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Kim Kardashian and Kanye West Reportedly Could Not Care Less About Taylor Swift's Diss Track


PHOTO: Larry Busacca/Getty Images

Last week, in the clap-back track heard round the world, Taylor Swift (allegedly) exacted year-in-the-making lyrical revenge on Kim Kardashian and Kanye West with her new single, “Look What You Made Me Do.”

The song and video are packed with subtle—and not-so-subtle—references to the couple. But in true Kim and Kanye fashion, they reacted by…not caring at all. Remember the time Amy Schumer did a slip-and-fall in front of them on the red carpet, and they completely ignored the entire thing? It’s basically that, but even icier.

According to TMZ, West is more focused on his feud with ex-BFF JAY-Z than his beef with person-he-hadn’t-heard-of-until-2009, T.Swift. Meanwhile, in Kardashian’s mind, “the whole feud ended over a year ago.” Do the math: That’s when she released the recordings that disproved Swift’s claims that she never approved the lyric’s for West’s “Famous” song—and the Internet pretty much took Kim’s side.

Kardashian celebrated the release of “Look What You Made Me Do” by tweeting a completely unrelated photo of her son the morning the song came out. Then, she blocked the snake emoji from her social media feed to avoid being spammed by Swift fans who were attempting to give Kardashian a taste of her own medicine. Still, it’s pretty clear that the Kardashian-Wests want nothing to do with the eight-year-long drama.

While Swift hasn’t officially confirmed that the song is about the rap–reality duo, the Internet is all but convinced. Everything from the album typography, which looks eerily similar to West’s Life of Pablo fonts, to the lyrics of the song that seemingly reference the “tilted stage” West used during his last tour (“I don’t like your little games / I don’t like your tilted stage / The role you made me play of the fool / No, I don’t like you.”) to the video, which makes note of the “receipts” Kardashian used to put the infamous Swift call on blast.

Even so, Kim and Kanye’s names may be underlined in red on a Taylor Swift hit-list filled with pop stars and ex-boyfriends, but it seems like they really couldn’t care less.



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Taylor Swift's Director Clears Up That Beyoncé Copycat Speculation


As Beyoncé sings on “Formation,” “you know you that b-tch when you cause all this conversation.” Never forget that the Kanye West/Taylor Swift feud actually started over a Beyoncé song. Specifically, “Single Ladies,” which Kanye famously called “one of the greatest videos of all time” (“Imma let you finish…”) while, uh, snagging Taylor’s stage time at the VMAs. Now years (what feels like decades) later the saga continues, this time with Taylor’s director getting in on the action.

First, let’s start at the beginning, which was the 2009 VMA event. After Kanye interrupted her on stage, Taylor released her song “Innocent,” which may have been inspired by the awards show confrontation, and all seemed well for a few years (he even sent her flowers!). But then Kanye referenced Taylor in his song “Famous” and used her likeness in his video, prompting her to clap back while accepting a Grammy. That’s when Kim Kardashian took to Snapchat to explain that Tay had actually given her OK to the lyric… which Taylor then denied on Instagram, claiming that she hadn’t consented to being called “that bitch” in the song. When everyone came at the Reputation songstress after that (so many snake emojis), she kinda disappeared for a year. Until Friday, when Taylor dropped “Look What You Made Me Do” (here’s a more detailed timeline), the first single from her forthcoming album.

In addition to it being widely assumed that the song is inspired by her feud with Kim and Kanye, the brief clip of the song’s accompanying video — which, naturally, will drop at tonight’s VMAs where this whole thing started — that’s been posted online instantly stirred up Beyoncé-adjacent controversy when Twitter users speculated that Taylor’s look was just a little too close to that of Queen Bey in “Formation”. Now “Look What You Made Me Do” director, frequent T. Swift collaborator Joseph Kahn, has taken to Twitter to deny the connection, tweeting that he’s worked with both Tay and Bey and the new video is not in Knowles’ “art space.”

And you know what? Point taken. We haven’t seen the full “Look What You Made Me Do” video yet, and one similar image isn’t necessarily enough to reasonably call someone out for appropriation. But this isn’t the only pre-VMAs clean-up Swift’s camp is doing; they’ve also had to deny that the release date for Reputation — November 10, 2017 — was chosen as another slight to Kanye because it falls on the 10th anniversary of his mother Donda’s death. Big Machine Records told E! News, “It is standard practice that releases come out on Fridays and we locked in this release date based on other Universal Music Group releases.

The most compelling evidence that the video and release date aren’t swipes at Bey and Ye, though? The fact that they’re not obvious digs. Taylor is pretty clear when she’s writing or talking about someone in particular. She had a crush on a boy named Drew so “Teardrops On My Guitar” mentions a boy named Drew. Her song about John Mayer is called “Dear John.” People called Taylor a snake, so now she’s wearing and selling snake-shaped rings. If she wanted to use Beyoncé’s imagery, she’d be like, sipping lemonade, and if she wanted to piss of Kanye with her release date, she’d drop an album on his birthday or something. When Taylor is taunting someone, there’s very little guesswork involved.

Besides which, as much as she’s caught up in her feuds right now, Taylor doesn’t actually need other artists’ help to generate headlines. She’s as big a star as music has, and “Look What You Made Me Do” broke streaming records on both YouTube and Spotify on its first day of release. If the pattern holds, the video will be a monster hit, too. I guess we’ll see tonight…at the mother-frickin’ VMAs.

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Taylor Swift's Beauty Evolution As Told By Her Album Eras


Taylor Swift is a master of self-invention. It’s been said before, but she’s a success by design: behind the girl-next-door persona that’s so incredibly easy to relate to (yeah! Eff that guy and his precious truck, we’ll do better), there’s a whole machine of thought that goes into her image. Since she burst onto the scene in 2006, we’ve lived through multiple incarnations, watching her style evolve at every big turning point in her career.

Country princess, pop star, retro babe, fashun lover: everyone’s got their personal Swift era preference. Nowhere better is each image so succinctly summed up than the look that comes with a new album drop. So, with Reputation’s cover reveal and a rumored new single on the way, we’re taking a stroll back through her greatest beauty hits—and analyzing what this new era could signal.

2006 to 2007

PHOTO: Getty Images

Our first introduction to Swift as a Nashville teen, her country era was strongly, strongly boilerplate princess-themed. Innocence was the name of the game on her eponymously named album, alongside songs like “Teardrops on My Guitar” (DREW!), “Picture to Burn” (still a banger), and “Our Song.” With her naturally curly hair and love for the maximum amount of glitter on both her eyeshadow and dresses, it was very much a “this girl believes in fairytales and romance” moment, and one that both made her approachable to the middle school girl demo, and set her apart from the rest of the country music scene.

2008 to 2011

PHOTO: Getty Images

“You Belong With Me” hit in 2008, and who could forget Swift pulling a Parent Trap and playing both the girl next door and the villainous popular girl. Truly, this woman contains multitudes—but the greatest trick of all was selling the idea that Swift was just an average girl looking for love. The sparkles got toned down, and while her curls were still going strong, they started to move into a more styled, barrel curl look. Spanning from Fearless to Speak Now, these were the years of her image as a lovelorn lady out for her Nicholas Sparks story. “Mine,” “Dear John,” “If This Was a Movie,” “Better Than Revenge”—there was drama, but Swift’s persona was always squarely on the right of it, with her curls and lipgloss there to back her up.

2012 to 2013

ACM Presents: Tim McGraw's Superstar Summer Night - Show

PHOTO: Ethan Miller

And with Red the curls exited stage right, in favor of her now-trademark red lip and sleek bangs. This was Swift with more vindication and agency: if you wrong her, you’re gonna get called out. Curls can have agency, but Swift’s transition to a totally smooth style read like she was tightening her grip on deciding who the world saw. There was still the romance in her lyrics—and what’s more romantic than a red lip?—but with Red’s cover showing her face half in the shadows, only her lips and a shiny lock of hair in the light, Swift painted a narrative of a girl who’d been burnt, but was surviving. The vibe was cardigans and Keds, with red lipstick and cat eye liner; a little kitschy, ’50s nostalgia-cute.

2014 to 2015

PHOTO: Getty

Ah, the age of “Blank Space,” “Shake It Off,” and “Bad Blood.” It was an aggressive time, matched by Swift’s turn to chic, femme fatale looks without a single hair out of place. Her red lips went darker, with 1989‘s cover revolving around her fractured, above the fray self: lips-down on the cover, nose-up on the album liner, and a faded, Polaroid-from-a-distance aesthetic. Truly, she hit an insane balance between approachable BFF (I’m just a girl baking cookies and taking roadtrips with Karlie Kloss) and bombshell living above the rumors (those now-signature two-piece sets; “It had to do with business“).

2016 to mid-2017

PHOTO: Getty Images

This ’twas not an era of much new music for Swift. Her only release was “I Don’t Want to Live Forever” with Zayn Malik for 50 Shades Darker. But personally, it was a huge. With an abundance of think pieces surrounding the Kim/Kanye fiasco, at this point, the world caught on to Swift’s immaculate image control. And so she transformed again.

The first signal came at Coachella, when she debuted a new platinum dye job (which came at Vogue‘s persuasion). Then at the Met Gala, she channeled Debbie Harry’s punk look with dark lips and a shaggier cut. This progressed into a few other decidedly less “safe” looks, including this unexpected rendezvous with contour and bubblegum pink gloss. That was in May 2016, and as you know, she’s been out of the spotlight pretty much since. (Her break from the red carpet, of course, was hardly a vacation—during her sexual assault trial earlier this month she paved the way for anyone fuzzy on consent with her concrete, unyielding testimony.)

Present, looking forward

Everything from here on is speculation, though we’ll surely be seeing plenty of Swift again soon enough. But what we can gather from her new album cover is that we’re in for the singer’s most powerful evolution (both personally and lyrically) yet. Significantly, the cover is black and white—and with headlines covering half Swift’s face, fans are speculating that it implies we’ve only gotten half the story.

Her makeup is pared down and clean with the exception of a not just dark but jet-black lip, and her hair looks wet, which could allude to the concept of rebirth and renewal. Such can also be said that a snake represents the same since it sheds its skin (and it’d fit with her clean slate social media strategy). The conclusion would be that she’s had her persona (and thus, her style) built a certain way, and now the real her is coming out. It’s not commercial, bubblegum, or high-fashion approved—but it’s mature and authentic, a look worn with the confidence of coming into your own.

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Taylor Swift's New Single Is Rumored To Be 8 Minutes Long—and Fans Have a Lot of Theories


PHOTO: Andrew H. Walker/Getty Images

Since Taylor Swift released the details of her upcoming album (Reputation, out November 10) and its first single (dropping “tomorrow night,” whatever that means) without any warning on Wednesday, the Internet has been sent into a spiral of excitement, speculation, and really good reaction GIFs. Fans have moved on from the three cryptic snake videos she posted and are now doing everything they possibly can to uncover any additional information about the upcoming album and single release—and one Swiftie appears to have stumbled upon a very interesting tidbit.

According to Select All, a fan going by username levi_valvi on pop culture forum ATRL.net uncovered the Reputation album cover and a mostly empty (keyword: mostly) track listing almost an hour before Taylor revealed the news herself, just by trying out different extensions on the TaylorSwift.com URL. Levi_valvi posted their findings on ATRL, and though the post and website glitch have since been wiped clean, several people took screenshots of the user’s discovery and have posted them on Twitter.

Levi_valvi’s screenshots appear to show a page of the official Taylor Swift website featuring Reputation‘s black-and-white album art, links to purchase the album on iTunes and other sites, and, perhaps most significantly, a 12-song track listing showing blank spaces for every entry except track four, which is labeled “First Single” and has a run time of a whopping eight minutes and 47 seconds, which—what?! While Taylor has never shied away from surpassing the industry standard of about three minutes per song (her longest track so far, “Dear John,” clocks in at a lengthy six minutes and 43 seconds), it’s unclear what she could possibly include in a nearly nine-minute song. Naturally, the Swifties have their theories.

“The lead single is 8 mins long [because] it contains [the] uncut [version] of the ‘famous’ phone call,” one stan tweeted, referencing the recorded phone call Kim Kardashian released on Snapchat last summer to prove that Taylor had in fact given Kanye West permission to sing about her in his 2016 song “Famous.” Others theorized that Taylor’s following in the footsteps of rock artists like Led Zeppelin, Bob Dylan, and The Doors, all of whom recorded songs well over 10 minutes long. “9 minute single? I really appreciate how Taylor Swift is finally going back to her prog rock roots #reputation #featuringKingCrimson,” one wrote. And still other superfans remembered that one of Taylor’s co-writers told Yahoo! that 2012’s “All Too Well” was originally “10, 12, or 15 minutes long,” and they are now guessing that the new track is either a followup or the original, uncut version of the emotional ballad. “Lead single is 9 minutes long yep All Too Well 2.0 is coming,” one Twitter user wrote.

Keep in mind that Taylor’s camp has yet to confirm this rumor (or any other)—but maybe block out a full nine minutes tomorrow night just in case.

Related: Taylor Swift’s New Album Has the Internet Convinced She’s a Slytherin



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