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The music video was created and shot by Taylor herself, who played the role of the male lead, exaggerating the gender inequalities that are so common in life, such as disrespect for women, male superiority and objectification of women.

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Taylor Swift - Soon You’ll Get Better (Official Audio) ft. The Chicks

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Taylor Swift - Soon You’ll Get Better (Official Audio) ft. The Chicks

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Taylor's mother was diagnosed with a brain tumour and breast cancer, and the bad news of several chemotherapy treatments and a cancer diagnosis tested Taylor's and Taylor's family's weak defences time and again.

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Taylor Swift - Soon You’ll Get Better (Official Audio) ft. The Chicks

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Taylor is a star with a great sense of social responsibility. She was a famous musician and her music had a great impact on the audience, which became a microphone for her at these social events. She cares deeply about cancer patients and in 2012 she wrote a charity song Ronan after reading a story about a 3-year-old boy with cancer, with all proceeds going to cancer charities. She is an advocate for gender and racial equality and was outraged when the first female candidate in Tennessee in the 2018 election was a racist, and for the first time she went public with her political views, opposing any form of racial or gender-based discrimination against individuals at all times and advocating for women's rights and LGBTQ+ community rights. She has made several references to this theme on her album Lover, and at the end of the music video for her song You Need to Calm Down she calls for the passage of the Equality act. Recently she has also voiced criticism of the US Supreme Court's decision to overturn Roe v. Wade (1973) and end federal abortion rights.

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Taylor Swift condemns the end of US abortion rights: ‘I’m absolutely terrified’

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Taylor Swift condemns the end of US abortion rights: ‘I’m absolutely terrified’

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Taylor Swift condemns the end of US abortion rights: ‘I’m absolutely terrified’

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The singer commented on the US Supreme Court’s decision to end consititutional protections for abortion

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Colorado cancer patinet gets her wish to meet Taylor Swift

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Colorado cancer patinet gets her wish to meet Taylor Swift

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Colorado cancer patinet gets her wish to meet Taylor Swift

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Taylor Swift “Lover” & “You Need To Calm Down” 6/13/19 Instagram Live

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[HD] Taylor Swift - Blank Space (Surprise Performance at Fan’s Wedding)

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Ronan is a charity single about a three-year-old boy who died with cancer. She is not just a friendly star, but a celebrity who deserves respect. This song captures the beautiful and sad memories, which means a lot to this family.  And all proceeds of the single go towards cancer charities, she has used her fame and influence to help those people who really need it.

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Ronan's Story - Maya Thompson on Katie Couric talking about Ronan and Taylor Swift

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1989 Secret Sessions, Behind The Scenes!

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She held up secrect sessions by inviting her fans to her house, they had parties and pre-perform sections with her new songs. She is so close and caring with her fans as if she were a true friend.

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Adoring the celebrity as a ‘private’ person (2018)

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Adoring the celebrity as a ‘private’ person (2018)

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Adoring the celebrity as a ‘private’ person

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When Admiration Turns to Obsession: A Case Study on Taylor Swift Fan Theories (2021)

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When Admiration Turns to Obsession: A Case Study on Taylor Swift Fan Theories (2021)

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She must be one of the best at running a fan base, contacting with fans has taken up a large part of her acting career. Even though she has won countless awards and has owned immeasurable wealth, she has always treated her fans as friends. At a time when everyone is emphasising the distance between fans and celebrities, she has become the one to bridge the gap.

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Other Celebrities Vs Taylor Swift When Fans Meet Them | Shorts

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And now if people say that Taylor is rude to their fans, I would simply punch them in their face..Credits to @Taylorcosmos for the taylor swift video, editin...

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'Being yourself': The persuit of authentic celebrity (2001)

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'Being yourself': The persuit of authentic celebrity (2001)

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This article points out that a lot of exposure can make 'being ordinary' a difficult thing to do. There are too many people involved in her relationship, each of whom can judge her partner, comment on how they both behaved during the relationship and question the reasons for their break-up afterwards.

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TS sued Mueller, who groped her ass at a fan party in 2013, and offered him a dollar for damages. She doesn't care how much it is, that dollar is a symbol that we can always stand up for our rights when we feel being violated. As a victim of sexual assault, she deserves to be sympathised with, but instead of just crying and hidding, she wisely turned the misfortune that happened to her into a weapon, taking shots at the slut-shaming and power system.

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Whether you're a fan of her tunes or not, pop superstar Taylor Swift, 29, who began her career as a country singer in the mid-2000s before crossing over into the world of pop, recently released a new documentary, Miss Americana, which gives viewers a real and raw peek behind the scenes that make up her life.

The doc spends a good deal of its focus on Swift's public legal battle against Denver radio DJ David "Jackson" Mueller, who groped her in 2013-a case which has, quite rightfully, come to be seen as an act of solidarity with other women who have been sexually harassed or assaulted, both in and out of the music industry.

Taylor Swift decided to sue Mueller for $1

Like many women who are daring enough to choose to hold men who assault them accountable, Swift's sexual assault case consumed years of her life-four years to be precise.

It all began in 2013 when Mueller lifted her skirt and grabbed her bare buttocks while a photo was being taken at a fan meet-and-greet before a show.

Like many women not wanting to cause undue fuss, Swift reported the incident to her mother and others on her team, but never thought of pursuing any legal action against Mueller. Her mother asked their radio handler Frank Bell to reach out to Mueller's employers precisely because they wanted to handle the matter quietly, without publicity.

So Bell contacted the station for an investigation of Mueller's conduct. In the process, Mueller was fired for his conduct.

What happened next was that Mueller decided to blame Swift, her mother, and Bell for his ruined career, seeking up to $3 million in damages.

It was at this point that Swift decided she wasn't going to be blamed for Mueller's bad choices. So she countersued, for all of $1 (a wholly symbolic gesture), detailing how he had groped her.

"He stayed attached to my bare ass-cheek as I lurched away from him," Swift testified in a grueling hour-long session on the witness stand. "It was a definite grab. A very long grab," she added.

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One woman's stand against rape culture and victim blaming

During the closing arguments of the case, Mueller's lawyer questioned whether the fact that Swift was smiling in the photo she appeared in with Mueller was a rightful indication of someone who was upset. Understandably, Swift lost her cool and cried.

In her new documentary, Swift recalled the types of twisted responses she had to deal with throughout the court case, like "Why didn't you scream? Why didn't you react quicker? Why didn't you stand further away from him?"

"I was so angry. I was angry that I had to be there, I was angry that this happens to women, I was angry that all the details had been twisted," she said.

You don't feel any sense of victory when you win, because the process is so dehumanizing. This is with seven witnesses and a photo. What happens when you get raped and it's your word against his?
Taylor Swift in Miss Americana

Swift's lawyer Douglas Baldridge asked jurors to "return a verdict for a single dollar, a single symbolic dollar, the value of which is immeasurable to all women in this situation."

"She's just trying to tell people out there that you can say no when someone puts their hand on you," he said. "Grabbing a woman's rear end is an assault, and it's always wrong. Any woman-rich, poor, famous, or not-is entitled to have that not happen."

Positive results, a test of patience

In 2017, two years after she countersued Mueller, a judge threw out Mueller's case against Swift, determining that she could not be held liable for his ruined career.

Days later, a jury also sided with Swift's team, determine that Swift's mother and radio handler had been within their rights to contact Mueller's bosses. They also determined that Mueller did indeed assault Swift by lifting her skirt and grabbing her butt, in spite of Mueller's continual denial that this ever occurred.

Lawsuit: $1. The principle of the matter? Priceless

Swift has said she wants her long-winded countersuit to be an "example to other women who may resist publicly reliving similar outrageous and humiliating acts."

My hope is to help those whose voices should also be heard.
Taylor Swift

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She acknowledged her ability to "shoulder the enormous cost" of attorneys to defend her in court. It's why she wanted to use her superstar status to speak for the countless survivors of sexual assault who simply can't afford to hire a proper defense, let alone withstand the trauma of testifying in court and being blamed for their assaults.

Taylor has since donated significant funds to numerous organizations working to end sexual assault.

A victory for silent victims

At the end of Miss Americana, Swift is seen one year after the ruling, speaking to a sold-out stadium on her Reputation album tour. "I think about all the people who weren't believed, or the people who are afraid to speak up because they think they won't be believed," she said.

Indeed, Taylor's experience was a learning moment to her. We can support victims and empathize with them. But until you experience the terrifying trauma of having to come forward at the risk of being doubted and questioned, you can't understand the extent of the emotional toll it can take on you.

I just wanted to say that I'm sorry to anyone who ever wasn't believed. I don't know what turn my life would have taken if people didn't believe me.
Taylor Swift

Taylor's symbolic dollar is a powerful statement of support for all victims of sexual assault and abuse. It was never about the money, but about the principle. And that's a lesson we can all apply to our lives.
More inspiring celebrities:

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Taylor Swift Sued This Man For $1...Here's The Powerful Story Behind Her Decision

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Back in 2013, Taylor Swift had her own unfortunate experience with sexual assault as David Mueller, a DJ, grabbed her backside. After the incident was reported, he was fired but then decided to sue her for $3 million. What she did next was nothing short of powerful.

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Taylor Swift's relationship with Joe Alwyn

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Taylor Swift's relationship with Joe Alwyn

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She and Joe have been in relationship for 6 years, which is the longest and most private one. After several years of continuous revelations about her private life, as well as a lot of internet trolling, Taylor protected her relationship this time, which she called 'be normal'. She is no longer that adolescent girl and is taking her relationship more seriously than ever before.

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Joe Alwyn says he’s private about his relationship with Taylor Swift to protect it from society’s ‘increasingly intrusive’ culture

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The 31-year-old “Conversations With Friends” actor has been romantically linked to the Grammy winner since 2016.

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Amidst the gossip about her romance, more and more people started talking about her sexuality. Especially when her album Lover was released, which includes some contents of supporting the LGBTQ community gave more confidence to that hypothesis and even some Swifties started to think that Taylor was gay or bisexual. Despite her claim to be straight and in a stable relationship with Joe, the discussion never subsided and even grew more heated.

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Taylor Swift’s ‘Midnights’ album release prompts more Tay-spiracies on social media

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A group of fans online are accusing Swift of “queerbaiting” with her new song, “Lavender Haze.” Some experts say the accusations are just part of the larger fan fervor.

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This video list all of Taylor's ex boyfriends, her romantic relationship is always a spotlight to the public since she has became famous. Many of her songs are associated with these ex's, which gives the tabloids the opportunity to talk about her, and when her private life takes up most of the content, people have doubts about her professionalism in music.

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Taylor Swift's Ex Boyfriends & Where Are They Now?!

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This drama lasted for a few years before their relationship was finally reunited with their frequent friendly interactions on their ins and TS inviting KP to get involved in her music video 'You Need to Calm Down'. In this relationship, Taylor no longer be the victim, she seems to be in control of the whole thing and not so innocent. From the initial unsuccessful pleas for peace to fighting back and finally taking up the olive branch Taylor sent to her, what we have seen on social media is that Katy has been in a passive position.

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Not only with Kanye, Taylor had some bad relationship with other celebrities like Katy Perry. The disconnect between them was over business, with Taylor believing that Katy was trying to steal her backing dancers from her. Neither of them took a public stance on the matter until Taylor released the Bad Blood, in which 'Did you have to ruin what was shiny?' was an open accusation against Katy. Katy later responded with her own ‘Swish Swish' and said that Taylor had started the fight and that she had been trying to communicate with Taylor but had not received a response.

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The "girl fight" is one of pop culture's oldest-and most reductive-practices. You can trace this phenomenon back to Bette Davis and Joan Crawford's decades-long industry-created "feud," and it has continued steadily since then, especially in the realm of pop music. Madonna vs. Janet Jackson, Britney Spears vs. Christina Aguilera, Remy Ma vs. Nicki Minaj...the list goes on and on. Society essentially trains women (and audiences) to think they have a shelf life in entertainment, causing them to view other female performers as competition-and thus enemies. It's a practice rooted in sexism, and it really needs to stop.

Unfortunately, the appetite for pitting women against each other is still pretty strong, though people are starting to show signs of fatigue. Exhibit A: Taylor Swift and Katy Perry. The two pop stars duked it out in the tabloids for years, and fans ate it up for a while-until they didn't. Now it appears their feud has been squashed. But let's take a look at how we got from there to here.

July 2009: Perry and Swift pay each other compliments on Twitter.

Not to quote this feud's literal theme song, but Swift and Perry's relationship actually began with, well, mad love. Swift was a big fan of Perry's song "Waking Up in Vegas," and she took to Twitter in 2009 to gush about it. "Watching the 'Waking Up in Vegas' video. I love Katy Perry. I think I'm going to hang her poster on my wall now." Perry thanked Swift for the kind words, calling her "sweet as pie" and even suggesting they write a song together about a "subject [they] know best." What did she mean by that?

October 2009: Swift attends Perry's birthday party; their lovefest continues.

Two thousand and nine was a good year for these two. The drama was low, and the social media lovin' was high. "@Katyperry knows how to throw a birthday party! I would even go as far as to say it was party-licious," Swift tweeted. "Best EVER. Happy bday, pretty girl!!" What a simpler time!

April 2010: Perry and Swift perform "Hot N' Cold" together.

Perry joined Swift on her Fearless tour for this cute duet. You could say this was the calm before the storm.

2012-2013: The alleged "backing dancer" drama goes down.

And now we're at the storm. Three of Perry's California Dreams tour dancers were offered spots on Swift's Red tour. However, these dancers left before Swift's tour ended to join Perry on her Prismatic tour. This incident is the root cause of Swift and Perry's feud.

September 2014: Swift tells Rolling Stone "Bad Blood" is about another female pop star.

And what did this singer do to piss Swift off? "It had to do with business," Swift told RS. "She basically tried to sabotage an entire arena tour. She tried to hire a bunch of people out from under me." We didn't know it then, but Swift was describing the backup dancer debacle that happened in 2013-that's what most people think, at least. To this day Swift hasn't confirmed anything.

But the message Perry tweeted shortly after Swift's interview went live kind of did. "Watch out for the Regina George in sheep's clothing..." she wrote, which many people took to be about Swift.

May 2015: Swift says she's never going to talk about Perry in an interview.

"I'm not giving them anything to write about," Swift told the Telegraph. "I'm not walking up the street with boys, I'm not stumbling out of clubs drunk. But I'm never going to talk about her in my interview. It's not going to happen." (Swift never said the "her" she was referring to was Perry, but people read between the lines.)

July 2015: One of Swift's backup dancers dresses up like a shark during a "Bad Blood" performance.

Fans immediately took this as a knock at Perry, whose shark-clad dancer from the 2015 Super Bowl (i.e., Left Shark) became an internet sensation.

July 2015: Nicki Minaj gets involved.

The rapper found herself smack-dab in the middle of Perry and Swift's feud when she tweeted about her video "Anaconda" not receiving a Video of the Year nomination for the 2015 MTV VMAs. "If your video celebrates women with very slim bodies, you will be nominated for vid of the year," Minaj wrote, which Swift read as a jab directed at her. ("Bad Blood," which featured Swift and several of her supermodel BFFs, was nominated.)

"I've done nothing but love & support you. It's unlike you to pit women against each other. Maybe one of the men took your slot," Swift tweeted at Minaj. Queen Nicki said her tweet wasn't about Swift-or any artist in particular-but that didn't stop Perry from making this comment on Twitter:

"Finding it ironic to parade the pit women against other women argument about as one unmeasurably capitalises on the take down of a woman," Perry wrote.

October 2015: Swift doubles down on not revealing the specific inspiration behind "Bad Blood."

"I never said anything that would point a finger in the specific direction of one specific person, and I can sleep at night knowing that," Swift told GQ. "I knew the song would be assigned to a person, and the easiest mark was someone who I didn't want to be labeled with this song. It was not a song about heartbreak. It was about the loss of friendship." At this point, however, we all knew exactly who this song was about.

February 2016: Perry puts Swift on the guest list for her Grammy after-party

Swift did not attend, but many took this as a sign a truce was in sight. They were wrong.

May 2016: Perry's Twitter is hacked.

Before we knew this, though, people thought Perry actually tweeted, "miss u baby," to Swift. Unfortunately, it was just a hack. The drama still raged on.

June 2016: Perry announces that she's launching a perfume called Mad Love...

...which is a lyric in "Bad Blood." Subtle.

July 2016: Calvin Harris says in a Twitter rant that Swift is trying to "bury" Perry.

Harris's Twitter tirade stemmed from "What You Came For" credit drama, but he managed to throw in a comment about Perry in between his other gripes. "I know you're off tour and you need someone new to try and bury like Katy ETC but I'm not that guy, sorry. I won't allow it," he wrote. Perry responded with a Hillary Clinton GIF and a retweet from 2015: "Time, the ultimate truth teller."

What Harris meant by "bury" is still a mystery, but his tweet seemed to confirm that Swift did have some kind of grudge against Perry-as if that needed confirming.

September 2016: Perry tweets she'd collaborate with Swift if she apologised.

We'd soon learn what Perry meant by this.

October 2016: Perry rocks out to "Famous" at Kanye West's concert.

She posted a clip of herself dancing at the exact moment West raps about Swift. If you forget, this is the song that caused all the drama between Swift, West, and Kim Kardashian. West claimed Swift approved of him calling her a "bitch" in the song, but she says she never green-lighted the verse. This feud came to a head when Kardashian released a private conversation between West and Swift, which proved Swift was cool with the song...but not necessarily the "bitch" lyric. The fact Perry shared a video of herself jamming out to this song is shady, to say the least.

May 2017: Perry says there isn't a response to "Bad Blood" on her new album Witness, but then she releases "Swish Swish."

"There is no one thing that's calling out any one person," Perry told Entertainment Weekly about her album, which everyone believed- until they heard "Swish Swish." The track, which clearly is a response to Perry's haters, contains lyrics like, "You're about as cute as an old coupon expired" and "Your game is tired; you should retire."

May 2017: Perry hard-core opens up about the feud on Carpool Karaoke.

Perry confirmed everything during her ride with James Corden. She said that yes, there's a situation between her and Swift, and yes, it's about backup dancers. Perry also said she tried to talk to Swift about the incident, but Swift ignored her and instead chose to "write a song." Could that song perhaps be "Bad Blood"? Here's everything Perry told Corden:

"Honestly, [Swift] started it, and it's time for her to finish it. It's about backing dancers. It's so crazy. There [are] three backing dancers that went on tour with her tour, and they asked me before they went on tour if they could go. I was like, 'Yeah, of course. I'm not on a record cycle. Get the work. She's great. But I will be on a record cycle, probably, in about a year, so be sure to put a 30-day contingency in your contract so you can get out if you wanna join me when I say I'm going back on.' So that year came up, and I texted all of them because I'm very close with them. I said, 'Look, just FYI: I'm about to start. I want to put the word out there.' They said, 'Okay. We're gonna go talk to management about it.' They did, and they got fired. I tried to talk to [Swift] about it, and she wouldn't speak to me. I do the right thing anytime that it feels like a fumble. It was a full shutdown, and then she writes a song about me. And I'm like 'Okay, cool, cool. That's how you wanna do it? Karma.'"

June 2017: Perry implies that Swift tried to "assassinate her character."

This is when the Katy Perry Talks About Taylor Swift Nonstop Parade began. Here Perry says Swift tried to "assassinate her character" with "Bad Blood." "I mean, I'm not Buddha-things irritate me," she told NME, according to EW. "I wish that I could turn the other cheek every single time, but I'm also not a pushover, you know? Especially when someone tries to assassinate my character with little girls [her fans]. That's so messed up!"

June 2017: Swift makes her entire catalog available on Spotify the day Perry's album Witness comes out.

Coincidence or sabotage?

June 2017: Perry says she's ready to quash the beef.

"I forgive her, and I'm sorry for anything I ever did, and I hope the same from her," Perry told Arianna Huffington on the Thrive Global Podcast.

August 2017: Perry releases the "Swish Swish" video; fans make "Bad Blood" comparisons.

This is grasping at straws, but you can't deny at least some of the similarities. Both clips have star-studded casts; plus, Perry teased this video as a "catastrophe," which happens to be what Swift called herself in "Bad Blood." Each video centers on a conflict between two opposing teams. (In the case of "Swish Swish," it's a basketball game; in "Bad Blood," it was Swift's squad versus Selena Gomez's.) And the final reference: All the celebrities in the "Swish Swish" video have kitschy nicknames, just like Swift's friends in "Bad Blood." Hmmm.

August 2017: Perry says she hasn't heard anything from Swift about ending their feud.

"Listen, I'd love for the beef to end. I'd love to take it off the barbecue," Perry said on the SiriusXM show The Morning Mash Up. Does this mean the end is near? Stay tuned, my friends.

May 2018: Perry sends Swift a literal olive branch.

This might be a sign that their "feud" is over for good. "So I just got to my dressing room and found this actual olive branch," Swift posted on Instagram Stories May 8, the first night of her Reputation tour. (She was in Arizona.) "This means so much to me." She captioned the video with, "Thank you, Katy" and a simple pink heart emoji.

June 2019: Swift sends Perry homemade cookies with "Peace at Last" frosting.

Perry posted the gift to her Instagram with the caption, "Feels good." Swift commented with several heart emoji. So it's official: Their feud is dead. So does this mean we're getting a collab?!

June 17, 2019: Perry appears in the video for Swift's newest single, "You Need to Calm Down."

Dressed in her Met Gala hamburger outfit, Perry and Swift (as fries) literally hug it out in the video. They subsequently posted images on Instagram with cute captions like "A happy meal" and "This meal is BEEF-free." Swift revealed in interviews that the two have been on good terms for a while now but weren't sure if they were going to discuss it publicly. But when she sent Perry the idea for the video, Perry replied, "I would love for us to be a symbol of redemption and forgiveness."

September 14, 2020: Swift sends Perry and Orlando Bloom's daughter a baby present.

"Miss 🌼🕊 adores her hand embroidered blankie from miss @taylorswift 😩😩😩 hope it's one she drags around for years till it becomes an unrecognizable shred that she keeps in her pocket as a teenager 🥺♥️," Perry wrote alongside a photo of the adorable pink embroidered baby blanket.

March 22, 2021: Katy 'teases' a collab.

On an episode of American Idol, Katy teased: "Can you imagine if Taylor and I work together, what we could do?" It's not the first time the singer has referenced a potential collaboration, so could this be the ultimate happy ending to the biggest feud in pop? Here's hoping.

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A timeline of Katy Perry and Taylor Swift's feud, from 'Bad Blood' to making up with cookies

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The "girl fight" is one of pop culture's oldest-and most reductive-practices. You can trace this phenomenon back to Bette Davis and Joan Crawford's decades-long industry-created "feud," and it has continued steadily since then, especially in the realm of pop music. Madonna vs. Janet Jackson, Britney Spears vs. Christina Aguilera, Remy Ma vs.

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Taylor turned to a liar from a victim and then she was bombarded with snake emojis from trolls. She said she could explain all these thing but she did not because no one would trust her at that time, so she chose to get away from them and lived her own life for a while (Miss Americana, 2020). Then, she released Reputation in 2017.

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Conversation between TS and KW about Famous (2016)

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Conversation between TS and KW about Famous (2016)

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Kanye's ex-wife Kim Kardashian exposed a video with the conversation that Kanye called Taylor to tell her about some lyrics in his Famous were about her and sex. This video soon went viral and gained many audience's trust, they started to call Taylor a liar.

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The Full UNEDITED Conversation Between Taylor Swift & Kanye West

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TW then used the B-word to describe TS and put a nude image of her in the mv (which was unpermitted), denying TS' success on her own merits. This move completely deteriorated their relationship.

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They made nice after the 2009 VMAs in the public events, TS even presented the Video Vanguard Award to KW at the 2015 VMAs.

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Kanye West interrupted Taylor Swift at the VMAs 2009

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Kanye West interrupted Taylor Swift at the VMAs 2009

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When Taylor giving her speech receiving a VMAs reward, and Kanye suddenly interrupting her, praising Beyoncé. This is the beginning of their scandal, and she became the victim and would always be in this industry.

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HD Kanye West Interrupts Taylor Swift at the 2009 MTV Video Music Awards

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Taylor Swift: 'I was literally about to break' (2019)

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Taylor has had a really hard time between 2015 to 2017.

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aylor Swift's Nashville apartment is an Etsy fever dream, a 365-days-a-year Christmas shop, pure teenage girl id. You enter through a vestibule clad in blue velvet and covered in gilt frames bursting with fake flowers. The ceiling is painted like the night sky. Above a koi pond in the living area, a narrow staircase spirals six feet up towards a giant, pillow-lagged birdcage that probably has the best view in the city. Later, Swift will tell me she needs metaphors "to understand anything that happens to me", and the birdcage defies you not to interpret it as a pointed comment on the contradictions of stardom.

Swift, wearing pale jeans and dip-dyed shirt, her sandy hair tied in a blue scrunchie, leads the way up the staircase to show me the view. The decor hasn't changed since she bought this place in 2009, when she was 19. "All of these high rises are new since then," she says, gesturing at the squat glass structures and cranes. Meanwhile her oven is still covered in stickers, more teenage diary than adult appliance.

Now 29, she has spent much of the past three years living quietly in London with her boyfriend, actor Joe Alwyn, making the penthouse a kind of time capsule, a monument to youthful naivety given an unlimited budget - the years when she sang about Romeo and Juliet and wore ballgowns to awards shows; before she moved to New York and honed her slick, self-mythologising pop.

It is mid-August. This is Swift's first UK interview in more than three years, and she seems nervous: neither presidential nor goofy (her usual defaults), but quick with a tongue-out " ugh" of regret or frustration as she picks at her glittery purple nails. We climb down from the birdcage to sit by the pond, and when the conversation turns to 2016, the year the wheels came off for her, Swift stiffens as if driving over a mile of speed bumps. After a series of bruising public spats (with Katy Perry, Nicki Minaj) in 2015, there was a high-profile standoff with Kanye West. The news that she was in a relationship with actor Tom Hiddleston, which leaked soon after, was widely dismissed as a diversionary tactic. Meanwhile, Swift went to court to prosecute a sexual assault claim, and faced a furious backlash when she failed to endorse a candidate in the 2016 presidential election, allowing the alt-right to adopt her as their "Aryan princess".

Her critics assumed she cared only about the bottom line. The reality, Swift says, is that she was totally broken. " Every domino fell," she says bitterly. "It became really terrifying for anyone to even know where I was. And I felt completely incapable of doing or saying anything publicly, at all. Even about my music. I always said I wouldn't talk about what was happening personally, because that was a personal time." She won't get into specifics. "I just need some things that are mine," she despairs. "Just some things."

A year later, in 2017, Swift released her album Reputation, half high-camp heel turn, drawing on hip-hop and vaudeville (the brilliantly hammy Look What You Made Me Do), half stunned appreciation that her nascent relationship with Alwyn had weathered the storm (the soft, sensual pop of songs Delicate and Dress).

Her new album, Lover, her seventh, was released yesterday. It's much lighter than Reputation: Swift likens writing it to feeling like "I could take a full deep breath again". Much of it is about Alwyn: the Galway Girl-ish track London Boy lists their favourite city haunts and her newfound appreciation of watching rugby in the pub with his uni mates; on the ruminative Afterglow, she asks him to forgive her anxious tendency to assume the worst.

While she has always written about relationships, they were either teenage fantasy or a postmortem on a high-profile breakup, with exes such as Jake Gyllenhaal and Harry Styles. But she and Alwyn have seldom been pictured together, and their relationship is the only other thing she won't talk about. "I've learned that if I do, people think it's up for discussion, and our relationship isn't up for discussion," she says, laughing after I attempt a stealthy angle. "If you and I were having a glass of wine right now, we'd be talking about it - but it's just that it goes out into the world. That's where the boundary is, and that's where my life has become manageable. I really want to keep it feeling manageable."

Instead, she has swapped personal disclosure for activism. Last August, Swift broke her political silence to endorse Democratic Tennessee candidate Phil Bredesen in the November 2018 senate race. Vote.org reported an unprecedented spike in voting registration after Swift's Instagram post, while Donald Trump responded that he liked her music "about 25% less now".

Meanwhile, her recent single You Need To Calm Down admonished homophobes and namechecked US LGBTQ rights organisation Glaad (which then saw increased donations). Swift filled her video with cameos from queer stars such as Ellen DeGeneres and Queen singer Adam Lambert, and capped it with a call to sign her petition in support of the Equality Act, which if passed would prohibit gender- and sexuality-based discrimination in the US. A video of Polish LGBTQ fans miming the track in defiance of their government's homophobic agenda went viral. But Swift was accused of "queerbaiting" and bandwagon-jumping. You can see how she might find it hard to work out what, exactly, people want from her.

t was girlhood that made Swift a multimillionaire. When country music's gatekeepers swore that housewives were the only women interested in the genre, she proved them wrong. Her self-titled debut marked the longest stay on the Billboard 200 by any album released in the decade. A potentially cloying image - corkscrew curls, lyrics thick on "daddy" and down-home values - were undercut by the fact she was evidently, endearingly, a bit of a freak, an unusual combination of intensity and artlessness. Also, she was really, really good at what she did, and not just for a teenager: her entirely self-written third album, 2010's Speak Now, is unmatched in its devastatingly withering dismissals of awful men.

'I created an expectation that everything in my life that happened, people would see'

As a teenager, Swift was obsessed with VH1's Behind The Music, the series devoted to the rise and fall of great musicians. She would forensically rewatch episodes, trying to pinpoint the moment a career went wrong. I ask her to imagine she's watching the episode about herself and do the same thing: where was her misstep? "Oh my God," she says, drawing a deep breath and letting her lips vibrate as she exhales. "I mean, that's so depressing!" She thinks back and tries to deflect. "What I remember is that [the show] was always like, 'Then we started fighting in the tour bus and then the drummer quitand the guitarist was like, "You're not paying me enough."'''

But that's not what she used to say. In interviews into her early 20s, Swift often observed that an artist fails when they lose their self-awareness, as if repeating the fact would work like an insurance against succumbing to the same fate. But did she make that mistake herself? She squeezes her nose and blows to clear a ringing in her ears before answering. "I definitely think that sometimes you don't realise how you're being perceived," she says. "Pop music can feel like it's The Hunger Games, and like we're gladiators. And you can really lose focus of the fact that that's how it feels because that's how a lot of stan [fan] Twitter and tabloids and blogs make it seem - the overanalysing of everything makes it feel really intense."

She describes the way she burned bridges in 2016 as a kind of obliviousness. "I didn't realise it was like a classic overthrow of someone in power - where you didn't realise the whispers behind your back, you didn't realise the chain reaction of events that was going to make everything fall apart at the exact, perfect time for it to fall apart."

Here's that chain reaction in full. With her 2014 album 1989 (the year she was born), Swift transcended country stardom, becoming as ubiquitous as Beyoncé. For the first time she vocally embraced feminism, something she had rejected in her teens; but, after a while, it seemed to amount to not much more than a lot of pictures of her hanging out with her "squad", a bevy of supermodels, musicians and Lena Dunham. The squad very much did not include her former friend Katy Perry, whom Swift targeted in her song Bad Blood, as part of what seemed like a painfully overblown dispute about some backing dancers. Then, when Nicki Minaj tweeted that MTV's 2015 Video Music awards had rewarded white women at the expense of women of colour, multiple-nominee Swift took it personally, responding: "Maybe one of the men took your slot." For someone prone to talking about the haters, she quickly became her own worst enemy.

Her old adversary Kanye West resurfaced in February 2016. In 2009, West had invaded Swift's stage at the MTV VMAs to protest against her victory over Beyoncé in the female video of the year category. It remains the peak of interest in Swift on Google Trends, and the conflict between them has become such a cornerstone of celebrity journalism that it's hard to remember it lay dormant for nearly seven years - until West released his song Famous. "I feel like me and Taylor might still have sex," he rapped. "Why?I made that bitch famous." The video depicted a Swift mannequin naked in bed with men including Trump.

Swift loudly condemned both; although she had discussed the track with West, she said she had never agreed to the "bitch" lyric or the video. West's wife, Kim Kardashian, released a heavily edited clip that showed Swift at least agreeing to the "sex" line on the phone with West, if not the "bitch" part. Swift pleaded the technicality, but it made no difference: when Kardashian went on Twitter to describe her as a snake, the comparison stuck and the singer found herself very publicly "cancelled" - the incident taken as "proof" of Swift's insincerity. So she went away.

Swift says she stopped trying to explain herself, even though she "definitely" could have. As she worked on Reputation, she was also writing "a think-piece a day that I knew I would never publish: the stuff I would say, and the different facets of the situation that nobody knew". If she could exonerate herself, why didn't she? She leans forward. "Here's why," she says conspiratorially. "Because when people are in a hate frenzy and they find something to mutually hate together, it bonds them. And anything you say is in an echo chamber of mockery."

She compares that year to being hit by a tidal wave. "You can either stand there and let the wave crash into you, and you can try as hard as you can to fight something that's more powerful and bigger than you," she says. "Or you can dive under the water, hold your breath, wait for it to pass and while you're down there, try to learn something. Why was I in that part of the ocean? There were clearly signs that said: Rip tide! Undertow! Don't swim! There are no lifeguards!" She's on a roll. "Why was I there? Why was I trusting people I trusted? Why was I letting people into my life the way I was letting them in? What was I doing that caused this?"

After the incident with Minaj, her critics started pointing out a narrative of "white victimhood" in Swift's career. Speaking slowly and carefully, she says she came to understand "a lot about how my privilege allowed me to not have to learn about white privilege. I didn't know about it as a kid, and that is privilege itself, you know? And that's something that I'm still trying to educate myself on every day. How can I see where people are coming from, and understand the pain that comes with the history of our world?"

She also accepts some responsibility for her overexposure, and for some of the tabloid drama. If she didn't wish a friend happy birthday on Instagram, there would be reports about severed friendships, even if they had celebrated together. "Because we didn't post about it, it didn't happen - and I realised I had done that," she says. "I created an expectation that everything in my life that happened, people would see."

But she also says she couldn't win. "I'm kinda used to being gaslit by now," she drawls wearily. "And I think it happens to women so often that, as we get older and see how the world works, we're able to see through what is gaslighting. So I'm able to look at 1989 and go - KITTIES!" She breaks off as an assistant walks in with Swift's three beloved cats, stars of her Instagram feed, back from the vet before they fly to England this week. Benjamin, Olivia and Meredith haughtily circle our feet (they are scared of the koi) as Swift resumes her train of thought, back to the release of 1989 and the subsequent fallout. "Oh my God, they were mad at me for smiling a lot and quote-unquote acting fake. And then they were mad at me that I was upset and bitter and kicking back." The rules kept changing.

wift's new album comes with printed excerpts from her diaries. On 29 August 2016, she wrote in her girlish, bubble writing: "This summer is the apocalypse." As the incident with West and Kardashian unfolded, she was preparing for her court case against radio DJ David Mueller, who was fired in 2013 after Swift reported him for putting his hand up her dress at a meet-and-greet event. He sued her for defamation; she countersued for sexual assault.

"Having dealt with a few of them, narcissists basically subscribe to a belief system that they should be able to do and say whatever the hell they want, whenever the hell they want to," Swift says now, talking at full pelt. "And if we - as anyone else in the world, but specifically women - react to that, well, we're not allowed to. We're not allowed to have a reaction to their actions."

In summer 2016 she was in legal depositions, practising her testimony. "You're supposed to be really polite to everyone," she says. But by the time she got to court in August 2017, "something snapped, I think". She laughs. Her testimony was sharp and uncompromising. She refused to allow Mueller's lawyers to blame her or her security guards; when asked if she could see the incident, Swift said no, because "my ass is in the back of my body". It was a brilliant, rude defence.

"You're supposed to behave yourself in court and say ' rear end'," she says with mock politesse. "The other lawyer was saying, 'When did he touch your backside?' And I was like, 'ASS! Call it what it is!'" She claps between each word. But despite the acclaim for her testimony and eventual victory (she asked for one symbolic dollar), she still felt belittled. It was two months prior to the beginning of the #MeToo movement. "Even this case was literally twisted so hard that people were calling it the 'butt-grab case'. They were saying I sued him because there's this narrative that I want to sue everyone. That was one of the reasons why the summer was the apocalypse."

She never wanted the assault to be made public. Have there been other instances she has dealt with privately? "Actually, no," she says soberly. "I'm really lucky that it hadn't happened to me before. But that was one of the reasons it was so traumatising. I just didn't know that could happen. It was really brazen, in front of seven people." She has since had security cameras installed at every meet-and-greet she does, deliberately pointed at her lower half. "If something happens again, we can prove it with video footage from every angle," she says.

The allegations about Harvey Weinstein came out soon after she won her case. The film producer had asked her to write a song for the romantic comedy One Chance, which earned her second Golden Globe nomination. Weinstein also got her a supporting role in the 2014 sci-fi movie The Giver, and attended the launch party for 1989. But she says they were never alone together.

"He'd call my management and be like, 'Does she have a song for this film?' And I'd be like, 'Here it is,'" she says dispassionately. "And then I'd be at the Golden Globes. I absolutely never hung out. And I would get a vibe - I would never vouch for him. I believe women who come forward, I believe victims who come forward, I believe men who come forward." Swift inhales, flustered. She says Weinstein never propositioned her. "If you listen to the stories, he picked people who were vulnerable, in his opinion. It seemed like it was a power thing. So, to me, that doesn't say anything - that I wasn't in that situation."

Meanwhile, Donald Trump was more than nine months into his presidency, and still Swift had not taken a position. But the idea that a pop star could ever have impeded his path to the White House seemed increasingly naive. In hindsight, the demand that Swift speak up looks less about politics and more about her identity (white, rich, powerful) and a moralistic need for her to redeem herself - as if nobody else had ever acted on a vindictive instinct, or blundered publicly.

But she resisted what might have been an easy return to public favour. Although Reputation contained softer love songs, it was better known for its brittle, vengeful side (see This Is Why We Can't Have Nice Things). She describes that side of the album now as a "bit of a persona", and its hip-hop-influenced production as "a complete defence mechanism". Personally, I thought she had never been more relatable, trashing the contract of pious relatability that traps young women in the public eye.

t was the assault trial, and watching the rights of LGBTQ friends be eroded, that finally politicised her, Swift says. "The things that happen to you in your life are what develop your political opinions. I was living in this Obama eight-year paradise of, you go, you cast your vote, the person you vote for wins, everyone's happy!" she says. "This whole thing, the last three, four years, it completely blindsided a lot of us, me included."

The number one thing they absolutely drill into you as a country artist, is 'Don't be like the Dixie Chicks!'

She recently said she was "dismayed" when a friend pointed out that her position on gay rights wasn't obvious (what if she had a gay son, he asked), hence this summer's course correction with the single You Need To Calm Down ("You're comin' at my friends like a missile/Why are you mad?/When you could be GLAAD?"). Didn't she feel equally dismayed that her politics weren't clear? "I did," she insists, "and I hate to admit this, but I felt that I wasn't educated enough on it. Because I hadn't actively tried to learn about politics in a way that I felt was necessary for me, making statements that go out to hundreds of millions of people."

She explains her inner conflict. "I come from country music. The number one thing they absolutely drill into you as a country artist, and you can ask any other country artist this, is 'Don't be like the Dixie Chicks!'" In 2003, the Texan country trio denounced the Iraq war, saying they were "ashamed" to share a home state with George W Bush. There was a boycott, and an event where a bulldozer crushed their CDs. "I watched country music snuff that candle out. The most amazing group we had, just because they talked about politics. And they were getting death threats. They were made such an example that basically every country artist that came after that, every label tells you, 'Just do not get involved, no matter what.'

"And then, you know, if there was a time for me to get involved..." Swift pauses. "The worst part of the timing of what happened in 2016 was I felt completely voiceless. I just felt like, oh God, who would want me? Honestly." She would otherwise have endorsed Hillary Clinton? "Of course," she says sincerely. "I just felt completely, ugh, just useless. And maybe even like a hindrance."

I suggest that, thinking selfishly, her coming out for Clinton might have made people like her. "I wasn't thinking like that," she stresses. "I was just trying to protect my mental health - not read the news very much, go cast my vote, tell people to vote. I just knew what I could handle and I knew what I couldn't. I was literally about to break. For a while." Did she seek therapy? "That stuff I just really wanna keep personal, if that's OK," she says.

She resists blaming anyone else for her political silence. Her emergence as a Democrat came after she left Big Machine, the label she signed to at 15. (They are now at loggerheads after label head Scott Borchetta sold the company, and the rights to Swift's first six albums, to Kanye West's manager, Scooter Braun.) Had Borchetta ever advised her against speaking out? She exhales. "It was just me and my life, and also doing a lot of self-reflection about how I did feel really remorseful for not saying anything. I wanted to try and help in any way that I could, the next time I got a chance. I didn't help, I didn't feel capable of it - and as soon as I can, I'm going to."

Swift was once known for throwing extravagant 4 July parties at her Rhode Island mansion. The Instagram posts from these star-studded events - at which guests wore matching stars-and-stripes bikinis and onesies - probably supported a significant chunk of the celebrity news industry GDP. But in 2017, they stopped. "The horror!" wrote Cosmopolitan, citing "reasons that remain a mystery" for their disappearance. It wasn't "squad" strife or the unavailability of matching cozzies that brought the parties to an end, but Swift's disillusionment with her country, she says.

There is a smart song about this on the new album - the track that should have been the first single, instead of the cartoonish ME!. Miss Americana And The Heartbreak Prince is a forlorn, gothic ballad in the vein of Lana Del Rey that uses high-school imagery to dismantle American nationalism: "The whole school is rolling fake dice/You play stupid games/You win stupid prizes," she sings with disdain. "Boys will be boys then/Where are the wise men?"

As we speak, Tennessee lawmakers are trying to impose a near-total ban on abortion. 'I can't believe this is happening'

As an ambitious 11-year-old, she worked out that singing the national anthem at sports games was the quickest way to get in front of a large audience. When did she start feeling conflicted about what America stands for? She gives another emphatic ugh. "It was the fact that all the dirtiest tricks in the book were used and it worked," she says. "The thing I can't get over right now is gaslighting the American public into being like" - she adopts a sanctimonious tone - "' If you hate the president, you hate America.' We're a democracy - at least, we're supposed to be - where you're allowed to disagree, dissent, debate." She doesn't use Trump's name. "I really think that he thinks this is an autocracy."

As we speak, Tennessee lawmakers are trying to impose a near-total ban on abortion. Swift has staunchly defended her "Tennessee values" in recent months. What's her position? "I mean, obviously, I'm pro-choice, and I just can't believe this is happening," she says. She looks close to tears. "I can't believe we're here. It's really shocking and awful. And I just wanna do everything I can for 2020. I wanna figure out exactly how I can help, what are the most effective ways to help. 'Cause this is just..." She sighs again. "This is not it."

t is easy to forget that the point of all this is that a teenage Taylor Swift wanted to write love songs. Nemeses and negativity are now so entrenched in her public persona that it's hard to know how she can get back to that, though she seems to want to. At the end of Daylight, the new album's dreamy final song, there's a spoken-word section: "I want to be defined by the things that I love," she says as the music fades. "Not the things that I hate, not the things I'm afraid of, the things that haunt me in the middle of the night." As well as the songs written for Alwyn, there is one for her mother, who recently experienced a cancer relapse: "You make the best of a bad deal/I just pretend it isn't real," Swift sings, backed by the Dixie Chicks.

How does writing about her personal life work if she's setting clearer boundaries? "It actually made me feel more free," she says. "I've always had this habit of never really going into detail about exactly what situation inspired what thing, but even more so now." This is only half true: in the past, Swift wasn't shy of a level of detail that invited fans to figure out specific truths about her relationships. And when I tell her that Lover feels a more emotionally guarded album, she bristles. "I know the difference between making art and living your life like a reality star," she says. "And then even if it's hard for other people to grasp, my definition is really clear."

Even so, Swift begins Lover by addressing an adversary, opening with a song called I Forgot That You Existed ("it isn't love, it isn't hate, it's just indifference"), presumably aimed at Kanye West, a track that slightly defeats its premise by existing. But it sweeps aside old dramas to confront Swift's real nemesis, herself. "I never grew up/It's getting so old," she laments on The Archer.

She has had to learn not to pre-empt disaster, nor to run from it. Her life has been defined by relationships, friendships and business relationships that started and ended very publicly (though she and Perry are friends again). At the same time, the rules around celebrity engagement have evolved beyond recognition in her 15 years of fame. Rather than trying to adapt to them, she's now asking herself: "How do you learn to maintain? How do you learn not to have these phantom disasters in your head that you play out, and how do you stop yourself from sabotage - because the panic mechanism in your brain is telling you that something must go wrong." For her, this is what growing up is. "You can't just make cut-and-dry decisions in life. A lot of things are a negotiation and a grey area and a dance of how to figure it out."

And so this time, Swift is sticking around. In December she will turn 30, marking the point after which more than half her life will have been lived in public. She'll start her new decade with a stronger self-preservationist streak, and a looser grip (as well as a cameo in Cats). "You can't micromanage life, it turns out," she says, drily.

When Swift finally answered my question about the moment she would choose in the VH1 Behind The Music episode about herself, the one where her career turned, she said she hoped it wouldn't focus on her "apocalypse" summer of 2016. "Maybe this is wishful thinking," she said, "but I'd like to think it would be in a couple of years." It's funny to hear her hope that the worst is still to come while sitting in her fairytale living room, the cats pacing: a pragmatist at odds with her romantic monument to teenage dreams. But it sounds something like perspective.

Lover is out now

If you would like a comment on this piece to be considered for inclusion on Weekend magazine's letters page in print, please email weekend@theguardian.com, including your name and address (not for publication).

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Taylor Swift: 'I was literally about to break'

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The singer spills on feuds, fame, failure - and why she's taking on the president

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Taylor Swift has been one of the popular materials in the media since her debut and her public image has been influenced to a significant extent by the media, critics and audiences. From the early days of questioning the young girl's musical abilities, to the focus on her private relationship with males, to her feud with Kanye West and Katy Perry, Taylor has been the gossip girl at the centre of public opinion from the beginning of her career.

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By reviewing her award-winning record it is easy to find out that she is an exceptional musician, with hundreds of awards and thousands of nominations since 2008.

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From Wikipedia, the free encyclopedia

love

Wins

652

Nominations

1,252

The American singer-songwriter Taylor Swift has received numerous industry awards and honorary accolades. She is the most-awarded artist of the American Music Awards (40)[1] and the Billboard Music Awards (40),[2] and she has the most Album of the Year wins at the Grammy Awards (4),[3] the most Video of the Year wins at the MTV Video Music Awards (4),[4] and the most times awarded the Global Recording Artist of the Year by the International Federation of the Phonographic Industry (3).[5] Swift was included in the Time 100 three times (2009, 2015, 2019), and she has registered 118 Guinness World Records as of December 2023.

Swift started out as a country singer-songwriter; she released her self-titled debut studio album in 2006[6][7] and was nominated for Best New Artist at the 50th Annual Grammy Awards in 2008. Her second studio album, Fearless (2008), is the most-awarded album in country music history.[8] It won Album of the Year and Best Country Album at the 52nd Annual Grammy Awards[9] and won Album of the Year at both the Country Music Association Awards and the Academy of Country Music Awards.[10] The Fearless single " White Horse" won the Grammy Awards for Best Country Song and Best Female Country Vocal Performance.[11] The single " Mean" from Swift's third studio album, Speak Now (2010), won the Grammy Awards for Best Country Song and Best Country Solo Performance.[12] " Safe & Sound", which Swift co-wrote and recorded for The Hunger Games soundtrack album (2011), won the Grammy Award for Best Song Written for Visual Media.[13] Her fourth studio album, Red (2012), was her last promoted to country radio, and it received Album of the Year nominations at the Grammy and country-music awards.

1989 (2014), Swift's fifth studio album, was her self-proclaimed first official pop album, and it won the Grammy Awards for Album of the Year and Best Pop Vocal Album.[14] At the 2016 BMI Pop Awards, Swift was honored with the Taylor Swift Award, becoming the second artist after Michael Jackson to have an award named after its recipient.[15] Her sixth studio album, Reputation (2017), was supported by the Reputation Stadium Tour, which was awarded Tour of the Year by the American Music Awards, IHeartRadio Music Awards, and People's Choice Awards. In 2019, Swift released her seventh studio album, Lover, and was honored as the Woman of the Decade by Billboard[16] and Artist of the Decade at the American Music Awards.[17] She became the first woman and fourth musician to win the Grammy Award for Album of the Year three times with her eighth studio album, Folklore (2020), at the 63rd Annual Grammy Awards in 2021. At the Brit Awards 2021, Swift was honored as the Global Icon Award. Her ninth and tenth studio albums, Evermore (2020) and Midnights (2022), were both nominated for the Grammy Award for Album of the Year. The latter album made Swift the first artist to win four Grammy Awards for Album of the Year, and it also won Best Pop Vocal Album.[18]

Guinness World Records

As of December 2023, Swift has acquired 118 Guinness World Records.

†

Indicates a former world-record holder

Listicles

Honorary degree

1. AMFT Awards is an online awards group.^ [39]

2. Tied with ^ Alan Jackson

3. In 2008, Swift had six tracks enter the top 20 of the ^ Billboard Hot 100: "Change", "Love Story", "Fearless", "You're Not Sorry", "You Belong with Me" and "White Horse".

4. Swift was 20 years old when she first won the award in ^ 2010 for her second studio album, Fearless. Billie Eilish surpassed this record in 2020, winning the award for When We All Fall Asleep, Where Do We Go?, when she was 18 years old.

5. In the week ending February 6, 2010, "Today Was A Fairytale" topped the ^ Billboard Digital Song Sales chart and sold a record 325,000 digital downloads in the U.S.

6. For the week ending November 13, 2010, Swift's third studio album, ^ Speak Now, sold 278,000 digital downloads in the U.S.

7. In the week ending November 13, 2010, Speak Now shifted 1,047,000 copies, accounting for a record 18% of all album sales in the U.S. that week. Red suppressed it in November 2012 with over 1.2 million copies.

8. Swift became the first artist to have two singles debut in the top 10 of the Hot 100 in successive weeks, with "^ Speak Now" on October 23, 2010, and "Back To December" on October 30, 2010.

9. Swift is the first artist to have seven of her singles debut inside the Hot 100 top 10, breaking the record of five singles set by ^ Mariah Carey in 1998. Swift did it with "Change"(2008), Fearless" (2008), "Jump Then Fall" (2009), "Today Was a Fairytale" (2010), Mine" (2010), "Speak Now" (2010) and "Back To December" (2010).

10. Achieved with ^ Speak Now (2010) and Red (2012)

11. ^ Red sold 1.208 million copies in a week, ousting Garth Brooks' Double Live (1.085 million on 5 December 1998).

12. The albums ^ Speak Now (2010), Red (2012), and 1989 (2014), each sold more than a million copies within one week each.

13. Swift had won 24 Teen Choice Awards as of August 16, 2015; 22 of those as a musician and two as an actress. She extended the record with 26 as of September 2023

14. Swift and her ex-boyfriend ^ Calvin Harris earned a combined $146 million from June 2014 to June 2015; Swift earned $80 million and Harris $66 million.

15. She earned an estimated $170 million in the 12 months leading up to June 1, 2016, according to ^ Forbes.

16. According to Forbes, Swift earned an estimated $170 million in the 12 months leading up to June 1, 2016, beating Katy Perry's earnings of 2014-15 by $35 million. Swift earned $185 million between June 1, 2018, and 1 June 2019, surpassing her own record.

17. Had 2,110,214,601 views on May 11, 2017; surpassed by ^ Katy Perry's "Roar" (2013).

18. "Look What You Made Me do" music video was watched 43.2 million times in its first day on YouTube. American singer Ariana Grande's "Thank U, Next" (2018) surpassed it with 55.4 million views, before Swift broke the record again with 65.2 million views of "Me!" (2019).

19. Amassed $345.7 million in 2018, according to ^ Billboard.

20. The music video for "^ Lalisa" (2021), the solo debut single of Thai rapper Lisa, broke the record on September 14, 2021.

21. She earned an estimated $185 million between June 1, 2018, and 1 June 2019, according to Forbes.[520]

22. ^ Swift first acquired the record with 29 American Music Awards as of November 24, 2019; surpassed herself with a record of 34, as of November 21, 2021; and the current record of 40, as of November 20, 2022.

23. ^ Folklore garnered 80.6 million streams on July 24, 2020, breaking the record set by Ariana Grande's Thank U, Next in 2019. Swift's own Red (Taylor's Version) later surpassed Folklore with 90.8 million streams. Her tenth studio album, Midnights, subsequently broke the overall all-gender record with 184.6 million streams on October 21, 2022.

24. ^ Evermore topped the chart 140 days after Folklore did.

25. Three, tied with ^ Frank Sinatra, Stevie Wonder, and Paul Simon; Swift won the award for Fearless, 1989, and Folklore, in 2010, 2016, and 2021, respectively.

26. Swift received 122.9 million streams on November 12, 2021, but subsequently achieved the overall record, receiving 228 million streams on October 21, 2022.

27. ^ Evermore (2 January, 16 January and 12 June), Fearless (Taylor's Version) (24 April and 16 October), and Red (Taylor's Version) (27 November) in 2021.

28. 575,000 vinyl LPs sold in one week, surpassing ^ Harry Styles' Harry's House, while sold 182,000 vinyl LPs in one week in 2022.

29. 56, as of November 5, 2022; 63 weeks, as of July 29, 2023.

30. Six, including the latest "^ Anti-Hero".

31. 40, surpassing Madonna (38) in 2022; updated to 42 in 2023.

32. 10 tracks from Midnights.

33. 11 in 2022, tying with Barbra Streisand, and broke the tie when it became 12 in 2023.

34. 4 times; ^ Folklore and "Cardigan, Evermore and "Willow", Red (Taylor's Version) and "All Too Well (Taylor's Version)", and Midnights and "Anti-Hero".

35. Swift, surpassing Ariana Grande, achieved the record with 35 billion streams as of November 2022, and extended the record to 41 billion streams as of February 2023.

36. "Anti-Hero" (No.1), "^ Lavender Haze" (No.2), "Snow on the Beach" (No.3), "Maroon" (No.4) and "Midnight Rain" (No.5); all from Midnights

1. ^ Grein, Paul (November 19, 2023). "After the 2023 Billboard Music Awards, Who Is the All-Time Biggest Winner?". Billboard. Archived from the original on November 20, 2023.

2. ^ Blistein, Jon; Guglielmi, Jodi (September 13, 2023). "Taylor Swift Makes History at 2023 VMAs". Rolling Stone. Archived from the original on September 13, 2023.

3. ^ Lutz, Ashley (October 8, 2022). "Taylor Swift Is A Business Genius, And Her New Album Midnights Proves It". Fortune. Archived from the original on October 8, 2022.

4. ^ Herrera, Monica (March 15, 2012). "Taylor Swift, Arcade Fire Talk Hunger Games". Rolling Stone. Archived from the original on June 27, 2015.

5. ^ Sisario, Ben (February 4, 2024). "Taylor Swift Wins Album of the Year, Breaking a Record". The New York Times.

6. ^

7. ^ Brooks, Riley; Hodgin, Molly (September 1, 2012). Taylor Swift: The Story of Me. Scholastic Inc. p. 24. ISBN 978-0-545-53198-6.

8. ^

9. ^ "Taylor Swift to receive artist of the decade award at AMAs". The Washington Post. Associated Press. October 30, 2019. Archived from the original on October 31, 2019.

10. ^

11. ^ Billboard. Nielsen Business Media, Inc. October 2, 2010. p. 3. ISSN 0006-2510.

12. ^

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List of awards and nominations received by Taylor Swift - Wikipedia

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From Wikipedia, the free encyclopedia love Wins 652 Nominations 1,252 The American singer-songwriter Taylor Swift has received numerous industry awards and honorary accolades.

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All Taylor Swift’s Grammy Nominations (2008-2021)

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The lastest album she released on 21 October, 2022 which achieved the Spotify feat for the most single-day streams of an album.

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These album are like story telling, she created an character and wrote a story about them.

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aylor Swift announced the existence of her eighth album an uncharacteristic 17 hours prior to its release: "Most of the things I had planned this summer didn't end up happening," she said - among them, a headline slot at Glastonbury - "But there is something I hadn't planned on that DID happen." Swift only released her last album, Lover, last August. If she was surprised to have emerged from lockdown with Folklore - a 16-track album largely produced (remotely) by the National 's Aaron Dessner - her fans were even more stunned by the fact that Swift would release a record with zero fanfare.

Swift pioneered the art of the all-consuming album rollout. It usually starts with her sharing coded hints that her well trained fans understand immediately. Then there are teasers for lyric videos that beget actual blockbuster videos, strewn with self-mythologising references for Swifties and journalists to unpick. It's a smart promotional strategy-by-proxy for an artist who has done little press in the past five years, and a good way of making your actions seem as if they were written in the stars. There are sometimes baffling brand endorsements. The often unpopular lead single seldom sounds like the rest of the album. By the time that arrives, a weariness has descended: the sense that one of pop's all-time greatest songwriters is overcompensating despite her clear talent.

Artwork for Folklore. Photograph: AP

Recent albums, too, have been consumed with the various dramas that have plagued her since the country ingenue became a pop superstar with 2012's Red. Despite the last 12 months bringing a new, high-profile disagreement with her former label and enduring disputes with Kanye West, thankfully Folklore features none of that, beyond inadvertently arriving the same day as West said he was releasing a new album. Moreover, Swift conveys the sense that her tendency to desire the last word, in public and private, has been her undoing: "I was so ahead of the curve, the curve became a sphere / Fell behind all my classmates and I ended up here," she sings on This Is Me Trying.

Folklore proves that she can thrive away from the noise: if you interpret "classmates" as pop peers, Swift is no longer competing. Bombastic pop makes way for more muted songwriting, and a singular vision compared to the joyful but spread-betting Lover. With concerts off the table for the foreseeable future, no longer needing to reach four sides of a stadium may have proven liberating.

Elements of her fanbase have long wanted her to revisit the Nashville songcraft of her youth through an adult lens, but this isn't that album. Folklore is largely built around the soft cascades of piano, burbling guitar and fractured, glitchy electronica that will be familiar to fans of the National's post-2010 output - at least part of the album came about from Swift writing to Dessner's musical sketches. Swift's most coherent record since her staunchly country days, it's nonetheless her most experimental, developing on Lover's stranger, more minimalist end. More than one song evokes the intimate celestial tenderness of Sufjan Stevens circa Carrie and Lowell. At the opposite end of the scale, This Is Me Trying subtly grows into its wracked orchestral grandeur, sounding more unsettling still for how Swift's voice, processed at a ghostly, vast remove, seems to encompass the whole song with her desperation.

Swift is known for her vocal directness - there is no pop star as adroit at searing a chorus into your brain, or as winking in her tartness - if not her range. But the demands of pop processing mean her voice has never been heard as it is here: the acceptance that colours it on The 1, a bouncy reminiscence of a lost lover from her "roaring twenties"; how weatherworn yet at peace she sounds as she remembers the good parts of a treacherous relationship on Cardigan, a song as cavernous and shimmering as a rock pool in a cave. Her vocal trademarks remain in the yo-yoing vocal yelps on August, and the climactic, processed cri de coeur of My Tears Ricochet, and she holds her own against the wounded bark of Bon Iver 's Justin Vernon on Exile, which paints a split first in scenes of overt betrayal, and then gorgeous, subtle harmonies at crossed purposes indicating a problem deeper than one infidelity.

Given the more earthy production, some will characterise Folklore as showing a more authentic side of Swift. Not only would that be facile, asserting some authentic self is also explicitly not her aim. In a brief essay included in the liner notes, she says of the album's concept: "The lines between fantasy and reality blur and the boundaries between truth and fiction become almost indiscernible." She writes that some songs are about her and others are about invented characters. More interesting than parsing which is which (many are obviously both) is the sense that Swift is interrogating her own self-conception and challenging that personal mythology: how helpful and true those ideas are to herself as a woman of 30.

Swift's longest lyrical obsession is the loss of innocence, a theme she makes fairly devastating here. Set to high piano flurries, Seven switches between hopscotch-rhyme verses about childhood rituals, and pleading, choral depictions of herself at seven, "in the weeds, before I learned civility," she sings. "I used to scream ferociously / Any time I wanted." What conditioning beat out of her as a girl, it beat back in decades later: the tense, slippery Mad Woman traces the self-perpetuating cycle of women being angered by being labelled angry - both massively improve on Lover's slightly facile gender inequality treatise, The Man, because they're personal, not projections. Later she recalls naive young love, "back when we were still changing for the better", then, on Illicit Affairs, willingly entering into a deceitful relationship with someone who "showed me colours you know I can't see with anyone else".

The self-awareness that Swift displayed on Lover deepens in Folklore, where she subtly considers the murky line between corruption and complicity, between being a victim and a catalyst. The recriminations are fewer, the fights fairer, and her sense of responsibility in them greater. The seismic shocks of her Reputation-era rude awakening about her public image are still felt: "I can change everything about me to fit in," she sings on Mirrorball, a gorgeous pedal steel wooze made with Jack Antonoff. Yet she tentatively asserts what's at her core: the deep dedication she sings about on the resonant, minimalist Peace, and the abiding romanticism of Invisible String.

Lockdown has been a fruitful time for this sort of soul-searching, the absence of much in the way of new memory-formation triggering nostalgic reveries and regrets. This strange summer of arrested development is steadily ending. Folklore will endure long beyond it: as fragmented as Swift is across her eighth album - and much as you hope it doesn't mark the end of her pop ambitions - her emotional acuity has never been more assured.

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Taylor Swift: Folklore review - bombastic pop makes way for emotional acuity

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aylor Swift announced the existence of her eighth album an uncharacteristic 17 hours prior to its release: "Most of the things I had planned this summer didn't end up happening," she said - among them, a headline slot at Glastonbury - "But there is something I hadn't planned on that DID happen."

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Taylor Swift breaks political silence (2018)

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Taylor Swift breaks political silence (2018)

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I Don’t Give a Damn About Your BadReputation: Taylor Swift, BeyoncéKnowles, and Performance-Gina Arnold (2021)

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I Don’t Give a Damn About Your BadReputation: Taylor Swift, BeyoncéKnowles, and Performance-Gina Arnold (2021)

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Arnold claims that Taylor wants to show that a young female can reach the level of financial success, stardom and control which are thought to be the priviledge of male.

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Taylor Swift talking about her wight gain

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Taylor Swift talking about her wight gain

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She said she has realized that she should make herself happier and healthier by againsting the unrealistic beauty standard.

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Taylor swift talking about her eating disorder

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Story behind 1989 with her fans.

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This is one of Taylor's talks with Ellen about the creation background of her album Fearless (2008). She is an adolescent girl who has experienced love and heartbreak, and she presents herself fully in the songs.

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Memorable Moment: Taylor Swift on Joe Jonas

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Taylor Swift: American Sweetheart (2015)

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Taylor Swift: American Sweetheart (2015)

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In this video, she is described as a talented music star who is sweet, polite, and being so obvious in her songs.

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Taylor Swift: America's Sweetheart (FULL MOVIE)

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During the period of COVID-19 lockdown, inspired by a sense of loneliness, she explores themes of escape, nostalgia and romance on this album and sister album Evermore (2020). During the period of isolation, she reflected more deeply on herself, so the album has a deeper reading than Lover (2019) in exploring women's equal rights and her own social responsibilities.

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'Taylor Swift Weight Gain' was an hot topic during the period of Reputation (2017).

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Y’all... read this shit https://t.co/prvCLiO1Yr

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Y’all... read this shit pic.twitter.com/prvCLiO1Yr
— Nina (@Chicanallama) September 19, 2019

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Y’all... read this shit https://t.co/prvCLiO1Yr

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Y’all... read this shit https://t.co/prvCLiO1Yr

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The main idea of this video is to show the diversity of sexuality and she tried to tell that do not be impacted by others’ unfair judgments. She is not just a girl who only talks about love anymore.

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After Reputation (2017), she readjusted herself and her image returned to a brighter one. In this album, she represents as less of a girl and more of a woman who has risen back up after a storm. She is speaking out about her political views as a celebrity for the first time,  and to some extent adding these to her album, she is not only singing about her own experiences, but also giving a voice to a group that has been discriminated.

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Kevin Winter/Getty Images for TAS

There's a process Taylor Swift goes through each time she sits down to write a song.

It's not as if she steps into the studio, list of former paramours in hand, rubs her hands together gleefully and thinks of all the ways she can call out her bad boy exes. Rather, her method of pulling lyrics from life experiences means she needs to be working through something, an issue spinning in her mind until she's able to memorialize it in verse.

Take the time she penned "All Too Well" about an unnamed ex-boyfriend who invited her over to his sister's house before casually discarding their relationship (but not her striped scarf). The hit, she shared during a Texas tour stop last October, "was born out of catharsis and venting and trying to get over something."

Which is pretty much how everything she creates springs to life. "When I write a song," she told the crowd, "it's usually me just trying to get past something and understand something I'm going through by writing about it."

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How reputation Helped Taylor Swift Completely Change Her Narrative - E! Online

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Kevin Winter/Getty Images for TAS There's a process Taylor Swift goes through each time she sits down to write a song. It's not as if she steps into the studio, list of former paramours in hand, rubs her hands together gleefully and thinks of all the ways she can call out her bad boy exes.

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This is an album of revenge after her return to the stage after being trapped in the negative comments. This demonstrates a great transformation in terms of her songwriting style as well as her outward appearance. She learnt from those comments, became more confident and bravier to agianst unfairness, female stereotype, and she turned to be more 'private'.

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Red (2012) and 1989 (2014) are her transitional records bridging to maintance pop music from country music.  1989 （2014）seems to be more crucial in shaping her image as a pop singer than red. Introduced as her first official pop album, the album title is not only her tribute to 1980s synth pop music, but also a declaration of the rebirth of her image from a country girl to a pop icon.

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Taylor Swift's songs are her mirror images

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Taylor Swift's songs are her mirror images

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She is one of the leading music artists in the world, she is good at presenting herself in her songs. However, there are some changes with her images should be mentioned followed with her career development.

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As a female country musician, she does not write about the comfort and ease of country life in her lyrics, but more about romance and the inner emotional activities of an adolescent girl. Taylor Swift (2006) is her debut studio album released when she was only fourteen years old, and it is the foundational shape of her next two album Fearless (2009) and Speak Now (2010). She presents a girl-next-door image that resonates with a wider audience of her age, whom she represents, and this is one of the reasons why she became famous rapidly.