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Taylor Swift and Joe Alwyn Had a Rare Public Night Out Together at the Golden Globes 2020


Taylor Swift and boyfriend Joe Alwyn are notoriously private about their relationship. They rarely ever speak about each other in interviews—and while Swift’s music (especially the songs on her latest album, Lover) always offers up lots of apparent nuggets to interpret about her love life, the couple hardly ever appears together at public events.

They broke tradition for last night’s Golden Globes, where, after walking the red carpet separately, they met up inside and sat together for the actual awards show. She chose a floral gown by Etro for the event, where she was nominated for Best Original Song for “Beautiful Ghosts” from Cats. Though he wasn’t nominated, Alwyn (who starred in this year’s Harriet) looked quite dapper in a classic black tuxedo.

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Joe Alwyn at the 2020 Golden Globes
Daniele Venturelli/WireImage/Getty Images

Once the red carpet was done, the couple meet back up inside. “Taylor Swift came into the #GoldenGlobes through a back door with Joe Alwyn. Then she and a handful of security guards, as well as a man carrying her dress train, split off separately and went to the bar. They immediately exited through another side door,” L.A. Times reporter Amy Kaufman tweeted.

As is her usual awards show M.O., Swift offered up some great reaction shots in audience—and added Alwyn to the mix. Fans were thrilled, tweeting out all the best moments from the couple. One even thought they spotted the exact moment Swift got inspired for some new music: “How much u wanna bet taylor wrote a song about joe in that second?”

“The media will be saying in 2060 ‘young taylor swift and joe alwyn attending the 77th golden globe awards,'” another fan tweeted, speculating about the future of their relationship.

After the show, Swift changed into a black sparkling dress and the couple hit up the CAA after party. Here’s hoping we get to see more of these two together in 2020.





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Taylor Swift Was the Top-Earning Female Entertainer of the Decade


Taylor Swift had a better decade than (almost) everyone. According to Forbes, the 30-year-old was the highest-earning female entertainer of the decade, bringing in an estimated $825 million over the last 10 years.

Overall, Swift was the second highest-earning entertainer, coming in just behind Dr. Dre, who raked in an estimated $950 million due to his stake in the headphone company, Beats, which Apple purchased in 2014 for $3 billion. (It only takes into account living celebrities; As Forbes noted, had it added in Michael Jackson, he’d easily rank as first considering his estate pulled in an estimated $2.37 billion over the last decade.)

According to the outlet, Swift earned the second-place spot because just about everyone loves her music. Her millions reportedly came from her multiplatinum albums, her brand partnerships, and several sold-out tours. But the singer’s accomplishments went far beyond making money. In December, Swift was also honored with Billboard‘s first-ever Woman of the Decade Award. She was chosen due to her massive influence on music and pop culture, which we here at Glamour recognized as well.

“Taylor isn’t the first country artist to dabble in pop—both Shania Twain and Faith Hill have done it, to varying degrees—but she is the first to do it in its totality. And, along the way, she broke new ground,” Glamour writer Christopher Rosa penned. “When she dropped ‘We Are Never Ever Getting Back Together’ and ‘I Knew You Were Trouble’ in 2012, for example, top 40 radio short-circuited. Both songs were stunning, seamless marriages of genres: country, pop, rock, even elements of dubstep. It was a precursor, if not the jumpstart, to the genre-bending hits that would define the latter half of the decade.”

Beyond music, in the last decade, Swift also became a crusader for the rights of artists. In December of 2019, Swift publicly called out mega-manager, Scooter Braun, who acquired her back catalog of music as part of his purchase of Scott Borchetta’s Big Machine Label Group. Swift, who was once under the Big Machine label, said she “pleaded” to purchase her music back from Borchetta, however, Borchetta only said she could “earn” back one album for each new one she produced.



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Taylor Swift Is the Artist of the Decade—Whether You Like It or Not


Her follow-up, 1989, was even more unprecedented. It was, in effect, a 100 percent, pure-pop album with virtually zero elements of the country twang that made her a star. The album after that, Reputation, ventured even further into electro-pop, with distorted vocals and grimy, club-ready beats. The fact that this was the same artist who delivered the bluegrass anthem “Mean” in 2010 is astounding.

Lover, Swift’s most recent, is an amalgamation of her discography. In many ways, it’s a return to form, with several stripped-down tunes and a few glossy pop gems mixed in. The record is further proof Swift is the decade’s biggest sonic shape-shifter—listening to her instincts, not the radio, and creating incredibly compelling pop music as a result.

Perhaps the only artist who rivals her on this metric is Rihanna, whose 2010s catalog defies genre, as well. But her songs, in my opinion, were often reactions to the top 40 landscape. When radio went dance-pop, so did she. When it pivoted to tropical house, she followed suit. Swift, however, almost made her music in a vacuum—that’s what I think, at least.

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Taylor Swift Revealed the One “Lover” Lyric That Was Almost So Different


Two seconds into Taylor Swift‘s “Lover,” you can tell the dreamy ballad is destined to play at weddings for years to come. But the first lyric, “We could leave the Christmas lights up ’til January” confused some listeners since the song’s release. January starts just a few days after Christmas—so what’s romantic about Swift’s decoration schedule? Isn’t that the norm?

Well, Swift just said a change to “Lover”‘s lyrics is to blame for fans’ questions. For the New York Times series “Diary of a Song,” the singer joined Times music journalist Joe Coscarelli to explain how she brought “Lover” to life. In the interview, she explained that her Christmas lights weren’t supposed to stay lit only until January in the original lyrics.

Swift said the songwriting process for “Lover” involved meticulously reviewing her lyrics, making sure each one says exactly what she wants it to say. “Were there lines that changed in that process?” Coscarelli asked. “I had toyed with the idea of ‘We could leave the Christmas lights up ‘til April,’” Swift responded.

So why make the jump to January? Swift added she wanted “Lover” to be about quiet, normal moments that make a relationship special—so she changed the month to something simpler. “It’s not about that being a crazy thing,” Swift said. “It’s about how mundane it is. It’s about like ‘We could put a rug over there. We could do wallpaper or paint.’ When young adults go from living in their family to then combining their lives with someone else, that’s actually, like, the most profound thing.”

She added that the rest of “Lover” touches on similarly universal, simple moments and feelings. “I wanted the chorus to be these really simple, existential questions that we ask ourselves when we’re in love. ‘Can I go where you go’ is such a heavy thing to ask somebody. ‘Can we always be this close’ has so much fear in it,” Swift said.

Hear her describe the making of “Lover” in her own words below:

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The 30-year-old also recently released “Christmas Tree Farm,” an upbeat ode to the farm where she grew up. Like “Lover,” Swift wrote “Christmas Tree Farm” in just 24 hours. She documented the process in a series of iPhone clips shared on her Instagram earlier this week. “24 hours and a lot of xmas spirit,” she captioned the video.

Swift told the New York Times she’d been waiting for a song like “Lover” to make its way into her repertoire. “I’d been thinking for years that, God, it’d be so great to have a song that people who are in love would want to dance to,” she said. “In my head, I had the last two people on a dance floor at 3 A.M., swaying.”

Her vision will probably come to life in a few months. Swift takes “Lover” on tour in 2020.



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Taylor Swift Celebrated Her 30th Birthday With an Over-the-Top Holiday Party


The singer took to Instagram to share that she hosted an afterparty—at NYC’s Oscar Wilde restaurant—to toast to her birthday. And, unsurprisingly, there was a theme and plenty of her A-list besties in attendance. Guests included her boyfriend Joe Alwyn, Blake Lively and Ryan Reynolds, Halsey, and Camila Cabello. Her childhood bestie, Abigail, also made an appearance in the photos. “Happy birthday but make it santa ?,” she wrote in the caption of one pic showing her guests wearing Santa hats and other Christmas-y accessories.

“Honestly spending my 30th with the fans who have made my life what it is at jingle ball, then throwing the most aggressive holiday party known to womankind… I just.. seriously feel so lucky for you all and will spend forever trying to find ways to say thank you. cries in Christmas tree,” the singer captioned another one of the photos.

And of course, there was dancing.

Instagram/@Abigail_Lauren

Her second cake of the evening was equally amazing and also cat-themed. Swift is set to star in the film version of Cats and is a longtime feline lover who owns three herself—Meredith, Olivia, and Benjamin—who all appear to be represented on the dessert. “Fur real guys this was my cake ?,” she wrote on Instagram.

Instagram/@TaylorSwift
Instagram/@TaylorSwift



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Taylor Swift Called Out Scooter Braun During Her Speech at Billboard's Women in Music Event


But Swift saved some of her harshest words for Braun, who acquired the rights to her masters when he purchased her former record label with backing from a private equity firm. “As your resident loud person, I feel the need to bring it up. That is the unregulated world of private equity coming in and buying up our music as if it is real estate, as if it’s an app or a shoe line. This just happened to me without my approval, consultation or consent,” she said. “After I was denied the chance to purchase my music outright, my entire catalogue was sold to Scoter Braun’s Ithaca Holdings in a deal that I’m told was funded by the Soros Family, 23 Capital and the Carlyle Group. Yet to this day, none of these investors have bothered to contact me or my team directly to perform their due diligence on their investment. On their investment in me, to ask how I might feel about the new owner of my art. The music I wrote. The videos I created. Photos of me, my handwriting, my album designs.”

“Of course, Scooter never contacted me or my team to discuss it prior to the sale or even when it was announced. I’m fairly certain he knew how I would feel about it, though. Let me just say that the definition of the toxic male privilege in our industry is people saying, ‘Well, he’s always been nice to me’ when I’m raising valid concerns about artists and their rights to own their music,” she continued. “Of course he’s nice to you. If you’re in this room you have something he needs.”

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She continued, “The fact is that private equity enabled this man to think, according to his own social media post, that he could ‘buy me.’ I’m obviously not going willingly. Yet the most amazing thing was to discover that it would be the women in our industry who would have my back and show me the most vocal support at one of the most difficult times and I will never, ever forget it. Like ever.”

Well, that’s indeed one powerful way to kick off your 30th year, Tay. We’re impressed.



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