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Taylor Swift discusses her fans and how she finds it 'adorable' that they called themselves Swifties. She also discusses her gratitude to her fans and how 'it's nice to have a group of people that have my back'.

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Taylor Swift - #VEVOCertified, Pt. 3: Taylor Talks About Her Fans

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Pink- country girl persona

Green- zany, pop princess

Purple-cancelled and rebrand

Blue- authenticity/ current singer-songwriter persona

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Swift released this music video in 2019, taking a hit at the press and homophobes with the video including celebrities known for their allyship to the LGBTQ+, drag queens, lesbians, transgender people, gay people etc.

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Swift posted to Instagram asking for fans to vote, emphasising her current authentic, political persona

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Swift mentioned she wrote her ex-boyfriends song 'This Is What You Came For' and he replied with these tweets, further adding to her cancelling.

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Swift has cemented herself as a global pop sensation as well as an authetnic singer-songwriter

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This article names Swift as an upcoming artists to watch after her debut album was released, demonstrating how her image was perceived positively when she first appeared on the music scene.

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EDITOR'S NOTE: On Oct. 24, 2006, Taylor Swift's self-titled debut album was released. To commemorate the anniversary of that event, here is a Los Angeles Times article from that year calling Swift a pop music face to watch.
LILY ALLEN
Singer-rapper

A street-smart rebel with a privileged background, this feisty singer and rapper could be the one to finally bridge the gap that keeps British pop stars from making a mark in the U.S.

Allen conquered England in 2006 with a MySpace-sparked campaign that culminated in a No. 1 single, "Smile," one of many engaging tracks from a debut album packed with smart, ska-flavored pop confections.

The album, "Alright, Still," comes out here on Jan. 30 and if Allen's preview show at the Troubadour in October was any indication, the 21-year-old performer can back up the music with an effervescent personality.

She'll also stand to benefit from the resources of Capitol Records, which ushered another British singer- songwriter, Corinne Bailey Rae, to success in 2006. Allen seems more frothy than Rae at first glance, but beneath her songs' lighthearted surface is a gift for telling stories and creating characters that can connect with listeners in any country.

-- Richard Cromelin

CORBIN BLEU
Teen-pop singer-actor

Could any teenager be better positioned for success in 2007?

This 17-year-old singer-actor was a supporting star (as Chad) in Disney's hit TV movie "High School Musical," whose soundtrack was the biggest-selling album of 2006. Now he has a starring vehicle, "Jump In," coming to the Disney Channel in January, and he'll begin 2007 touring arenas nationwide in the concert production of "High School Musical." Later in the year, the sequel, "High School Musical 2," will be occupying much Disney Channel airtime.

In between, on April 17, Bleu will release a solo album on Disney's Hollywood Records, with contributions from some of the writers and producers who have forged a new brand of teen-pop for Disney -- a wholesome, natural, R&B-flavored reaction to the synthetic era of Britney and the Backstreet Boys.

With his ebullient-urchin image driven by the tireless Disney promotional machine that's taken the Cheetah Girls, "High School Musical" and "Hannah Montana" to the top of the charts, Bleu is poised to be the face of youth-pop in 2007.

-- R.C.

TAYLOR SWIFT
Country singer-songwriter

Compared with such country upstarts as LeAnn Rimes and Billy Gilman, who charted their first hits at 13 and 12, respectively, 17- year-old Taylor Swift is practically a grizzled veteran.

Still, it's impressive that while most of her peers have been wrapped up worrying about a date for the winter formal, she's been captivating country listeners with her first single, "Tim McGraw," a sweet ballad about the role music plays in our lives and memories. It drew the attention of McGraw himself, who has admitted being charmed by the song, but when she told him that she wrote it in her ninth-grade math class, he quipped, "Now I feel old!"

Her debut album, "Taylor Swift," which came out in October, has sold more than 200,000 copies and touches on themes such as the fragile self-esteem of teen girls and the magic of first love. The native of Wyomissing, Pa., will get some serious concert exposure playing opening slots for George Strait during the first quarter of the new year. And what brand of guitar does she prefer? A Taylor, natch.

-- Randy Lewis

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Looking back at naming Taylor Swift a pop music face to watch after her debut album

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Celebrate 10 years of Taylor Swift by looking back on the Los Angeles Times naming her a pop music face to watch in December 2006.

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surprise albums Swift dropped during lockdown

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Swift decided to re-release her old music as she the rights to her original music was sold without her knowing/ permission. She re-released music so she could own it and all albums have 'Taylor's Version' to distinguish it from the older songs, and the new albums did even better than the originals showing her popularity and successful star image.

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This article details the impact Swift had on voters in 2018, after she posted on Instagram urging people to vote as there was a surge in voter registration. This article has a completely different tone to previous articles during the Reputation era, that were all negative and 'cancelled' her. This shows she has gained back control of her star image and incorporated politics into her persona.

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When Taylor Swift speaks, her fans listen.

On Tuesday morning, the singer posted a short message on Instagram encouraging her 272 million followers to register to vote. Afterward, the website she directed her fans to - the nonpartisan nonprofit Vote.org - recorded more than 35,000 registrations, according to the organization.

"I've been so lucky to see so many of you guys at my U.S. shows recently. I've heard you raise your voices, and I know how powerful they are," she wrote on her Instagram Stories. "Make sure you're ready to use them in our elections this year!" Her post included a link to register at Vote.org.

The 35,252 new registrations on National Voter Registration Day were the most since 2020, the organization said, and a 23% jump over last year. The number of 18-year-olds registered was more than double 2022.

Andrea Hailey, CEO of Vote.org, called it a "highly encouraging sign of voter enthusiasm," especially among voters who are newly eligible since turning 18. "Time and time again young people are showing up and demonstrating they care about their rights and access to the ballot box," Hailey said in a statement.

It's not clear exactly how many of the registrations were tied to Swift's Instagram. Vote.org reported a 1,226% jump in participation in the hour after the post.

"Our site was averaging 13,000 users every 30 minutes - a number that Taylor Swift would be proud of," Hailey said, referencing Swift's affinity for the number 13.

Swift has previously encouraged her fans to register to vote, though for years she shied away from political endorsements. That changed in 2018, when she weighed in on the Tennessee congressional races in favor of the Democratic candidates. (Her appeal this week was nonpartisan.)

Her visibility is at a high this year amid her Eras tour - which could become the highest-grossing concert tour in history upon its completion next year - and the release of her re-recorded albums , which landed in July, and 1989, which is on tap for release in October.

Since its inception in 2012, National Voter Registration Day has been supported by a number of nonprofit voting organizations such as the League of Women Voters and HeadCount, which works with musicians to register voters at concerts.

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A Taylor Swift Instagram post helped drive a surge in voter registration

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More than 35,000 new voters registered at Vote.org after the singer posted a link on her Instagram Stories. "I've heard you raise your voices, and I know how powerful they are," Swift wrote.

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Swift discusses that she wants to make a political stand against Trump as she doesn't believe in his politics but her team disagrees as it will compromise her safety and her popularity. This portrays Swift as being 'authentically' an ally and feminist and the documentary appears to show her being her true self and wanting to take a political stand despite the effect it may have on her career.

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Taylor Swift clip TRASHING Republicans SURGES into spotlight

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Kim Kardashian indirectly called Swift a snake, starting the snake comments and trolling.

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Takes a hit at sexism and misogny in the music industry and in day to day life, adapting her image to be inclusive, a feminist and an ally.

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Grieving public reacts to news of the death of old Taylor Swift, declared dead by new Taylor Swift

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Most of us had no idea that old Taylor was even sick or whatever!

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She states how there is different vocabulary used for men and women in the music industry, further enhancing her self-proclaimed title and star image as a feminist.

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Preview: Taylor Swift on sexist labels in the music industry

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Feminism

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Taylor Swift Accepts Woman of the Decade Award | Women In Music

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Looks at 10 interviews and discusses Swift's differing public personas, alongside her recent feminism and how her music impacts her persona.

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Celebrity, Music, and Public Persona: A Case Study of Taylor Swift

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Explore millions of resources from scholarly journals, books, newspapers, videos and more, on the ProQuest Platform.

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In this interview, Swift gets asked "You're gonna walk home with more than just a trophy tonight, I think lots of men?" and she replied "I'm not going home with any men tonight, I'm going to hang out with friends then home to the cats." This demonstrates how Taylor's image, at this time, is inextricably linked to her love life and how she is known for having 'lots' of boyfriends. However feminism and misogny must be taken into account when discussing this aspect of Swift's image and persona as male artists would not and have not been treated the same way.

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Taylor Swift Talks Going 'Home to Her Cats' After the Grammys: 'Men Get Me In Trouble!'

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“Being publicly humiliated over and over again at a young age was excruciatingly painful but it forced me to devalue the ridiculous notion of minute by minute, ever-fluctuating social relevance and likability.”

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“Being publicly humiliated over and over again at a young age was excruciatingly painful but it forced me to devalue the ridiculous notion of minute by minute, ever-fluctuating social relevance and likability.”

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 “Having the world treat my love life like a spectator sport in which I lose every single game was not a great way to date in my teens and twenties, but it taught me to protect my private life fiercely,”

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 “Having the world treat my love life like a spectator sport in which I lose every single game was not a great way to date in my teens and twenties, but it taught me to protect my private life fiercely,”

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 Taylor Swift Public/ Private Life (2022)

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 Taylor Swift Public/ Private Life (2022)

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Swift comments on her love life and how she protects her love life fiercely now, emphasising how she has learned from past mistakes and in order to protect herself and loved ones she keeps her public and private life separate.

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Taylor Swift officially has an honorary doctorate from New York University. On Wednesday, the singer took the stage at Yankee Stadium to the sound of thousands of people's applause to accept the Doctor of Fine Arts, honoris causa degree, and made a 20-minute speech. In the clever and heartwarming speech, the 32-year-old opened up about her life and talked about the public obsession with her love life.

Swift has been dating "Conversations with Friends" star Joe Alwyn since 2016, but their relationship has been fairly private compared to her past flames with stars lik e John Mayer and Jake Gyllenhaal, and she likes it that way. Once the singer began dating as a teenager, her relationships were a tabloid sensation, with fans ready to fight for her whenever there was a split. "Having the world treat my love life like a spectator sport in which I lose every single game was not a great way to date in my teens and twenties, but it taught me to protect my private life fiercely," she told the crowd.

The "Bad Blood," singer has made headlines over the years with "embarrassing" moments, like a "Granny-Panties incident," but perhaps the most unforgettable is when Kanye West got on stage to interrupt her speech in 2009 at the MTV VMA Awards when she won the award for Best Female Video of the Year.

Swift talked about her public humiliation explaining, "Being publicly humiliated over and over again at a young age was excruciatingly painful but it forced me to devalue the ridiculous notion of minute by minute, ever-fluctuating social relevance and likability."

There were also moments throughout her career when Swift upset the public, like her lyrics to "Picture to Burn" where she talked about people gossiping behind her back. "That's fine, I'll tell mine that you're gay," she sang. The lyrics were changed shortly after the LGBTQ+ community came for her. There was also the time she posed with a guy wearing a Swastika. "Getting canceled on the internet and nearly losing my career gave me an excellent knowledge of all the types of wine," she quipped in the speech.

All in all, it's only made her stronger, and at the end of the day, mistakes are human nature, and she admits she will make them again. "We are led by our gut instincts, our intuition, our desires and fears, our scars and our dreams. And you will screw it up sometimes. So will I. And when I do, you will most likely read about it on the internet," she said at the end of her speech.

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Taylor Swift talks about the public obsession with her love life in NYU commencement speech

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Taylor Swift officially has an honorary doctorate from NYU. In Swift's speech, she opened up about the public obsession with her love life.

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This article hints at the backlash Swift would receive due to the amount of exes she has. Discusses her negatively and how she has become the punchline of many jokes due to her dating history

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Taylor Swift Gets Some Mud on Her Boots (Published 2013)

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At the age of 23, the singer is experiencing a tumble in popularity that is also affecting her marketability.

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Swift generally tells stories through her music, and uses songs and music videos to control her narrative, image and shift her persona.

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Swift released 'Blank Space' as a way to control her image. At the time of release she was very well-known for having a lot of ex-boyfriends and the media portrayed this in a very negative light and 'Blank Space' appears to be Swift's way of having people laugh with her instead of at her. Citing lyrics 'got a long list of ex-lovers' and 'cause you know I love the players' she gains control of her criticised love life and incorporates it into her own image, owning it.

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Discusses how Blank Space was a response to the media's obsession with her dating life, normally portraying her in a bad light for dating a handful of men.

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Not sure what to anticipate from Taylor Swift's long-awaited sixth full-length, Reputation? One of the singles from her previous era, "Blank Space," may very well be the best context clue we've got at this point.

The 1989 single and its accompanying music video served as a best-case example of strategic satire upon its release. Prior to "Blank Space," part of Swift's narrative had been her whirlwind dating life - the number of her romantic partners often refracted in a negative light by the media. Even casual fans who weren't able to identify the specifics of the Harry Styles dating timeline versus the John Mayer dating timeline were at least aware that Swift had been in a number of relationships since her 2008 professional breakthrough. This was, apparently, a problem.

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"Her ubiquity, not to mention her dating history, has begun to stir what feels like the beginning of a backlash," read a New York Times piece from March 2013 - when Swift was still in the midst of her Red run, before she had emphatically crossed over to pop - titled 'Taylor Swift Gets Some Mud on Her Boots.' Part of this mass perception could undoubtedly be chalked up to sexism; the combination of being popular and also dating a handful of people would be unlikely to inspire a "backlash" for a male artist in their mid-20s.

Fair or not, however, this general belief presented a problem for Swift. Tina Fey and Amy Poehler were joking about her love life! Her Q score was down! Swift has proven time and again that she is hyper-aware of the chinks in her armor. How does a music superstar recover her previously unassailable image?

With "Blank Space," Swift changed the narrative by forcing her critics to laugh with her, not at her. The single painted her as a siren singing wayward pretty boys to their ruin: on "Blank Space," Swift seethes that she's bent on having eternal love or no love at all, that she's a "nightmare dressed like a daydream." She owned the fact that she had "a long list of ex-lovers" and then pushed that fact to its comical extreme in the song's music video, in which she plays a wild-eyed villain in a Barbie dream house cycling through male conquests.

After being criticized for her love life, Swift showed herself stabbing the blood out of a heart-shaped cake. The self-mockery worked commercially: "Blank Space" hit No. 1 on the Billboard Hot 100, and with 2.1 billion views on YouTube, its music video is one of the most-viewed in the platform's history. More importantly, the tactic helped Swift regain the upper hand in the battle over her public image. People were taking potshots at her dating history, so Swift decided to deliver the cleverest takedown herself.

Fast-forward three years: the "mud on her boots" has become a full-on revolt, depending on who you ask. After releasing an album every other year since the beginning of her career, Swift took 2016 off, and the year was not kind to her.

Ghost-writing a song for Calvin Harris resulted in a series of Twitter shots from her ex-boyfriend, who accused Swift of trying to "make me look bad" and "bury" him. Then, there was the Great Kimye-Swift Battle of 2016, over the details of what Swift did or did not know about Kanye West 's song "Famous" prior to its release. Everyone remembers the Snapchat clips, the "excluded from this narrative" response, the #TaylorSwiftIsOverParty hashtag that started during the Harris drama and was quickly revived during this argument.

And to end the year, Swift pissed off some of her more politically active fans by refusing to throw her weight behind either candidate in the 2016 presidential election. She encouraged Americans to vote, but did not say for whom. This was a mistake in the eyes of some, who were hoping that one of the biggest mainstream stars in the country would utilize her message of female empowerment against Donald Trump.

Let's take a step back: none of these offenses are particularly heinous, malicious or anything close to criminal. They essentially amount to inter-celebrity beefing, plus not speaking out during an election season where dozens of top-line artists remained similarly mum. Yet they combined to portray Swift as teetering on disingenuous. Was the songwriter who struck a blow against bullies on "Mean" in 2010 apparently trying to "bury" another artist like Harris? Was Swift, who was infamously upstaged by Kanye West in 2009, being dishonest about their "Famous" exchange? And why would an advocate of women's rights not publicly support the first female candidate for president on a major party's ticket?

These questions were being asked, fairly or not, by fans and non-fans. If Swift does not answer them specifically within her new album, Reputation, she appears ready to springboard into the conversation that they are part of.

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- Taylor Swift (@taylorswift13) August 23, 2017

Without hearing a second of new music yet, it can be assumed that Swift will not ignore last year's negative-leaning headlines - based on the literal headlines scrawled across her LP cover. It's a striking image: Swift's name written over and over again as she looks on, emotionless and partially engulfed by the words.

The title of the album, Reputation, is also the perfect suggestion of Swift meeting her critics head-on in her new music instead of shoving it to the side and moving on. There's no chance of Swift letting bygones be bygones here; whether on her first single or elsewhere on her new album, she is going to address the evolution of her reputation from America's sweetheart to the subject of an #IsOverParty.

The most encouraging tease for the Reputation cycle thus far has been the series of snake videos she posted to her social media pages prior to the album announcement. Pop obsessives will remember that the snake emoji flooded Swift's mentions following the showdown with Kim Kardashian West and Kanye West; the presumption that Swift had been two-faced in their conversation provoked a new, negative association. A year later, Swift is co-opting that shorthand and making it her own in order to preview her next era.

It's too early to say whether the imagery means Swift has turned heel and adopted a villainous side - think LeBron James when he was welcoming boos and winning championships on the Miami Heat - or if she's simply showing that she's got the fangs to bite back at her critics. Regardless, there's a darker aesthetic at work here, and that's an exciting musical development for a brilliant songwriter who has flirted with her edgier side but never fully unpacked it. After five albums of mostly presenting an immaculate public image, there's fresh terrain for Swift to cover in the cracks of her persona, and it looks like she's ready to explore it.

Questions abound about the sound, style and specific themes of Reputation; there will hopefully be some clarity when its lead single arrives. But the one thing we know about her next project is that it will try to alter the narrative of Taylor Swift that everyone looking from the outside thinks they know. This is what Swift does: control her story, even when it's not necessarily flattering. She's coming back while facing the most pronounced backlash of her career, and she's going to say her piece.

"I can make all the tables turn," Swift sang in the middle of "Blank Space." So far, she has. With Reputation, she may try to do it again.

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Taylor Swift's 'Reputation,' Intact: Expect The Script To Once Again Get Flipped

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Not sure what to anticipate from Taylor Swiftâ€™s long-awaited sixth full-length, Reputation? One of the singles from her previous era, â€œBlank Space," may very well be the best context clue weâ€™ve got at this point.

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Mural in Melbourne for the 'death' of TS

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This image shows the extent of the backlash Swift faced and the 'death' of her career.

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Taylor Swift: White American Girl-Next-Door

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Taylor Swift: White American Girl-Next-Door

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girl-next-door, quintessentially American, paradoxical persona and image: girl-next-door/ millionaire, the hopeless romantic/ savvy business woman, silly teenager/ serious adult singer song-writer.

long been comfortable with conflicting personas

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Taylor Swift: Love and Business, Swift as a Celebrity, Businesswoman and Advocate

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Taylor Swift: Love and Business, Swift as a Celebrity, Businesswoman and Advocate

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Fans have grown up with her, feel like they know her because of her lyrics and she knows them etc.

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LGBTQIA+ in You Need To Calm Down - Rainbow capitalism, discusses Swift's political stances and statements and how this has affected how she is perceived.

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Hard work persona- 'real talent', authentic

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Despite being incredibly on the nose about her changing star image and persona, Swift's Reputation (2017) album was well-received with critics calling it an 'aggressive, lascivious display of craftmanship' and fans stating how proud they were of her for taking control of her image and reputation and 'taking the world by storm' (YouTube, 2017). This highlights how Swift managed to take back control of her image and shift into her next pop persona.

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Reviewed:

November 13, 2017

Taylor Swift's sixth album is an aggressive, lascivious display of craftsmanship, but her full embrace of modern pop feels sadly conventional.

For a decade, almost everyone agreed on Taylor Swift. She wrote exquisite love songs and scorching, funny takedowns at an age when most people struggle to put together a cogent email. She scattered breadcrumbs and winking clues through her lyrics and liner notes, inviting diehard fans and pop rubberneckers alike to agonize over what was fact and what was fiction. She won so many awards she was ridiculed for the shocked face she made every time her name was called. She was observant and savvy, and if those qualities were spun into a kind of Machiavellian cunning by her critics, it seemed like a good problem to have.

How things have changed. The Swift that stands before us in 2017 is beleaguered and defensive, a figure fighting back from public relations problems she largely could've avoided. She stepped into back-and-forths with Nicki Minaj and her eternal nemesis Kanye West, when silence would have seemed optimal. She induced the Streisand effect by taking legal action over a barely-read blog post that drew connections between her work and neo-Nazism, a decision that shone a new spotlight on her steadfast apoliticism in an overheated political climate. And to top it all off, she released " Look What You Made Me Do," a petty snarl of a lead single that jumped to No. 1 thanks largely to sheer anticipation. Chart watchers rejoiced when an ascendant Cardi B bumped her from the top slot; Taylor sent flowers.

It turns out "Look What You Made Me Do" was closer to a red herring than a sign of things to come, a relief given how it neglected most of Swift's generational gifts. Reputation, her sixth album, isn't a tuneless vengeance tour-it's an aggressive, lascivious display of craftsmanship, one that makes 1989 sound like a pit stop on the way to Swift's full embrace of modern pop. (This is a trip that began the second the bass dropped on her 2012 song " I Knew You Were Trouble.") She's largely abandoned effervescence, wonderment, and narrative. Say goodbye to maple lattes and hello to whiskey on ice, to wine spilling in the bathtub, to Old Fashioneds mixed with a heavy hand.

Her vision of pop, one she realizes with the help of Max Martin and Shellback, and man-of-the-moment Jack Antonoff, is surprisingly maximal: hair-raising bass drops, vacuum-cleaner synths right out of a Flume single, stuttering trap percussion, cyborg backing choirs. Songs like opener "...Ready for It?" and "Don't Blame Me" are glittering monsters held together by Swift's presence at their center. Her interest in hip-hop and R&B is most apparent in her voice, an instrument that's been stripped of its signature expressiveness. Her best performances throughout Reputation are defined by cadence and rhythm, not melody: She's cool, conversational, detached.

These particular skills may have been hiding in plain sight-listen to the decade-old " Our Song" and focus on the way she places syllables while rattling off "Our song is a slammin' screen door!"-but they've never been highlighted the way they are here. "Delicate" is built around a muted pulse and a murmured question: "Is it cool that I said all that? Is it chill that you're in my head? 'Cause I know that it's delicate." She stretches out the titular compliment on " Gorgeous," making it a fluttering prayer and letting the rest of the line tumble out in its wake. She even manages to hang with Future on the bizarre, compelling " End Game," leaving poor Ed Sheeran in the dust: "I don't wanna hurt you, I just wanna be/Drinking on the beach with you all over me." The old Taylor can't come to the phone right now-she's posted up at a Cozumel cabana with her out-of-office reply: "I bury hatchets, but I keep maps of where I put 'em."

Her writing has never been less diaristic or more dependent on dramatic performance. For Swift, plunging head-first into pop has meant leaving behind the short stories on 2008's Fearless or 2010's Speak Now and relying more on snippets of vivid imagery and detail. ("Getaway Car," a sparkling Antonoff production that sounds like an "Out of the Woods" retread, is a dramatic and enjoyable outlier.) She leans on characters, some old and some new: the unrepentant brat, the swooning dreamer, and the determined, seductive adult. The "Look What You Made Me Do" video was prescient in at least one respect: Reputation collects a half-dozen different aspects of Swift and lines them up in a row. You leave the album with a new appreciation for her versatility, for the way the tough-talking schemer of "I Did Something Bad" and the infatuated android of "King of My Heart" can share the same tracklist.

The woman who built a career on family-friendly romances like "Love Story" and "Mine" now turns her gaze to the darker side of passion: obsession, jealousy, lust, the loss of control. A lover turns her bed "into a sacred oasis" on the featherlight "Dancing With Our Hands Tied," and she begs her partner to carve their name into her bedpost on "Dress," a panting, shuddering highlight. Swift hasn't played the romantic naïf since Red, and she delivers all of these lines with palpable confidence and ease. Even lesser material benefits: "So It Goes..." is replacement-level trap-pop, but it's hard to shake the thought of her smeared lipstick, of fingernails dug into someone's back.

In any case, these songs are more successful than the tracks that invite the listener to revisit Swift's public spats. "Look What You Made Me Do" is the album's nadir, and "I Did Something Bad" violates what you could call Katy's Law: the mention of "receipts" in your quasi-diss track renders it an embarrassment. Things somehow get less subtle: "Here's a toast to my reeeeeal friends," she sneers on "This Is Why We Can't Have Nice Things," just before faking a weepy apology and breaking into cackling laughter. She's shooting for over-the-top, campy villainy, but it scans as stubborn petulance. Every listener is over this.

Reputation isn't the failure that seemed possible a month or two ago; it's full of bulletproof hooks and sticky turns of phrase. But in committing to a more conventional form of superstardom, Swift has deemphasized the skill at the core of her genius. The album ends with " New Year's Day," a spare, acoustic epilogue for an album made using a lot of synths and computers. It's equal parts Lisa Loeb and Dashboard Confessional, and she conjures rich scenes with just a handful of lines: a hotel lobby strewn with party detritus, the silent back seat of a cab.

She lands the album's first true knockout punch in the bridge: "Please don't ever become a stranger whose laugh I could recognize anywhere." It's a tiny universe in a dozen words, an economic marvel right up there with old classics like "You made a rebel of a careless man's careful daughter," and, "You call me up again just to break me like a promise/So casually cruel in the name of being honest." This song is Swift at her best-not settling scores long past their expiration date but writing the kind of lines reputations are made of.

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Taylor Swift's sixth album is an aggressive, lascivious display of craftsmanship, but her full embrace of modern pop feels sadly conventional.

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Swift released 'Look What You Made Me Do' as part of her Reputation album. This demonstrates another shift in her star image as in the music video she is sat on top of 'dead' Taylor Swift's and cites the lyrics 'Sorry the old Taylor can't come to the phone at the moment. Why? Because she's dead', showing her physical and mental shift in persona as she leaves her previous persona's in the past, as she now has a new era and new 'reputation'.

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Taylor Swift released the album Reputation in 2017, following her feud with Kanye West and Kim Kardashian and subsequent 'cancelling', and proved a new way for her to alter her star image. She incorporated the 'snake' comments in to the album and world tour, and her lyrics cite her revenge and how she 'trust's nobody'.

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This song was received well, with comments stating 'This is the best musical remedy for depression or the blues I've ever seen or heard.', 'I love this song, looks like she didn't plan for the act and this makes the song so cool' and 'I love this video because she seems like she's having so much fun and she didn't even plan the dances'. However, she clearly did plan out the whole music video, but this demonstrates how her fans often view her as authentic and her star persona being her true self.

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Swift demonstrates stereotypes of different music genres in this music video, in a comedic and goofy manner, to show she is doesn't fit on to just one category and highlights her zany star persona.

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Wilkinson (2017) highlights Swift's zany pop persona shine through here, as she falls off the treadmill. This can be categorised as 'comedic' and 'goofy' which are aspects of the zany persona and make her appear more authentic and relatable.

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Taylor Swift's Commercial on Apple Music

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'Taylor Swift: the hardest working, zaniest girl in show business' Wilkinson, 2017

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'Taylor Swift: the hardest working, zaniest girl in show business' Wilkinson, 2017

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This study looks at how Swift has successfully shifted her image from authentic, country singer-songwriter to zany, authentic, pop star.

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Swift faces backlash and bullying on Instagram, affecting her star image as people seem to turn on her and call for her to be 'cancelled.'

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Swift is seen trying to regain control of her star image as she releases a statement regarding her feud with West/ Kardashian to Instagram. This statement received a mix response with users commenting 'Bye' and '#West2020' indicating that this attempt at regaining control of her image was unsuccessful.

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As a way to regain control of her image and persona, Swift deleted all her Instagram posts and tweets and then posted a ten second clip of her snake. This gave fans and the public an insight in to her new music and her incorporation of the snake, demonstrated her regaining control of her star image and new persona.

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West released 'Famous' in 2016 citing lyrics 'I feel like me and Taylor might still have sex. Why? Because I made that b***h famous.' This sparked a feud between Swift and Kanye West and Kim Kardashian, with Swift stating she never agreed to these lyrics. This severely impacted her star image as the public appeared to turn on her.

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Penned her as a helpless 'damsel in distress' while still reinforcing the southern belle, country girl persona she established a few years previously. The music video shows Swift running around a castle in a ballgown, likening her to a princess as she sings about Romeo and Juliet, further enhancing her young, innocent, country girl persona.

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Swift has been established as an 'authetic' hard working artist, known for writing and performing her own songs, playing her own instruments and inviting fans to 'secret sessions' at her house.

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This article discusses her success alongside her love life and demonstrates how her love life (usually private) has become synonymous with her star image, as she became known for having a 'lot' of boyfriends.

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Love Story: how Harry Styles became Taylor Swift’s Romeo

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She’s the American sweetheart who swiped our Styles. Has Ms Swift finally met her match?

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By 2012, Swift has reinvented her star image by changing her persona to fit in with the 'zany' persona presenting herself as comical, clumsy and a goofball trying to adapt to the world of commercial entertainment (Wilkinson, 2017)

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Swift discusses her new album, sporting red lipstick that later became synonymous with this era. She has dropped her southern accent and fully embraces this new genre of music by changing her star image to evolve with her fans.

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Taylor Swift 'GMA' Interview 2012: Star on New Album 'Red,' Hit Single 'Never Getting Back Together'

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Swift's performing at CMTV awards can be seen performing with an electric guitar, supporting a low cut top and shorts. This image demonstrates her transformation from her previous country, sweet, southern persona to a new zany, pop persona and embracing her new image.

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Swift released Red her fourth studio album, and first pop album which started the shift to her new pop persona. The red lipstick demonstrated here became synonymous with her new sexy, zany persona and ultimately this era/ genre of her music, demonstrating how her music guides her shifts in persona.

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Won Best Female Country Vocal Performance Grammy

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Won Best Female Country Vocal Performance Grammy

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Swift won her first Grammy in 2010 stating in her speech: 'This is my first Grammy you guys! I mean this is, this is Grammy! I live in awe of the people that I was nominated against in this category'. This emphasised her image of authenticity and hard work associated with country music.

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Taylor Swift and Taylor Lautner dated in 2009 and Swift's dating life became inextricably linked with her star image and persona as her music was stereotyped as being 'love songs' or 'break up songs'.

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Taylor Swift's relationships have played a part in her star persona. The media constantly reported who she was dating and gave her a reputation of dating a lot of men, slowly shattering the innocent, country girl persona she had crafted since 2006.

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During her MTV acceptance speech for best female video award Kanye West interrupted Swift's speech, stating 'Taylor imma let you finish, but Beyonce had the best video of all time' This seemed to strengthen her innocent star persona slightly as she appeared shocked and sad highlighting her innocence and naivety, enabling fans and people to feel empathy for her.

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You Belong with Me won MTV best female video award

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Swift released her second country album, Fearless, selling more than 10 million copies in the US. This album emphasised her innocent, sweet Southern Belle persona, through her mention of her close family connection in 'The Best Day' and her Christian faith in 'Our Song'.

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Country music is often associated with 'authenticity' as their image is imbued with a sense of labour and hard work i.e. writing, performing and recording their own material while playing instruments (Wilkinson, 2017)

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Swift released Tim McGraw single, citing lyrics 'you said the way my blue eyes shine put those Georgian lights to shame', while the music video shows her laying in a field wearing a white dress, and then playing guitar in a barn reinforcing her sweet, country girl persona.

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Swift was 17 when her first album was released. The country genre mixed with her Southern accent emphasised her young, sweet, innocent, country girl persona.

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Taylor Swift's debut country album released in 2006, simultaneously debuting her hard-working, sweet, country girl persona.