Swift has now officially climbed to the top — the top of the Billboard Hot 100, that is. With her new single “Look What You Made Me Do,” Swift has hit No. 1 on the chart, knocking Luis Fonsi and Daddy Yankee’s “Despacito” down from its 16-week reign.
“Taylor Swift Tix,” her newly unveiled promo with Ticketmaster, requires you to register on TaylorSwift.com to put you on a wait list for tickets. You can then pre-order the album, share her pitch on social media.
You can buy the album at different retailers and get a boost each time, with a limit of 13 items to boost your chances (or spend the same amount on StubHub—not that we’re endorsing such a gambit). And if you buy a CD or a T-shirt—or multiple albums and merch—from her site, each buy ups you in the queue for tickets. But it doesn’t actually guarantee that you’ll get them.
In essence, Swift’s strategy leaves open the option for a bundle at some point closer to release date without cannibalizing her Target exclusive or iTunes now.
This entire strategy for selling tickets, and boosting album sales, is fascinating to me. The gamification of music. It’s kinda brilliant.
Taylor Swift testified in a Denver court Thursday, saying that she was “completely sure” former radio host David Mueller sexually assaulted her during a 2013 press photo. Swift appeared on the stand for roughly an hour, CNN reports, after her mother Andrea Swift also testified about the alleged incident.
“It was a definite grab … A very long grab. He grabbed my ass underneath my skirt,” Swift said on the stand. She called the 2013 incident “horrifying and shocking.”
Glamour has more:
McFarland suggested Swift could’ve taken a break from her concert meet-and-greet if she was so shaken up by Mueller’s alleged assault. (Swift previously said she was distressed by the incident but carried on with her schedule because she didn’t want to upset her fans.)
Swift’s reply: “Your client could have taken a normal photo with me.”
How much Swift herself would receive from that $329,000 depends on her deal with her label Big Machine.
Meanwhile, the publishing royalties generated from the streams would total a little more than $59,000, up from about $9,000 in the prior week. That revenue would be divided among Swift and her co-writers and their publishers depending on their pro-rata shares of the plays on the songs each writer was affiliated with.
Human civilizations have been entertaining themselves in disgusting ways all through human history — I mean, whether it’s lighting Christians on fire, or whatever. We have to consider that maybe there are ways in which we entertain ourselves now that are equally as disturbing. I think that that’s important — to not assume that everything about the way we live is the direct product of progress.
The fact of the matter is, I don’t want that to happen to Taylor Swift. That is the worst thing I can think of; that is so horrible. But again, this plays into progress, where like, the internet was supposed to be this new democracy, a utopia of information where everyone had a voice and we were all interconnected, and we would experience true democracy — and it turned into pornography, followed only by outrage. The tools represent some kind of technological advancement, but if we can’t act like more than angry ecstasy freaks with the most advanced technology in the world, then how much have we really progressed?
And if you don’t think that this virtual reality thing isn’t going to turn into sex with celebrities, then you’re kidding yourself. That face recognition stuff? I mean, there are people working on it right now. It’s absurd. Someone sitting with this headset on, you know? Oh God, it’s just, how many different ways do human beings need to masturbate?
So on the album there are more than a few songs where I’m saying ‘Is this progress? Like, is this really what progress looks like?’
I can’t believe that with everything going on in the world right now the internet is parsing words about if Taylor Swift knew, or didn’t know, about specific words in a Kanye West song. But, that’s what the internet is doing. It’s newsworthy enough that I feel it’s worth covering – even if I don’t feel great doing it. Jemima Skelley, writing for Buzzfeed, details what’s happened now that Kim Kardashian has uploaded to Snapchat a phone call Kanye had with Taylor Swift discussing his song “Famous,” a video that does not ever mention the specific portion Taylor Swift apparently had a problem with in the song, but has still tossed the internet into pure chaos:
Though Taylor never denied that she had a conversation with Kanye, it does seem weird that she would publicly call the song misogynistic when she told Kanye that it was a compliment. It does prove, however, that Taylor never actually heard the lyric where Kanye calls her “that bitch”. On the other hand, Kim should have released this right at the beginning of all this drama, instead of holding it to promote her show. Kanye also shouldn’t have recorded Taylor without her permission.
The song bugs me, the video bugs me, and the internet reaction bugs me. Nothing about this feels right.
In a recent interview with GQ, Kim Kardashian again insists that Taylor Swift gave Kanye West permission for “Famous” and its now infamous lyrical content. A representative for Taylor has responded, again, denying this to be the case:
Taylor does not hold anything against Kim Kardashian as she recognizes the pressure Kim must be under and that she is only repeating what she has been told by Kanye West. However, that does not change the fact that much of what Kim is saying is incorrect. Kanye West and Taylor only spoke once on the phone while she was on vacation with her family in January of 2016 and they have never spoken since. Taylor has never denied that conversation took place. It was on that phone call that Kanye West also asked her to release the song on her Twitter account, which she declined to do. Kanye West never told Taylor he was going to use the term ‘that bitch’ in referencing her. A song cannot be approved if it was never heard. Kanye West never played the song for Taylor Swift. Taylor heard it for the first time when everyone else did and was humiliated. Kim Kardashian’s claim that Taylor and her team were aware of being recorded is not true, and Taylor cannot understand why Kanye West, and now Kim Kardashian, will not just leave her alone.
For their second act, Swift queued up Jimmy Eat World’s hit “The Middle,” (No. 5 on the Hot 100 and No. 1 Alternative Songs in 2002) a track on her “Getting Ready to Go Out” playlist that, she says, she “used to listen to in middle school.” The tune’s bump was even larger than “Jumpman”: between the week before the ad’s April 18 debut and the week after, “The Middle” soared 298 percent in sales and 49 percent in U.S. streams (from 3,000 downloads sold to 12,000; from 614,000 clicks to 916,000) and led to a surprise appearance on Billboard’s Hot Rock Songs chart at No. 16.