The song 'Fortnight' by Taylor Swift and Post Malone tells a story about strong feelings, complicated relationships, and secret wishes. It talks about love, betrayal, and wanting someone who doesn't feel the same. The word 'fortnight' shows short-lived happiness and guilty pleasures, leading to sadness. It shows how messy relationships can be and the results of hiding emotions. “I was supposed to be sent away / But they forgot to come and get me,” she kickstarts the song in the first verse with lines suggesting an admission to a hospital for people with mental illnesses. She goes in the verse admitting her lover is the reason why she is like this. In the chorus, she sings about their time in love and reflects on how he has now settled with someone else. “I took the miracle move-on drug, the effects were temporary / And I love you, it’s ruining my life,” on the second verse she details her struggles to forget about him and the negative effects of her failure. “Thought of callin’ ya, but you won’t pick up / ‘Nother fortnight lost in America,” Post Malone sings in the outro.
Photographs of fancy tricks to get your kicks at sixty-six
He thinks of all the lips that he licks
And all the girls that he's going to fix
She gave a little flirt, gave herself a little cuddle
But there's no place here for the mini-skirt waddle
Capital punishment, she's last year's model
They call her Natasha when she looks like Elsie
I don't want to go to Chelsea
Oh, no, it does not move me
Even though I've seen the movie
I don't want to check your pulse
I don't want nobody else
I don't want to go to Chelsea
Everybody's got new orders
Be a nice girl and kiss the warders
Now the teacher is away
All the kids begin to play
Men come screaming, dressed in white coats
Shake you very gently by the throat
One's named Gus, one's named Alfie
I don't want to go to Chelsea
Oh, no, it does not move me
Even though I've seen the movie
I don't want to check your pulse
I don't want nobody else
I don't want to go to Chelsea
Photographs of fancy tricks to get your kicks at sixty-six
He thinks of all the lips that he licks
And all the girls that he's going to fix
She gave a little flirt, gave herself a little cuddle
But there's no place here for the mini-skirt waddle
Capital punishment, she's last year's model
They call her Natasha when she looks like Elsie
I don't want to go to Chelsea
Oh, no, it does not move me
Even though I've seen the movie
I don't want to check your pulse
I don't want nobody else
I don't want to go to Chelsea
He thinks of all the lips that he licks
And all the girls that he's going to fix
She gave a little flirt, gave herself a little cuddle
But there's no place here for the mini-skirt waddle
Capital punishment, she's last year's model
They call her Natasha when she looks like Elsie
I don't want to go to Chelsea
Oh, no, it does not move me
Even though I've seen the movie
I don't want to check your pulse
I don't want nobody else
I don't want to go to Chelsea
Everybody's got new orders
Be a nice girl and kiss the warders
Now the teacher is away
All the kids begin to play
Men come screaming, dressed in white coats
Shake you very gently by the throat
One's named Gus, one's named Alfie
I don't want to go to Chelsea
Oh, no, it does not move me
Even though I've seen the movie
I don't want to check your pulse
I don't want nobody else
I don't want to go to Chelsea
Photographs of fancy tricks to get your kicks at sixty-six
He thinks of all the lips that he licks
And all the girls that he's going to fix
She gave a little flirt, gave herself a little cuddle
But there's no place here for the mini-skirt waddle
Capital punishment, she's last year's model
They call her Natasha when she looks like Elsie
I don't want to go to Chelsea
Oh, no, it does not move me
Even though I've seen the movie
I don't want to check your pulse
I don't want nobody else
I don't want to go to Chelsea
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Fortnight
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I've always assumed this song was about the Chelsea Asylum, which was referred to simply as 'Chelsea'... The lyrics seem to make sense: warders, men in white coats, i don't want to go to Chelsea... also the reference to children and teachers - the military asylum housed war orphans...
I suppose this song refers to the Andy Warhol movie, "Chelsea Girls." The photographs, Warhol's polaroids, I've seen the movie, the models, the drugs, all the girls he's gonna "fix" meaning heroin. He doesn't want to be part of that type of scene event though he's "seen the movie." For all I know he visited with Warhol or else he was more using "Chelsea" as a metaphor of a drugged up, pop fashion scene.
Yes. Dead on. Queer dissident pseudo bohemian urban decadence. Drugged up nihilistic hedonism. First of the last gasps of a perishing society. Speed freaks and cross-dressers - how far we've come. Our soldiers laid down their lives in 45' so that Andy W. could be campy and sell soup cans. To hell with this world....
@MalagaSlim I think you are correct - get your kicks at sixty six - 1966 is when that film was released, good call!
I think a lot of people here have made the assumption that Elvis is referring to the Chelsea district of New York rather than the one in London. Of course, Elvis must have been aware of them both, so we can assume that he wrote the lyrics in such a multi-layered way that as many targets as possible could be assassinated in relatively few words.
The pun 'capital' in capital punishment suggests the song is more about London as a capital city, as well as affluence as ThunderCow pointed out; Chelsea notably being a well-to-do area of West London.
Whilst all the theories above (knowing EC's knack for lyrical intricacy) probably hit the nail on the head, it should also noted that the punk scene was centered around Chelsea (Malcolm McClaren and Vivienne Westwood's SEX boutique was situated on the King's Road) so that aspect shouldn't be ignored. Could Elvis be distancing himself from the punk bracket he found himself forced into with this tirade?
I think that Elvis was involved with Bebe Buell (the model) at this time so was probably involved heavilyin the life she lived which would have been quite alien to him at that time. He probably considered it a mad lifestyle. Chelsea is associated with high end fashion so this ties in with the modelling ( the album this is from is called 'this years model') but chelsea has also historically been linked with asylums - I believe bedlam was situated there in 18th & 19th century. It seems to me that he is trying to link madness and modelling/fashion ( see Bruno- the movie!!)
Costello's clearly a genius and one of the most gifted lyricists of all of pop and rock. The first three records blazed a trail in three intense years '77, '78 and 79 that in my opinion has never been equalled by any other artist in terms of intensity.
To me 'Chelsea is two stories in one. One is about the decadent lifestyle of the typical London, Chelsea rich upper class population, as lived by the likes of Max Mosley, witnessed thirty years later. Older men with younger girls, turning "fancy tricks." Girls who do not matter as individuals "you call her Natasha when she looks like Elsie" and this clearly is a life that repels the storyteller, as it's emotionally dead and degrading. In parallel there's the story about ending up at the Chelsea asylum and it's similarily repelling. The comparison between the rich, emotionally dead Chelsea life style and asylum life metaphorically connects the two worlds.
I agree with all you say here. Well said... but <br /> <br /> Why are there so few commentaries on the songs of one of the most gifted lyricists in rock music?
I can't believe nobody else noticed that the line "They call her Natasha but she looks like Elsie" is a reference to the number "Cabaret" from the musical of the same name, sung by the character Sally Bowles. Here are the pertinent lines:
"I used to have this girlfriend known as Elsie With whom I shared four sordid rooms in Chelsea
She wasn't what you'd call a blushing flower As a matter of fact she rented by the hour
The day she died the neighbors came to snicker 'Well, that's what comes from too much pills and liquor'
But when I saw her laid out like a Queen She was the happiest corpse, I'd ever seen"
Musical clip:
youtu.be/nx3F3YfsWHA
@Spunth Very hip reference! and probably at least somewhat relevant, what with Elvis\' incredibly wide consumption of culture both high and low. Given his age it would be quite a surprise if he wasn\'t familiar with the movie and soundtrack.
@Spunth I bought the LP when it came out and I loved Cabaret yet never made the connection! Thank you!
This song is pretty clearly Elvis' slap in the face to the art/fashion/modeling scene:
Fancy tricks = models, last year's model = last season's "it girl", chelsea hotel reference = slap at the famous and fabulous exemplified by Warhol's gang, etc.
The line that gets misunderstood, I think, is "they call her Natasha when she looks like Elsie." Elsie is a typical rural, girl-next-door, wholesome beauty's name (think the publican's daughter) -- the American equivalent might be Becky Sue (or Mary Ann from Gilligan's Island). So the rural natural beauty can't cut it in the fashion world, which has to make her into an "exotic" manufactured product -- "Natasha" -- to make its money.
oh, and re: questions about whether or not the song refers to the chelsea hotel directly, of course it does..."even though I've seen the movie" refers to Warhol's film "Chelsea Girls" set there.
pps... for an equally good slap at "scenes and scenesters" everywhere, try "First We Take Manhattan" by Leonard Cohen!
this song has such a great beat.
@brain.damage <br /> Yes it does. Jamaican Rock-Steady on steroids !
Yeah, It's definitely my favourite Elvis Costello song. I can only really understand small bits of the lyrics, but it's a brilliant song all the same. The drumming's amazing, particularly at the start.
@badrobot Bruce Thomas! He actually wrote a great memoir about his experiences on the road. The Big Wheel.
In part I think there's an element of the women (fashion models, or prostitutes, or?) being quickly discarded as 'yesterday's'. The lyrics "she's last year's model / They call her Natasha when she looks like Elsie" I think refer to Elsie the cow, the symbol for Borden milk, which is or was the biggest milk brand in the US--in other words, Natasha is so last-year, she looks like a cow (too fat).
Could it be that the men in white coats are at an institution dealing with eating disorders (reportedly common in fashion models) on an in-patient basis? Be anexoric or be discarded like Natasha! But don't let anyone SEE your disorder (finger down your throat privately, please).
Could the he, at sixty-six, be a photographer (like EC on the cover) or a fashion designer? Is EC saying such men use models like prostitutes?
I agree about the models/Chelsea girls connection. I've always thought that the song was about the manufactured "superstars" of the art scene, the self and other deception, and the pretentiousness of the "scene". To me, "call her Natasha when she looks like Elsie" always meant taking an ordinary girl (Elsie is a pretty common old-fashioned rural English name) and trying to "reinvent her" as an exotic model (Natasha). TO me, this song has always been a warning about getting involved in and an indictment of the "art scene."
I agree with the Elsie the Cow of Borden Milk reference. Could Natasha be Nastassja Kinski whose career as a model/actress was well underway when this song was written in 1978?