![]() But then again, that pain wouldn’t have helped fill their bank accounts. It would undoubtedly make any girl feel a bit inadequate-though it definitely plays into the consolation Billie Eilish was looking for when she said, “I just kind of wish you were gay.”Īnd if only Bassett could have admitted his crush on Harry Styles sooner, maybe it would have spared Rodrigo and Carpenter the pain. And sure, that’s all fine and good, but any straight woman would be lying if she said she wasn’t a bit miffed when her boyfriend decided to come out just “ever so” on her birthday. But Carpenter is much more soft-spoken as she laments, “Oh, you’re so vicious/Love me, then pretend you didn’t/Crush my heart and wreck my image/Why you gotta be so vicious?” And while Carpenter can try to say it’s about a more “general” experience with an ex, it seems tailor-made for Bassett, who reared his viciousness several times throughout the relationship, including when he chose Carpenter’s May 11th birthday as an appropriate date to align himself with the LGBTQIA+ community in 2021, while they were still dating. ![]() What follows is the aptly-titled “Vicious.” Produced by Jason Evigan and Amy Allen, the song’s more up-tempo rhythm actually has echoes of “brutal” in the strumming instrumentation. A topic she addresses with complete candor on “emails i can’t send” as she accuses, in her most Rodrigo-sounding tone, “And thanks to you, I, I can’t love right/I get nice guys and villainize them/Read their texts like they’re havin’ sex right now/Scared I’ll find out that it’s true/And if I do, then I blame you/For every worst that I assume.” It doesn’t stop there, with Carpenter adding, “When I’m forty-five, someone calls me their wife/And he fucks our lives in one selfish night/Don’t think I’ll find forgiveness as fast as Mom did/And God, I love you, but you’re such a dipshit/Please fuckin’ fix this/‘Cause you were all I looked up to/Now I can’t even look at you.” For those who would say that Carpenter is being “too harsh” on her father, she concludes with a ready-made response in the form of a reference to “Cell Block Tango”: “As they say in Chicago, ‘He had it comin’.” ![]() It’s not exactly a secret that Bassett “cheating” (“guess you didn’t cheat, but you’re still a traitor”) on Rodrigo with Carpenter psychologically feeds back into the fact that her own father was unfaithful. ![]() That she has her own Truth to display, and it doesn’t make Rodrigo look very pretty (unless you were to remove the “r” from that word).īut before Carpenter gets to that brunette, she deals with the roots of every girl’s issues: Daddy. As Carpenter also did back in 2021 after Rodrigo released “ drivers license,” responding with “ Skin,” which featured such lyrics as, “You’re tellin’ me how you see it/Like truth is whatever you decide.” But clearly, she, as a Taurus and the niece of Bart Simpson (Nancy Cartwright), knows she can’t be trifled with. It has undoubtedly been easier (and more lucrative) for both Carpenter and Rodrigo to hide behind their songs as they brandish lashing, accusatory words. A medium that’s deemed far less scandalous than just telling someone what you feel directly (something Britney urged long ago on “E-Mail My Heart“-in an era when e-mails were spelled with a dash and felt far more epistolary than they do now). However, if one is lucky enough to be a songwriter, those “emails” might just get “sent” in song format. The album commences with its thesis, the eponymous “emails i can’t send.” It’s a title that speaks to this idea that all the things we really want to say out loud or to someone in person tend to be written down in a burst, likely in the Notes or Drafts sections of our various tech apparatuses. For Rodrigo has had the monopoly on what many consider to be a manufactured love triangle for so long now, that it’s difficult to remember a time in pop culture when Carpenter and Joshua Bassett weren’t summarily written off as trash for breaking Rodrigo’s heart-Carpenter being someone who did so in a de facto manner by “sticking her claws in.” By being a “homewrecker” (a word she uses herself in the much talked about “because i liked a boy”). Waiting for the fanfare to die down so that she might finally tell her side of the story. Olivia Rodrigo might have believed she had the upper hand for a while there after the release of “drivers license” followed by her runaway hit of a debut album, Sour, but the “fringe” subject of her songs, Sabrina Carpenter, was apparently biding her time all along.
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