being Made To Do Things.
So drive so fast baby through the night
Drive so fast, and they'll never gonna find you
Drive so fast, saying no goodbyes
Drive so fast, and we'll leave it all behind you
Boy, I get a kick out of you
You know I'm yours
The things you're making me do
I never thought, you'd hit me to the core
I just wanna drive you to love, love, love, love
Pretty self explanatory here, “let’s escape together, I’m so into you.” Notice that these “she never thought he’d hit her to the core,” cueing us that this is a new relationship, possibly a Friend Upgraded Lovers, not a steady boyfriend.
Also check out the three “Drive So Fast” lines; all of them imply that the guy, by leaving with her, is escaping something. “No goodbyes.” As always, this romantic getaway is actually a secret, an escape from his situation, similar to the ESCAPE songs on Emotion.
Ooh I don't care about my lipstick
I just wanna drive you to love, love, love, love
Chasing the sun, don't wanna miss it
I just wanna drive you to love, love, love
Again, sneaking in the “don’t wanna miss it,” like on “This Kiss,” here belies the fact that this is not something that’s actually happened. Like all of the Carly Escape Songs, this is a proposal of something she wants to do, and not something that is actually happening.
12 - WRONG FEELS SO RIGHT
More forbidden, SECRET love here, with a subtle hidden theme of REJECTION and MISERY. A super fascinating (to me) theme is the constant reiteration across so many songs of feeling “led on” by the guy, only to be turned away by him when it mattered.
This idea, that Her Love led her and professed interest (often with minimal verbal communication) before friend-zoning her and leaving her confused, is one of the core resentments Carly repeatedly communicates.
Particularly interesting in “Wrong Feels So Right” is how long it takes to reveal what the song is actually about, unfolding slowly almost like a mystery plot. Take a look at how it starts:
Breaking my heart to see you lover
And I don't know why
Things you say are things you've said before
Instead of the truth I swear you'd stick a needle in your eye
Now what can you be looking at me for?
So here we are at the top of the song, and it sounds like it’s a break up song. She feels frustrated by growing distant from a lover that she feels is deceiving her.
I think this could be the one night
I give in to this fight
Boy I just might
'Cause you rule my head
I can't stop the motion
Hold me, be the way you told me
Whisper something so sweet
This could be the night
Wrong feels so right
Ah, now something weird is starting to happen. It sounds like she’s resisting giving into him, because it seems like a bad idea. She’s not breaking up with him; rather, loving him is Forbidden somehow, and wrong. But let’s see how it evolves…
Tell me what was I supposed to do
With that type of attention
I gave all that I had to you
You forgot to mention
When you say that your heart is true
It's just an invention
But not your intention no, no
Yes, the third act surprise common in second verses for Jepsen; the Jepsen Second Verse Twist lyrics that re-contextualize the fun, long awaited sexual encounter as a disaster, a lie, and a rejection. The guy doesn’t want her, he just wanted to hook up, and now that she’s given in and fallen for him…we’re right back here again.
Remember on “This Kiss,” the lyric “your heart is unreliable.”
He led her on, and now, when she’s ready to “do the wrong thing” by giving in to him…He doesn’t even want her.
13 - SWEETIE
This is an uncommonly simple entry, that focuses only on TEMPTATION, but again frames it as something that HASN’T HAPPENED YET with a A Guy Coming Out Of A Dark Place.
You're not as lonely as you think you are
I'm trying to tell you
Anything you want boy
I can make it happen
We could fall in love
And I could be your sweetie
So what do you want. What do you need.
Kiss was done. I couldn’t believe it.
It was two for two.
Every song fit the pattern.
EVERY SONG ON THE ALBUM. EVERY SINGLE SONG.