Taylor Swift Testifies

Taylor Swift

Rolling Stone:

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.”

Taylor Swift’s Return to Spotify Was Very Profitable

Taylor Swift

Billboard reports that Taylor Swift’s return to Spotify has been quite lucrative:

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.

Father John Misty Explains His Taylor Swift Lyric

Father John Misty

Josh Tillman, aka Father John Misty, explained the Taylor Swift lyric from his new song “Total Entertainment Forever” in an interview with Exclaim:

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?’

Taylor Swift and Kanye West Again Dominate The News


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.

Taylor Swift’s Representatives Again Deny She Gave Permission for “Famous”

Taylor Swift

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.

Taylor Swift’s Impact on Jimmy Eat World

Taylor Swift

Billboard looked at what kind of bump Jimmy Eat World got from the Taylor Swift Apple Music ad.

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.

Review: Taylor Swift – 1989

Taylor Swift - 1989

Over the past five or so years, few artists have displayed progression and growth more interesting to watch than Taylor Swift’s. In 2008, she was a global superstar with a multiplatinum album and a few world-conquering singles. In 2009, she was the Grammy darling. In 2010, she did the unthinkable for a pop artist of her stature and wrote an entire album without a single co-write. In 2012, she released her most ambitious work to date with a record that hopped half-a-dozen genres and showed immense growth in songwriting craft. And this past summer, she announced arguably the biggest move of her career so far by bidding farewell to country and fully embracing pop music.

In some ways, Taylor’s move to pop wasn’t terribly surprising. The biggest singles from 2012’s Red, “We Are Never Getting Back Together” and “I Knew You Were Trouble,” were both deliriously catchy pop gems, while 2010’s Speak Now was arguably just a pop album dressed up in organic full-band country arrangements. But for an artist who got her start in Nashville and who always made storytelling the core of her songs, the news that Swift was going to go full pop on her fifth album—titled 1989—truly was shocking.

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